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TA RR AWA RR A FES TIVAL F E AT UR ING T HE A C O | 19–2 0 M A RC H 2 016 With a blend of fine art, live music and stunning views, this weekend-long festival in the Yarra Valley, only an hour from Melbourne, features intimate concerts directed by Richard Tognetti.
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Limited to 200 guests, the Festival experience includes a masterclass, guided tours of the museum’s exquisite Panorama exhibition and, of course, music from the ACO. SATURDAY 19 MARCH 2016
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12.30pm Music by Debussy and Enescu 6.00pm Music by Handel, Pärt, Vivaldi, Glass and Mendelssohn
The ACO’s Principal Partner Virgin Australia has put together attractive holiday packages to the Yarra Valley including TarraWarra Festival tickets. See aco.com.au/virgin for package details.
SUNDAY 20 MARCH 2016 11.00am Masterclass 2.30pm Music by the Bach Family
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“PROBABLY THE FINEST STRING ENSEMBLE ON THE PLANET.”
“IF THERE IS A BETTER CHAMBER ORCHESTRA IN THE WORLD TODAY, I HAVEN’T HEARD IT.”
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ARGENTINA’S DAZZLING CELLO VIRTUOSO JOINS EUROPE’S TOP CHAMBER ORCHESTRA
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FAURÉ Après un rêve SAINT-SAËNS Cello Concerto No.1 in A minor HEINZ HOLLIGER Meta arca BARTÓK Divertimento BOCCHERINI Cello Concerto No.10 in D major* HAYDN Symphony No. 59 in A major, ‘Fire’* PĒTERIS VASKS Cello Concerto No. 2 , ‘Klātbūtne’ (Australian Premiere)*
22–29 NOVEMBER
B RISBANE , CA NB ERR A , MELBOU RNE , S Y DNE Y *MON 23 NOV 8PM (MELBOURNE ONLY )
“EXEMPLARY, WITH BOLD INTERPRETATIONS AND BRIGHT MUSICAL COLOUR: YOU COULD SMELL THE SEASONS” THE AUSTRALIAN
JOSEPH TAWADROS Selections from Permission to Evaporate, and original works exploring the crossroads of oud and string orchestra VIVALDI The Four Seasons MARCELLO Il pianto e il riso delle quattro stagioni: Sinfonia (selections) GABRIELI Sonata con tre violini
1–9 DECEMBER ADELAIDE, MELBOURNE, PERTH, SYDNEY
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YOU CAN NOW EXPERIENCE THE ACO IN NEW PLACES. Introducing ACO VIRTUAL, the Australian Chamber Orchestra’s new virtual installation. This world first will be travelling around Australia, giving everyone the chance to get up close, like never before, to this critically acclaimed orchestra. Find out more at aco.com.au/acovirtual CommBank is proud to be the Founding Partner of ACO VIRTUAL.
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19/06/2015 2:19 pm
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ACO concerts are regularly broadcast on ABC Classic FM. Tchaikovsky’s Serenade Mon 26 Oct, 8pm.
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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. Competition closes Thu 5 Nov.
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T CH A IKOV SK Y ’S SER EN A DE Friday 23 October Wollongong Town Hall Richard Tognetti Director & Violin Taryn Fiebig Soprano CPE BACH String Symphony in B-flat major, Wq.182/2 BRITTEN Les Illuminations, Op.18 INTERVAL PĒTERIS VASKS Vox Amoris TCHAIKOVSKY Serenade for Strings in C major, Op.48 Approximate durations (minutes): 12 – 26 – INTERVAL – 24 – 28 The concert will last approximately two hours, including a 20-minute interval.
Monday 26 October Melbourne Recital Centre Richard Tognetti Director & Violin CPE BACH String Symphony in B-flat major, Wq.182/2 HAYDN Violin Concerto in C major, Hob.VIIa:1 INTERVAL PĒTERIS VASKS Vox Amoris TCHAIKOVSKY Serenade for Strings in C major, Op.48 Approximate durations (minutes): 12 – 21 – INTERVAL – 24 – 28 The concert will last approximately two hours, including a 20-minute interval.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 8
A BOU T T HE MUSIC STRING SYMPHONY IN B-FLAT MAJOR, WQ.182/2 Composed 1773 I. Allegro di molto II. Poco adagio – III. Presto CARL PHILIPP EMANUEL BACH Born Weimar 1714 Died Hamburg 1788
PICTURED: Carl Philipp Emanuel Bach.
In 1768, Carl Philip Emanuel Bach, second son of Sebastian Bach, finally terminated his 30-year appointment as court harpsichordist to Prussia’s Frederick the Great in Berlin. Famous throughout Europe as a keyboardist and teacher, he moved to Hamburg, where he succeeded his godfather Telemann in the leading position of Kantor at the Johanneum. Hamburg suited Emanuel very well after decades confined in the stiff atmosphere of the Prussian court. Although he was busy (duties included about 200 performances a year, and that was only the beginning of it) he was a natural administrator and revelled in the company of the artistic and intellectual types drawn to free-thinking Hamburg. 9
Such ‘daring flow of ideas’, ‘variety and novelty’ and ‘peculiar, high-spirited character’ are in abundance in this example of these six string symphonies. Among his casual visitors was the Imperial Ambassador to Berlin, Baron Gottfried van Swieten, who travelled to Hamburg just to meet Emanuel. Swieten is one of those under-appreciated figures in musical history. A keen amateur and true patron of the arts, he is also the dedicatee of Beethoven’s first symphony and the librettist (after Milton) of Haydn’s The Creation. It was he who commissioned Mozart to re-orchestrate Handel’s Messiah. For him, Emanuel wrote a set of string symphonies, now catalogued as Wq.182. Before these symphonies were despatched to their patron, Emanuel arranged a play-through at the home of one of his Hamburg neighbours. A local publication perceptively reported: Reichardt led from his violin, to the great relief of the nervous composer. Although they were not played accurately, one could hear with delight the original, daring flow of ideas and the great variety and novelty in the forms and modulations. Seldom has a highly gifted mind poured out music of such superior, peculiar and high-spirited character.
PICTURED: Baron Gottfried van Swieten for whom CPE Bach wrote a set of string symphonies, now catalogued as Wq.182.
Such ‘daring flow of ideas’, ‘variety and novelty’ and ‘peculiar, high-spirited character’ are in abundance in this example of these six string symphonies. A fractured, moody brilliance is achieved through stark dynamic contrasts, bald unisons, an increased verticality of texture (as opposed to the seamless, horizontal counterpoint of his father’s music) and by surprising harmonic turns. Not exactly Baroque, neither do they fit into a Classical mould; nor into the obscure sub-set formally known as the Pre-Classical. They are unique, individual pieces that offer an intriguing glimpse of a noteworthy musical personality. Emanuel’s compositions were admired by musicians such as Mozart, Haydn and Neefe (one of Beethoven’s more influential teachers). His treatise on the art of playing the keyboard remains a seminal work. His personal reputation is harder to grasp – on the one hand, he was a good and loyal administrator of his share of Sebastian Bach’s estate; on the other, there remains the fact that his stepmother seems to have been left to fend for herself in her old age, and to be given a pauper’s funeral.
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(Wollongong only)
LES ILLUMINATIONS, OP.18 Composed 1939 I. Fanfare II. Cities IIIa. Phrase IIIb. Antique IV. Royalty V. Marine VI. Interlude VII. Being Beauteous VIII. Parade IX. Leaving BENJAMIN BRITTEN Born Lowestoft 1913 Died Aldeburgh 1976
PICTURED: (Above) Arthur Rimbaud, aged 17, by Étienne Carjat, probably taken in December 1871. (Right) Benjamin Britten.
In Les Illuminations Britten has selected nine poems and prose-poems from the cycle of works of the same name by the French symbolist, Arthur Rimbaud. Like all works by Britten that include a text, Les Illuminations incorporates a subtextural musical system, which supplements the meaning of the words. Sometimes this seems to be in direct opposition to how one would initially read the text, but its conviction is so sincere that without any inappropriate persuasion we are drawn into his world and particular ‘spin’ on the text at hand. It was probably WH Auden, Britten’s childhood friend and sometime (self-styled) artistic mentor, who introduced Rimbaud’s poetry to the young composer. Humphrey Carpenter, in his acclaimed biography of Britten, suggests that Auden drew Britten’s attention to Rimbaud’s poetry on account of the poet’s relationship with the older Paul Verlaine (at the time, Britten was engaged in a relationship with Wulff Scherchen, son of conductor Hermann). Britten first expressed his desire to set a selection from Les Illuminations to the soprano Sophie Wyss on board a train returning from a recital some time in 1938, 11
“Peter has shown people now how it really goes.” BRITTEN
bounding up to the future dedicatee, extolling these poems he wanted so much to set to music. At the same time Britten was involved with Wulff Scherchen, his friendship with Peter Pears, whom he had met in 1937, strengthened, and by early 1939 they departed for the US. However, this was not before a performance of the completed movements from Les Illuminations, during which Sophie Wyss performed Being Beauteous and Marine in a BBC concert in Birmingham. Arriving in North America, Britten and Pears took up residence with the Mayers, a family Pears had met on a ship during one of his previous tours, at their home on Long Island. Britten completed Les Illuminations a little over a month after the outbreak of World War II. The work was first performed in London in 1940 with the Boyd Neel Orchestra and Sophie Wyss. Britten later expressed his regret that Wyss continued to perform the cycle. To the composer, her performance was ‘hopelessly inefficient, subjective and (of all things) so coy and whimsy!!!’, whereas Britten thought that ‘Peter has shown people now how it really goes.’
PICTURED: Peter Pears.
Les Illuminations begins with a string fanfare built over a drone, in the key of B-flat major, of which the E is the Lydian 4th and the F is the dominant. The Lydian mode (a church mode similar to the major mode, but distinguished by its raised fourth) is a common feature of the harmonic language of Britten, and this opening fanfare sets up the tonality for the following nine movements, most of which involve some play on the ambiguity of major and Lydian (and the respective ambiguity of dominant chords and leading notes). The voice enters declamato with ‘J’ai seul la clef . . .’ on a reiterated E, accompanied by alternating B-flat major and E major triads. On the word ‘sauvage’ (savage, wild), he ‘resolves’ to C major, punctuating the change with a full chord, leaving behind an octave C, which has become the new drone. This is our first glimpse (in this work) at what would become possibly the most enduring feature of Britten’s compositional language: piled thirds. His choice of C is not to be underestimated either. Here, the fall to C seems less about the ‘purity’ of C and more a return to the ‘natural’, highlighting the savagery explicit in the text. This is enhanced by a natural harmonic glissandi (literally sliding) in the cellos. As requested by the composer in the score, there is virtually no break between the movements, and the hanging B-flat at the end of Fanfare suddenly becomes a B-flat major triad for the opening of this next movement, Cities. The jump between B-flat and G
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is resolved on the last word of the opening phrase by a shift to the major chord on the third degree of G, that is: B. This shift (a semitone away from the opening B-flat) recalls the semitone ambiguity of the opening drone. The fiery, driving rhythms and fast tempo push this movement through the twists and turns and bizarre excesses described in the text. The dreamlike exuberance and indulgence are perfectly captured by the composer, no doubt a testament to his first experiences of New York. Phrase begins with glistening bell tones, describing the steeples of the text. This bell figure, apart from supporting the singer’s line, produces a blank canvas on which can be drawn the simple, internally repetitive melody. The gentle rocking of the 6/8 rhythm that opens Antique seems to take up the suggestion made in the text at the conclusion of the previous movement: ‘and I dance’. Antique bears Britten’s dedication to Wulff Scherchen, whom he left behind in England. The sensuous and personal nature of the text is clearly autobiographical, with a solo violin accompanying the vocal line in a reserved love-duet. To enhance the break from Antique and its following movements, Royalty, Britten brings back the opening tritone opposition of E and B-flat, with the preceding movement ending on a soft B-flat major triad, the peace of which is broken by the strongly majestic opening E chord of Royalty, another song about lovers, though here they proclaim their love to the world. One wonders whether this is the composer living vicariously through his music. Marine follows with a buoyant setting of a short poem about the seascape, including sudden melismatic flourishes intermingling with powerful descending chromatic lines, harking back to the same passages in Royalty. The next three songs, Interlude, Being Beauteous and Parade, centre around recalling the opening statement of the cycle. Being Beauteous, the first composed song of these three, is dedicated to P.N.L.P. – Peter Neville Luard Pears, and talks of a ‘beautiful being of great size’. Although the song is the darkest of the cycle (particularly text-wise), it is probably a testament to the confidence Britten had in Pears that he should dedicate the most profound movement to him. Parade gives a false impression of a last movement, ending as it does with the Les Illuminations hallmark of a rising fourth in the upper parts. Leaving is curious for its pathos. After all the exuberance of the preceding songs, this last movement does not permit any sense of closure – a feature that would become common to Britten’s works. It brings to mind Leonard Bernstein’s comments in the film A Time There Was that ‘on the surface Britten’s music would seem to be decorative, positive, charming, but it’s so much more than that. When you hear Britten’s music, if you really hear it, not just listen to it superficially, you become aware of something very dark. There are gears that are grinding and not quite meshing, and they make a great pain.’ 13
Fanfare
Fanfare
J’ai seul la clef de cette parade sauvage.
I alone have the key to this savage parade.
Villes
Cities
Ce sont des villes! C’est un peuple pour qui se sont montés ces Alleghanys et ces Libans de rêve! Des chalets de cristal et de bois se meuvent sur des rails et des poulies invisibles. Les vieux cratères ceints de colosses et de palmiers de cuivre rugissent mélodieusement dans les feux . . . Des cortèges de Mabs en robes rousses, opalines, montent des ravines. Là-haut, les pieds dans la cascade et les ronces, les cerfs tettent Diane. Les Bacchantes des banlieues sanglotent et la lune brûle et hurle. Vénus entre dans les cavernes des forgerons et des ermites. Des groupes de beffrois chantent les idées des peuples. Des châteaux bâtis en os sort la musique inconnue . . . Le paradis des orages s’effondre . . . Les sauvages dansent sans cesse la fête de la nuit . . .
These are cities! This is a people for whom these dreamlike Alleghanies and Lebanons arose. Chalets of crystal and wood move on invisible rails and pulleys. The old craters, girt by giants and copper palms, roar melodiously in the fires . . . Processions of Mabs in red and opaline dresses climb from the ravines. Up there, their feet in the waterfall and the brambles, the stags suckle Diana. Suburban Bacchantes sob and the moon burns and howls. Venus enters the caves of the blacksmiths and the hermits. From groups of bell-towers the ideas of peoples sing out. From castles of bone the unknown music sounds . . . The paradise of storm collapses . . . The savages dance ceaselessly the festival of the night . . .
Quels bons bras, quelle belle heure me rendront cette région d’où viennent mes sommeils et mes moindres mouvements?
What kind arms, what fine hour will give me back this country from which come my slumbers and my smallest movements?
Phrase
Phrase
J’ai tendu des cordes de clocher à clocher; des guirlandes de fenêtre à fenêtre; des chaînes d’or d’étoile à étoile, et je danse.
I have stretched ropes from steeple to steeple; garlands from window to window; golden chains from star to star, and I dance.
Antique
Antique
Gracieux fils de Pan! Autour de ton front couronné de fleurettes et de baies, tes yeux, des boules précieuses, remuent. Tachées de lies brunes, tes joues se creusent. Tes crocs luisent. Ta poitrine ressemble à une cithare, des tintements circulent dans tes bras blonds. Ton cœur bat dans ce ventre où dort le double sexe. Promène-toi, la nuit, en mouvant doucement cette cuisse, cette seconde cuisse et cette jambe de gauche.
Graceful son of Pan! About your brow crowned with small flowers and berries move your eyes, precious spheres. Stained with brown dregs, your cheeks grow gaunt. Your fangs glisten. Your breast is like a cithara, tinglings circulate in your blond arms. Your heart beats in this belly where sleeps the dual sex. Walk, at night, gently moving this thigh, this second thigh, and this left leg.
Royauté
Royalty
Un beau matin, chez un peuple fort doux, un homme et une femme superbes criaient sur la place publique: “Mes amis, je veux qu’elle soit reine!” “Je veux être reine!” Elle riait et tremblait. Il parlait aux amis de révélation, d’épreuve terminée. Ils se pâmaient l’un contre l’autre.
One fine morning, amongst a most gentle people, a magnificent couple were shouting in the square: “My friends, I want her to be queen!” “I want to be queen!” She was laughing and trembling. He spoke to friends of revelation, of trial ended. They were swooning one against the other.
En effet ils furent rois toute une matinée où les tentures carminées se relevèrent sur les maisons, et toute l’après-midi, où ils s’avancèrent du côté des jardins de palmes.
As a matter of fact they were royal one whole morning, when the crimson hangings were draped over the houses, and all afternoon, when they progressed towards the palm gardens.
Marine
Seascape
Les chars d’argent et de cuivre – Les proues d’acier et d’argent – Battent l’écume, – Soulèvent les souches des ronces.
The chariots of silver and copper – The prows of steel and silver – Beat the foam – Raise the bramble stumps.
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Les courants de la lande, Et les ornières immenses du reflux, Filent circulairement vers l’est, Vers les piliers de la forêt, Vers les fûts de la jetée, Dont l’angle est heurté par des tourbillons de lumière.
The streams of the moorland And the huge ruts of the ebb-tide Flow eastward in circles Towards the shafts of the forest, Towards the columns of the pier Whose corner is struck by eddies of light.
Interlude
Interlude
J’ai seul la clef de cette parade sauvage.
I alone have the key to this savage parade.
Being Beauteous
Being Beauteous
Devant une neige un Être de Beauté de haute taille. Des sifflements de morts et des cercles de musique sourde font monter, s’élargir et trembler comme un spectre ce corps adoré: des blessures écarlates et noires éclatent dans les chairs superbes. Les couleurs propres de la vie se foncent, dansent, et se dégagent autour de la Vision, sur le chantier. Et les frissons s’élèvent et grondent, et la saveur forcenée de ces effets se chargeant avec les sifflements mortels et les rauques musiques que le monde, loin derrière nous, lance sur notre mère de beauté, – elle recule, elle se dresse. Oh! nos os sont revêtus d’un nouveau corps amoureux.
Against a snowfall a Being Beauteous, tall of stature. Whistlings of death and circles of muffled music make this adored body rise, swell and tremble like a spectre; wounds, scarlet and black, break out in the magnificent flesh. The true colors of life deepen, dance and break off around the Vision, on the site. And shivers rise and groan, and the frenzied flavour of these effects, being heightened by the deathly whistlings and the raucous music which the world, far behind us, casts on our mother of beauty, – she retreats, she rears up. Oh! our bones are reclothed by a new, loving body.
O la face cendrée, l’écusson de crin, les bras de cristal! Le canon sur lequel je dois m’abattre à travers la mêlée des arbres et de l’air léger!
O the ashen face, the shield of hair, the crystal arms! The cannon on which I must hurl myself through the jumble of trees and buoyant air!
Parade
Parade
Des drôles très solides. Plusieurs ont exploité vos mondes. Sans besoins, et peu pressés de mettre en oeuvre leurs brillantes facultés et leur expérience de vos consciences. Quels hommes mûrs! Des yeux hébétés à la façon de la nuit d’été, rouges et noirs, tricolorés, d’acier piqué d’étoiles d’or; des facies déformés, plombés, blêmis, incendiés; des enrouements folâtres! La démarche cruelle des oripeaux! Il y a quelques jeunes . . .
Very secure rogues. Several have exploited your worlds. Without needs, and in no hurry to set their brilliant faculties and their experience of your consciences to work. What mature men! Eyes dulled like a summer night, red and black, tricolored, like steel spangled with gold stars; distorted features, leaden, pallid, burned; their playful croakings! The cruel bearing of tawdry finery! There are some young ones . . .
O le plus violent Paradis de la grimace enragée! . . . Chinois, Hottentots, bohémiens, niais, hyènes, Molochs, vieilles démences, démons sinistres, ils mêlent les tours populaires, maternels, avec les poses et les tendresses bestiales. Ils interpréteraient des pièces nouvelles et des chansons “bonnes filles.” Maîtres jongleurs, ils transforment le lieu et les personnes et usent de la comédie magnétique . . .
Oh the most violent Paradise of the furious grimace! . . . Chinese, Hottentots, gypsies, simpletons, hyenas, Molochs, old madnesses, sinister demons, they mingle popular, motherly tricks with brutish poses and caresses. They would interpret new plays and “respectable” songs. Master jugglers, they transform the place and the people and make use of magnetic comedy . . .
J’ai seul la clef de cette parade sauvage.
I alone have the key to this savage parade.
Départ
Leaving
Assez vu. La vision s’est rencontrée à tous les airs. Assez eu. Rumeurs de villes, le soir, et au soleil, et toujours. Assez connu. Les arrêts de la vie. O Rumeurs et Visions! Départ dans l’affections et le bruit neufs!
Seen enough. The vision was met with everywhere. Had enough. Sounds of towns, in the evening, and in sunlight, and always. Known enough. The setbacks of life. O Sounds and Visions! Leaving amid new affection and new noise! 15
(Melbourne only)
VIOLIN CONCERTO IN C MAJOR, HOB.VIIA:1 Composed 1765 I. Allegro moderato II. Adagio III. Finale: Presto JOSEPH HAYDN Born Rohrau 1732 Died Vienna 1809 There are no dazzling masterpieces penned by the teenage Joseph Haydn. Although he was obviously a talented lad, after his voice broke and he finished with the choir school of St Stephen’s Cathedral, Vienna, there seem to have been a few lean years. History has possibly romanticised things for the sake of a good story, but we are left with the impression that young Joseph made his own way through sheer hard work and persistence, until he landed a decent job at the court of the Esterhazy family.
PICTURED: Joseph Haydn.
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Part of his job description was the composition of new works. As Kieran Perkins once said of his swimming ability, ‘If you do anything for eight hours a day you’re likely to get quite good at it’, and it’s hard not to surmise that this may be responsible for a significant part of Haydn’s renown. With the Esterhazys, he had almost daily access to a good orchestra, and compelling reasons (i.e. getting paid) for putting a lot of notes on paper.
The last movement is, like the first, a crowd-pleaser; it races along in a triple metre with a solo line full of leaps, chords and rapid-fire bowing.
(One such reason was his wife, with whom he didn’t get on – either he tried to get over his disappointment by throwing himself into his work, or he found that putting in a lot of hours at the office was a good way of avoiding her). In essence, Haydn’s early career with the Esterhazys could be viewed as an extended series of compositional workshops, which eventually honed his skills and developed his natural ability into the outstanding orchestral composer we know and love. It’s not to say that there are no early masterworks at all, but that the chronological growth of excellence seems pretty clear, and there are logical reasons to support it. One of the other joys of Haydn’s catalogue is seeing how he was influenced by his performers, and how he tailored works for them. The Violin Concerto in C is a case in point. A note in Haydn’s own hand tells us it was written for Luigi Tomasini in 1765. This famous Italian violin virtuoso has left his traces in the work – some moments almost seem to quote Vivaldi! The ‘Italian school’ of violin playing was admired not just for the virtuosity of its adherents but also for their ability to achieve a true ‘cantabile’ (singing) style. Italian vocalists had ruled the roost for years, and contemporary commentators liked to draw this parallel with their instrumental compatriots.
PICTURED: (Top) Nikolaus I, Prince Esterházy – best remembered as Haydn’s principal employer. (Above) Luigi Tomasini.
Haydn’s concerto allowed Tomasini the moments of technical display without which no concerto would be complete. Most memorably though, it also provides a cantabile theme which in its touching simplicity is probably harder to pull off than any high-speed wizardry. The pizzicato (plucked) orchestral accompaniment furthers the singing metaphor, putting listeners in mind of the lone voice serenading at the window, supported by his guitar or mandolin. The last movement is, like the first, a crowd-pleaser; it races along in a triple metre with a solo line full of leaps, chords and rapid-fire bowing. This concerto (along with its related one in G minor) was essentially overlooked until the late 1940s, but has since cemented its place in the repertoire – a joy to play and to hear.
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VOX AMORIS Composed 2008/09 PĒTERIS VASKS Born Aizpute 1946
Most people today no longer possess beliefs, love and ideals. The spiritual dimension has been lost. My intention is to provide food for the soul and this is what I preach in my works. PĒTERIS VASKS
PICTURED: Pēteris Vasks.
Pēteris Vasks was born in Aizpute in Latvia, the son of a Baptist pastor who was well-known in Latvia. Vasks began his musical education at the local music school. He subsequently produced his first compositions and also studied the double bass at the Emīls Dārziņš Music School in Riga. He continued his double bass studies with Vytautas Sereika at the Lithuanian Conservatory in Vilnius before his one year of military service in the Soviet Army. Vasks’ orchestral career had already began as early as 1961 as a member of various symphony and chamber orchestras, including the Latvian Philharmonic Orchestra (1966 to 1969), Lithuanian Philharmonic Chamber Orchestra (1969 to 1970) and the Latvian Radio and Television Orchestra (1971 to 1974). From 1973 to 1978, Vasks additionally studied composition with Valentin Utkin at the Latvian Music Academy in Riga. During the following years, he was a music teacher in Salacgrīva, Zvejniekciems und Jelgava and has taught composition at the Emīls Dārziņš Music School in Riga since 1989. During the Soviet period, Vasks suffered under the repressions of Russian cultural doctrine due to his beliefs and artistic convictions, but the Latvian composer’s works have swiftly achieved widespread recognition during the past few years. His instrumental works are performed around the world by renowned musicians and frequently used by choreographers. His compositions incorporate archaic, folklore elements from Latvian music and place them within a dynamic and challenging relationship with the language of contemporary music. The works are frequently given programmatic titles based on natural processes. Vasks’ intentions are however not so much a purely poetic praise of nature or showy tone painting, but rather the pursuit of themes such as the complex interaction between man and nature and the beauty of life on the one hand but also the imminent ecological and moral destruction of the world which he expresses in musical language. Frequent reference is made to his personal biography and the recent history of suffering on the part of the Latvian people. Pēteris Vasks was appointed as the Main Composer of the Stockholm New Music Festival in 1996. The same year, he was
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awarded the Herder Prize from the Alfred Toepfer Foundation and the Baltic Assembly Prize. Vasks received the Latvian Great Music Award on three occasions. Vasks is an honorary member of the Latvian Academy of Sciences and a member of the Royal Swedish Music Academy in Stockholm. In 2002, he became an honorary senator of the Latvian Cultural Academy in Riga. In 2005, he received the Cannes Classical Award for recordings of the violin concerto Distant Light and his Second Symphony. Vasks was Composer in Residence at the British festivals Presteigne and Vale of Glamorgan in 2006. The composer writes: I started composing the fantasy for violin and orchestra Vox amoris in autumn 2008 and finished the score in early spring 2009. What is the message I wanted to deliver? It is about the greatest power in the whole world – love. Love is, was, and will be as long as we will be. I believe that the solo violin and string orchestra is the best combination for a ‘love story’. The composition, consisting of one single movement, starts with a muted string tremolo. Then the solo violin appears – searching, asking – until it blossoms into a broad melody which is supported by a gentle orchestral accompaniment. The solo violin ‘Cadenza I’ links the introductory part with the central episode. The central part of the composition is built up from two sound waves. The first wave starts softly, slowly, then the intensity increases and becomes stronger, and then decreases. The second wave is broader, more dramatic. The solo violin part becomes more challenging; the string orchestra plays an active role here. ‘Cadenza II’ emphasises the way to culmination – the highest point is reached when the solo violin and orchestra meet – in a high register, in the highest intensity. A quiet organ point is then the background for images from the beginning. The solo violin once again sings a cantilena of the glory of love. The piece ends in a sadly light mood. Vox amoris was created for the Australian Chamber Orchestra and its leader Richard Tognetti. I hope this work will reach the listeners, making the world a little brighter and more open to love. Translated from the Latvian by Gundega Vaska
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SERENADE FOR STRINGS IN C MAJOR, OP.48 Composed 1880 I. Sonatina: Andante non troppo – Allegro moderato II. Moderato, tempo di valse III. Elegie, larghetto elegiac IV. Finale: Andante – Allegro con spirito PETER IL’YICH TCHAIKOVSKY Born Kamsko-Votinsk 1840 Died St Petersburg 1893
PICTURED: (Above) Tchaikovsky’s friend and patroness, Madame Nadezhda von Meck. (Right) Peter Il’yich Tchaikovsky.
Tchaikovsky spent the latter part of 1880 at his family’s country estate of Kamenka. From 21 September to 4 November he worked on what turned out to be the Serenade for strings, and, interlocking with this, from 12 October to 19 November, on the very different 1812 Overture. Writing to his friend and patroness, Madame Nadezhda von Meck, he recalled: ‘I wrote the Overture without much warmth . . . the Serenade on the other hand, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.’ It is indeed heartfelt music, while lacking Tchaikovsky’s potential for more extreme, heart-on-sleeve emotionalism. And his hunch that it had ‘real qualities’ was endorsed by his former teacher, and stern critic, Anton Rubinstein. He declared it to be ‘Tchaikovsky’s best piece’ to that time, when conducting the work in Moscow in June 1882. Earlier, equally successful performances in St Petersburg and Moscow included a surprise performance by friends at the St Petersburg Conservatory just three weeks after the work’s completion, on 3 December 1880. Initial sketches of the Serenade moved in the direction of a symphony or a string quintet – rather different in themselves – and by 7 October, with three movements complete, it had become a Suite for strings. Before its completion, however, Tchaikovsky decided to call it a Serenade, aware of this title’s lighter, Viennese classical connotations. Here, Tchaikovsky’s adoration of Mozart comes into focus, for, as the composer wrote to Nadezhda von Meck, ‘the first movement is actually in the style of Mozart. It is intended as an imitation, and I should be delighted if I thought that I had in any way approached my model.’
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Elsewhere he had written: ‘It is due to Mozart that I devoted my life to music. He gave me the first impulse in my efforts, and made me love it above all else in the world.’ Tchaikovsky’s Mozartian ‘imitation’ isn’t neo-classical in the way that his Russian successors Stravinsky and Prokofiev would manufacture so successfully decades later. The movement is a ‘little sonata’ where there is no designated ‘development’ section, and where the balance of identical exposition and recapitulation (except for the second subject’s tonal area) is further balanced by the return of the opening Andante to close the movement. But in terms of the actual sound of the Serenade, only the second subject of this first movement is overtly Mozartian, with its bubbling semi-quavers and lightness of touch. Tchaikovsky’s own creative personality is never being masked; he is not letting another age’s music climb into that personality, but he is still observing the spirit of that age.
PICTURED: Anton Rubinstein by J Ganz.
Following this opening Sonatina is a deft and graceful Waltz, whose main material Tchaikovsky subtly varies in texture and ornamentation upon its return after a contrasting central episode. Similarly, in the Elegy, the return towards the end of the opening Larghetto is muted and moves closer into Tchaikovsky’s more despairing, tragic territory of expression. The central body of this Elegy is more emotionally neutral, immediately pleasing for its broad sweep of melody in the first violins and cellos, though still tinged with a certain melancholy. The transition to the Russian-flavoured final movement (Mozart is left behind here, and replaced by two tunes Tchaikovsky had arranged back in 1869) is subtly achieved, with the lofty conclusion of the Elegy merging into a serene statement of a folk tune from the Volga region. Apart from bringing us back from the Elegy’s key centre of D to the finale’s C major, Tchaikovsky also teases the melody of the subsequent Allegro – another, more rollicking folk tune – from the cadential residue of the first melody. It is as impressively clear a lesson in motivic transformation as any student, or interested listener could wish for. Tchaikovsky continues to have fun with his material in this fully worked sonata movement. First, he introduces a smooth, subordinate melody in the cellos that is then superimposed, later in the upper strings, on the principal folk theme. Close to the conclusion, he then brings back the stately introduction of the first movement. The descending fourth of this melody – which, when inverted, becomes the thematic stuff of the middle two movements – when gradually wound up back to speed clearly transforms to the Russian theme. With the end looping back to the beginning, the Mozartian sonatina moves east and is finally grafted to the Russian peasant dance. Notes by KP Kemp, Meurig Bowen, Martin Coote © Australian Chamber Orchestra 21
R ICH A R D T OGNE T T I ARTISTIC DIREC TOR & VIOLIN
“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 22
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.
TARYN FIEBIG SOPRANO
“. . . the sweetest, most clearly coloured singing of the evening came from Taryn Fiebig . . .” SYDNEY MORNING HERALD Helpmann Award-winning soprano Taryn Fiebig is one of Australia’s most popular and versatile artists.
Photo by Steven Godbee
As a soloist, she has performed the 15th Century Masterpiece El Cant de la Sibil-la with the Australian Brandenburg Orchestra for their popular Noël Noël Christmas concerts. Internationally, Taryn has performed in Los Angeles with the contemporary music ensemble L.A. EAR unit, in England with the English Chamber Orchestra in St. John’s Smith Square, London and on BBC Radio 3 and Radio 4 in the radio dramas Southland and Pembroke, Arcadia. In 2005, Taryn joined Opera Australia as a principal soprano. Her many roles with this company have included Susanna in Le nozze di Figaro, Galatea in Acis and Galatea, Musetta in La bohème, Zerlina in Don Giovanni, The Plaintiff in Trial by Jury, Clorinda in Cenerentola, Mabel in The Pirates of Penzance, Gianetta in The Gondoliers, Pamina in Die Zauberflöte, Adele in Die Fledermaus, Aphrodite in The Love of the Nightingale and Lisa in La sonnambula; she won the Helpmann Award for her portrayal as Lucy in Bliss (which she sang in Sydney, Melbourne and at the Edinburgh Festival). In 2008/09, she sang the leading role of Eliza Dolittle in the national tour of My Fair Lady. She sang Esmeralda in The Bartered Bride for New Zealand Opera, Sicle in L’Ormindo for Pinchgut Opera, appeared as soloist with the Queensland and Adelaide symphony orchestras, Australian Brandenburg Orchestra, Sydney Youth Orchestra and performed in recital with flautist Jane Rutter and harpist Marshall McGuire. Taryn returned to the national company in 2015 as Pamina, Zerlina and Susanna in David McVicar’s new production of Le nozze di Figaro. She also appeared as soloist with the Australian Chamber Orchestra and the Adelaide Symphony. For Opera Australia in 2016, she sings Pamina, Despina (in a new Così fan tutte) and Gutrune in Der Ring des Nibelungen.
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AUS T R A L I A N CH A MBER ORCHE S T R 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 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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MUSICI A NS ON S TA GE
Richard Tognetti ao 1 Artistic Director & Violin
Satu Vänskä 2 Principal Violin
Glenn Christensen Violin
Chair sponsored by Michael Ball am & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts
Chair sponsored by Kay Bryan
Chair sponsored by Terry Campbell ao & Christine Campbell
Aiko Goto Violin
Mark Ingwersen 3 Violin
Ilya Isakovich Violin
Chair sponsored by Anthony & Sharon Lee Foundation
Chair sponsored by Ian Wallace & Kay Freedman
Chair sponsored by The Humanity Foundation
Liisa Pallandi Violin
Ike See Violin
Chair sponsored by The Melbourne Medical Syndicate
Chair sponsored by Di Jameson
Christopher Moore 4 Principal Viola
Photos by Jack Saltmiras
Chair sponsored by peckvonhartel architects
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. Christopher Moore plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor. 25
MUSICI A NS ON S TA GE
Alexandru-Mihai Bota Viola
Nicole Divall Viola
Timo-Veikko Valve 5 Principal Cello
Chair sponsored by Philip Bacon am
Chair sponsored by Ian Lansdown
Chair sponsored by Peter Weiss ao
Melissa Barnard Cello
Julian Thompson 6 Cello
Maxime Bibeau 7 Principal Bass
Chair sponsored by Martin Dickson am & Susie Dickson
Chair sponsored by The Clayton Family
Chair sponsored by Darin Cooper Foundation
Thibaud Pavlovic-Hobba Violin
Players dressed by AKIRA ISOGAWA
Maja Savnik Violin Courtesy of Slovenian Philharmonic Orchestra
Photos by Jack Saltmiras 26
5. 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. 6. Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 7. Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from a private Australian benefactor.
ACO BEHIND T HE S CENE S BOARD
EDUCATION
MARKETING
Guido Belgiorno-Nettis am Chairman
Phillippa Martin Ac O 2 & ACO VIRTUAL Manager
Derek Gilchrist Marketing Manager
Angus James Deputy
Zoe Arthur Acting Education Manager
Mary Stielow National Publicist
Bill Best John Borghetti Liz Cacciottolo Judith Crompton John Grill ao Heather Ridout ao Andrew Stevens John Taberner Peter Yates am Simon Yeo
Caitlin Gilmour Education Assistant
Hilary Shrubb Publications Editor
FINANCE
Leo Messias Marketing Coordinator
Richard Tognetti ao Artistic Director
Maria Pastroudis Chief Financial Officer Steve Davidson Corporate Services Manager Yvonne Morton Accountant
Cristina Maldonaldo Communications Coordinator Chris Griffith Box Office Manager Dean Watson Customer Relations Manager
ADMINISTRATIVE STAFF
Shyleja Paul Assistant Accountant
EXECUTIVE OFFICE
DEVELOPMENT
Deyel Dalziel-Charlier Box Office & CRM Database Assistant
Timothy Calnin General Manager
Rebecca Noonan Development Manager
Christina Holland Office Administrator
Jessica Block Deputy General Manager
Jill Colvin Philanthropy Manager
Robin Hall Subscriptions Coordinator
Alexandra Cameron-Fraser Strategic Development Manager
Penelope Loane Investor Relations Manager
INFORMATION SYSTEMS
Helen Maxwell Executive Assistant to Mr Calnin and Mr Tognetti ao
Tom Tansey Events Manager
ARTISTIC & OPERATIONS
Tom Carrig Senior Development Executive
Luke Shaw Head of Operations & Artistic Planning
Ali Brosnan Patrons Manager
Megan Russell Tour Manager
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
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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T CH A IKOV SK Y ’S SER EN A DE
TOUR DATES & PRE-CONCERT TALKS Pre-concert talks take place 45 minutes before the start of every concert. Fri 23 Oct 6.45pm Wollongong Town Hall
Mon 26 Oct 7.15pm Melbourne Recital Centre
Pre-concert talk by Ken Healey am
Pre-concert talk by John Weretka
V ENUE SUPP OR T MELBOURNE RECITAL CENTRE
WOLLONGONG TOWN HALL
31 Sturt Street, Southbank,
Wollongong Town Hall is managed by
Victoria 3006
Merrigong Theatre Company
Telephone +613 9699 3333
Crown & Kembla Streets,
Email mail@melbournerecital.com.au
Wollongong NSW 2500
Web melbournerecital.com.au Kathryn Fagg Chair
PO Box 786, Wollongong NSW 2520 Telephone (02) 4224 5959
Mary Vallentine ao
Email info@merrigong.com.au
Chief Executive Officer
Web wollongongtownhall.com.au
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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ACO MEDICI PROGR A M In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre. MEDICI PATRON
CORE CHAIRS
GUEST CHAIRS
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
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
Timo-Veikko Valve Principal Cello Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation
FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett
Ilya Isakovich The Humanity Foundation
Kate & Daryl Dixon
peckvonhartel architects
Mr Robert Albert ao & Mrs Libby Albert
Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Clayton Family
ACO L IF E PAT RONS IBM
Mr Martin Dickson am & Mrs Susie Dickson
Mr Robert Albert ao & Mrs Libby Albert
Dr John Harvey ao
Mr Guido Belgiorno-Nettis am
Mrs Alexandra Martin
Mrs Barbara Blackman ao
Mrs Faye Parker
Mrs Roxane Clayton
Mr John Taberner & Mr Grant Lang
Mr David Constable am
Mr Peter Weiss ao
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ACO BEQ UE S T PAT RONS For more information on making a bequest, please call Jill Colvin, Philanthropy Manager, on 02 827 3835. The late Charles Ross Adamson
Peter Evans
The late Josephine Paech
The late Kerstin Lillemor Andersen
Carol Farlow
The late Richard Ponder
The late Mrs Sybil Baer
Suzanne Gleeson
Ian & Joan Scott
Steven Bardy
Lachie Hill
The late Mr Geoffrey Francis Scharer
Dave Beswick
The late John Nigel Holman
The Estate of Scott Spencer
Ruth Bell
Penelope Hughes
Leslie C Thiess
The Estate of Prof Janet Carr
The late Dr S W Jeffrey am
G.C. & R. Weir
Sandra Cassell
Estate of Pauline Marie Johnston
Margaret & Ron Wright
The late Mrs Moya Crane
The late Mr Geoff Lee am oam
Mark Young
Mrs Sandra Dent
Mrs Judy Lee
Anonymous (12)
Leigh Emmett
The late Shirley Miller
The late Colin Enderby
Selwyn M Owen
ACO GENER A L PUR P O SE PAT RONS ACO General Purpose Patrons support the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. Andrew Andersons
Penelope Hughes
Dr Jason Wenderoth
John & Lynnly Chalk
Mike & Stephanie Hutchinson
Brian Zulaikha
Paul & Roslyn Espie
Professor Anne Kelso ao
Anonymous (2)
Jennifer Hershon
Douglas & Elisabeth Scott
Peter & Edwina Holbeach
Jeanne-Claude Strong
Michael Horsburgh am & Beverley Horsburgh
ACO NE X T ACO Next is an exciting new philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering a unique musical and networking experience. For more information please call Ali Brosnan, Patrons Manager, on 02 8274 3830. MEMBERS Clare Ainsworth Herschell
William Manning
Louise & Andrew Sharpe
Este Darin-Cooper & Chris Burgess
Rachael McVean
Emile & Caroline Sherman
Catherine & Sean Denney
Barry Mowzsowski
Michael Southwell
Alexandra Gill
Paris Neilson & Todd Buncombe
Karen & Peter Tompkins
Rebecca Gilsenan & Grant Marjoribanks
James Ostroburski
Joanna Walton & Alex Phoon
Adrian Giuffre & Monica Ion
Nicole Pedler
Nina Walton & Zeb Rice
Aaron Levine
Michael Radovnikovic
Peter Wilson & James Emmett
Royston Lim
Jessica Read
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ACO T RUS T S & F OUNDAT IONS
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
ACO INS T RUMEN T F UND The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen. 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
Sam Burshtein & Galina Kaseko
John Taberner
Michael Bennett & Patti Simpson
Carla Zampatti Foundation
Leith & Darrel Conybeare
Sally Collier
Dr Jane Cook
Michael Cowen & Sharon Nathani
VISIONARY $1m+
Geoff & Denise Illing
Marco D’Orsogna
Peter Weiss ao
Luana & Kelvin King
Garry & Susan Farrell
Jane Kunstler
Gammell Family
John Landers & Linda Sweeny
Edward Gilmartin
Genevieve Lansell
Tom & Julie Goudkamp
Bronwyn & Andrew Lumsden
Philip Hartog
Patricia McGregor
Brendan Hopkins
OCTET $100,000 – $199,999
Trevor Parkin
Angus & Sarah James
John Taberner
Elizabeth Pender
Daniel and Jacqueline Phillips
Robyn Tamke
Ryan Cooper Family Foundation
Anonymous (2)
Andrew & Philippa Stevens
PATRONS
LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 Amina Belgiorno-Nettis Naomi Milgrom ao
QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous
Benjamin Brady
Dr Lesley Treleaven Ian Wallace & Kay Freedman 31
ACO SPECI A L C OMMIS SIONS & SPECI A L PRO JE C T S SPECIAL COMMISSIONS PATRONS Peter & Cathy Aird
THE REEF NEW YORK PRODUCERS’ SYNDICATE
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 Rohan Haslam John Griffiths & Beth Jackson Andrew & Fiona Johnston Lionel & Judy King David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson Alison Reeve Augusta Supple Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi Anonymous (1) INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in 2015:
Major Producers
PATRONS
Danielle & Daniel Besen Foundation
Marc Besen ac & Eva Besen ao
Janet Holmes à Court ac
Leo & Mina Fink Fund
Charlie & Olivia Lanchester
Drs Victor & Karen Wayne
Producers Richard Caldwell Warren & Linda Coli Graham & Treffina Dowland Steve Duchen & Polly Hemphill Wendy Edwards Gilbert George Tony & Camilla Gill Max Gundy (board member ACO US) & Shelagh Gundy
THE GREAT SYNAGOGUE PATRONS CORPORATE PARTNERS Adina Apartment Hotels Meriton Group PATRONS David & Helen Baffsky Leslie & Ginny Green The Narev Family Greg & Kathy Shand
Patrick Loftus-Hills (board member ACO US) Peter Weiss ao & Konnin Tam EMANUEL SYNAGOGUE PATRONS Sally & Steve Paridis (board members ACO US) CORPORATE PARTNERS Peter & Victoria Shorthouse
Adina Apartment Hotels
Alden Toevs & Judi Wolf
Meriton Group
Corporate Producer
LEAD PATRON
Manikay Partners
The Narev Family
Delysia Lawson
ACO ACADEMY BRISBANE
PATRONS
Mike Thompson
LEAD PATRONS
David Gonski ac
Philip Bacon ao
Lesley & Ginny Green
Kay Bryan
The Sherman Foundation
Dr Ian Frazer ac & Mrs Caroline Frazer
Justin Phillips & Louise Thurgood-Phillips
Linda & Graeme Beveridge Jan Bowen Bee & Brendan Hopkins
Dr Edward Gray Wayne Kratzmann Bruce & Jocelyn Wolfe 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 32
ACO N AT ION A L EDUC AT ION PROGR A M The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive. If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Ali Brosnan on (02) 8274 3830 or ali.brosnan@aco.com.au Donor list current as at 1 October 2015 PATRONS
Mark & Anne Robertson
Fraser Hopkins
Marc Besen ac & Eva Besen ao
Margie Seale & David Hardy
Dr Wendy Hughes
Janet Holmes à Court ac
Tony Shepherd ao
I Kallinikos
Peter & Victoria Shorthouse
Keith & Maureen Kerridge
Anthony Strachan
Mrs Judy Lee
John Taberner & Grant Lang
Lorraine Logan
Leslie C. Thiess
Macquarie Group Foundation
Alden Toevs & Judi Wolf
David Maloney & Erin Flaherty
Australian Communities Foundation – Ballandry Fund
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Pam & Ian McDougall
Daria & Michael Ball
David & Julia Turner
P J Miller
Steven Bardy & Andrew Patterson
E Xipell
The Myer Foundation
The Belalberi Foundation
Peter Yates am & Susan Yates
Willy & Mimi Packer
Guido Belgiorno-Nettis am
Peter Young am & Susan Young
peckvonhartel architects
Luca Belgiorno-Nettis am
Anonymous (2)
Elizabeth Pender
EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Australian Communities Foundation – Annamila Fund
Andre Biet Leigh & Christina Birtles Liz Cacciottolo & Walter Lewin Rod Cameron & Margaret Gibbs Mark Carnegie
DIRETTORE $5,000 – $9,999 The Abercrombie Family Foundation Geoff Ainsworth & Jo Featherstone Geoff Alder
Brian & Helen McFadyen
John Rickard Andrew Roberts Paul Schoff & Stephanie Smee Greg Shalit & Miriam Faine Jann Skinner
Stephen & Jenny Charles
Bill & Marissa Best
The Cooper Foundation
Veronika & Joseph Butta
Rowena Danziger am & Ken Coles am
John & Lynnly Chalk
Irina Kuzminsky & Mark Delaney
Elizabeth Chernov
Ann Gamble Myer
Clockwork Theatre Inc
Daniel & Helen Gauchat
Andrew Clouston
Andrea Govaert & Wik Farwerck
Victor & Chrissy Comino
Dr Edward C. Gray
Leith & Darrel Conybeare
Kimberley Holden
David Craig
Angus & Sarah James
Liz Dibbs
PJ Jopling am qc
Kate & Daryl Dixon
MAESTRO $2,500 – $4,999
Miss Nancy Kimpton
Ellis Family
Michael Ahrens
Bruce & Jenny Lane
Bridget Faye am
David & Rae Allen
Prudence MacLeod
Ian & Caroline Frazer
Ralph Ashton
Anthony & Suzanne Maple-Brown
Chris & Tony Froggatt
Will & Dorothy Bailey Charitable Gift
Alf Moufarrige
Kay Giorgetta
Brad Banducci
Jim & Averill Minto
Tony & Michelle Grist
Doug & Alison Battersby
Louise & Martyn Myer Foundation
Liz Harbison
The Beeren Foundation
Jennie & Ivor Orchard
Kerry Harmanis
Berg Family Foundation
Bruce & Joy Reid Trust
Annie Hawker
Jenny Bryant
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)
33
Neil & Jane Burley
Samantha Baillieu
Michael Horsburgh am & Beverley Horsburgh
Gilbert Burton
Lyn Baker & John Bevan
Monique D’Arcy Irvine & Anthony Hourigan
Arthur & Prue Charles
Adrienne Basser
Merilyn & David Howorth
Kathryn Chiba
Barry Batson
Penelope Hughes
Caroline & Robert Clemente
Ruth Bell
Stephanie & Mike Hutchinson
Alan Fraser Cooper
Justice Annabelle Bennett ao
Colin Isaac & Jenni Seton
Robert & Jeanette Corney
Virginia Berger
Phillip Isaacs oam
Dee De Bruyn
David & Anne Bolzonello
Will & Chrissie Jephcott
Anne & Thomas Dowling
Brian Bothwell
Brian Jones
Suellen & Ron Enestrom
Jan Bowen
Bronwen L Jones
Euroz Securities Limited
Michael & Tina Brand
Josephine Key & Ian Breden
Jane & Richard Freudenstein
Vicki Brooke
In memory of Graham Lang
John Gandel ao & Pauline Gandel
Diana Brookes
Genevieve Lansell
Tom Goudkamp oam
Dr Catherine Brown-Watt psm
Airdrie Lloyd
Megan Grace
Jasmine Brunner
Robin & Peter Lumley
Warren Green
Sally Bufé
Diana Lungren
Nereda Hanlon & Michael Hanlon am
Gerard Byrne & Donna O’Sullivan
Greg & Jan Marsh
Reg Hobbs & Louise Carbines
Ivan Camens
Janet Matton
Gavin & Christine Holman
Terry Campbell ao & Christine Campbell
Massel Australia Pty Ltd
Simon & Katrina Holmes à Court
Ray Carless & Jill Keyte
Julianne Maxwell
Mark Johnson
James Carnegie
Kevin & Deidre McCann
Roslyn Carter
Ian & Pam McGaw
Andrew Chamberlain
J A McKernan
Julia Champtaloup & Andrew Rothery
Diana McLaurin
Patrick Charles
Phil & Helen Meddings
K. Chisholm
Roslyn Morgan
Peter Clifton
Suzanne Morgan
Peter Mason am & Kate Mason
Angela and John Compton
Glenn Murcutt ao
Paul & Elizabeth McClintock
Laurie & Julie Ann Cox
Baillieu Myer ac
Jane Morley
Carol & Andrew Crawford
Dennis & Fairlie Nassau
Sandra & Michael Paul Endowment
Judith Crompton
Nola Nettheim
Patricia H Reid Endowment Pty Ltd
J & P Curotta
Anthony Niardone
Ralph & Ruth Renard
Ian Davis
Paul O’Donnell
The Sandgropers
Michael & Wendy Davis
Ilse O’Reilly
Stephen Davis
James Ostroburski & Leo Ostroburski
Defiance Gallery
Anne & Christopher Page
Martin Dolan
Prof David Penington ac
Dr William F Downey
Lady Primrose Potter ac
Emeritus Professor Dexter Dunphy am
Beverley Price
Leigh Emmett
Mrs Tiffany Rensen
Ros Johnson John Karkar qc John Kench Julia Pincus & Ian Learmonth The Alexandra & Lloyd Martin Family Foundation
D N Sanders Jennifer Senior & Jenny McGee Petrina Slaytor John & Josephine Strutt Peter Tonagh Ralph Ward-Ambler am & Barbara Ward-Ambler
Peter Evans
Dr S M Richards am & Mrs M R Richards
Simon Whiston
Julie Ewington
Anna & Mark Yates
Ian Fenwicke & Prof. Neville Wills
Warwick & Jeanette Richmond In memory of Andrew Richmond
Anonymous (4)
Elizabeth Finnegan
Josephine Ridge
Bill Fleming
David & Gillian Ritchie
VIRTUOSO $1,000 – $2,499
Elizabeth Flynn
Roadshow Entertainment
Jennifer Aaron
Don & Marie Forrest
Em. Prof. A. W. Roberts am
AJ Ackermann
Anne & Justin Gardener
J. Sanderson
Aberfoyle Partners
Matthew Gilmour
In memory of H. St. P. Scarlett
Alceon Group
Colin Golvan qc
Lucille Seale
Annette Adair
Fay Grear
Gideon & Barbara Shaw
Antoinette Albert
Kathryn Greiner ao
Dr Margaret Sheridan
Jane Allen
In memory of José Gutierrez
Diana & Brian Snape am
Matt Allen
Gail Harris
Maria Sola
Philip Bacon am
Bettina Hemmes
Dr P & Mrs D Southwell-Keely
34
Keith Spence
Sam Crawford Architects
Wayne & Irene Lemish
Geoffrey Stirton & Patricia Lowe
Marie Dalziel
David & Sandy Libling
Dr Charles Su & Dr Emily Lo
Jill Davies
Greg Lindsay ao & Jenny Lindsay
Tamas & Joanna Szabo
Mari Davis
Dimitra Loupasakis
Magellan Logistics Pty Ltd
Dr Christopher Dibden
Megan Lowe
Victoria Taylor
Kath & Geoff Donohue
Dr & Mrs Donald Maxwell
Jane Tham & Philip Maxwell
In memory of Raymond Dudley
H E McGlashan
Robert & Kyrenia Thomas
M T & R L Elford
Suzanne Mellor
Anne Tonkin
Christine Evans
Tempe Merewether
Matthew Toohey
Carol Farlow
I Merrick
Angus Trumble
Penelope & Susan Field
Louise Miller
Ngaire Turner
Jean Finnegan & Peter Kerr
John Mitchell
Kay Vernon
Michael Fogarty
Cameron Moore & Cate Nagy
Rebecca & Neil Warburton
Brian Goddard
John K Morgan
Marion W Wells
Eddy Goldsmith & Jennifer Feller
Simon Morris & Sonia Wechsler
Barbara Wilby
George H. Golvan qc & Naomi Golvan
Julie Moses
Gillian Woodhouse
Prof Ian & Dr Ruth Gough
Elizabeth Manning Murphy
Nick & Jo Wormald
Arnoud Govaert
Dr G Nelson
Harley Wright & Alida Stanley
Grandfather’s Axe
J Norman
Don & Mary Ann Yeats am
Katrina Groshinski & John Lyons
Graham North
William Yuille
Annette Gross
Robin Offler
Rebecca Zoppetti Laubi
Lesley Harland
Leslie Parsonage
Alan Hauserman & Janet Nash
Deborah Pearson
CONCERTINO $500 – $999
Gaye Headlam
Robin Pease
Mrs C A Allfrey
Peter Hearl
Michael Peck
Elsa Atkin am
Kingsley Herbert
Kevin Phillips
Rita Avdiev
Dr Penny Herbert in memory of Dunstan Herbert
Bernard Hanlon & Rhana Pike
Lachie Hill
GV Pincus
Marian Hill
Michael Power
Sue & David Hobbs
Beverly & Ian Pryer
Geoff Hogbin
Angela Roberts
How to Impact Pty Ltd
GM & BC Robins
Peter & Ann Hollingworth
Mrs J Royle
Pam & Bill Hughes
Garry Scarf & Morgie Blaxill
Mrs Pat Burke
Prof Angela Hull ao
Boris & Jane Schlensky
Hugh Burton-Taylor
Dr & Mrs Michael Hunter
Berek Segan obe am & Marysia Segan
Lynda Campbell
Mary Ibrahim
John C Sheahan qc
Heather Carmody
Dr Vernon & Mrs Margaret Ireland
Andrew & Rhonda Shelton
Helen Carrig & Ian Carrig oam
Dr Robert & Mrs Margaret Jackson
Sherborne Consulting
J. M. Carvell
Dr Anne James & Dr Cary James
Florine Simon
Nada Chami
Owen James
Roger & Ann Smith-Johnstone
Fred & Angela Chaney
Barry Johnson & Davina Johnson oam
Mary Stephen
Fred & Jody Chaney
Caroline Jones
Professor Fiona Stweart
Dr Roger Chen
Mrs Angela Karpin
Judy Ann Stewart
Colleen & Michael Chesterman
Bruce & Natalie Kellett
In memory of Dr Aubrey Sweet
Richard & Elizabeth Chisholm
Professor Anne Kelso ao
Barbara Symons
Stephen Chivers
Graham Kemp & Heather Nobbs
Gabrielle Tagg
Olivier Chretien
Jacqueline & Anthony Kerwick
Arlene Tansey
ClearFresh Water
Karin Kobelentz & Miguel Wustermann
David & Judy Taylor
Paul Cochrane
Wendy Kozica & David O’Callaghan qc
Barrie & Jillian Thompson
Warren & Linda Coli
Ms Sarah R Lambert
G C & R Weir
Sally Collier
Prof Kerry A Landman
Sally Willis
P. Cornwall & C. Rice
Philip Lawe Davies
Anonymous (24)
Annabel Crabb
TFW See & Lee Chartered Accountants
Anonymous (20)
A. & M. Barnes Tessa Barnett Robin Beech Elizabeth Bolton In memory of Peter Boros C Bower Denise Braggett The Hon. Catherine Branson & Dr Alan Down
Rosie Pilat
35
ACO CH A IR M A N’S COUNCIL The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra. Mr Guido Belgiorno-Nettis am Chairman, Australian Chamber Orchestra & Executive Director, Transfield Holdings Aurizon Holdings Limited Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management Mr John Borghetti Chief Executive Officer, Virgin Australia Mr Matt Byrne Director, ROVA Media Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Stephen & Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Dr Bob Every ao Chairman, Wesfarmers Ms Tracey Fellows Chief Executive Officer, REA Group Mr Bruce Fink Executive Chairman, Executive Channel Network
36
Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel Mr Richard Freudenstein Chief Executive Officer, FOXTEL Ms Ann Gamble Myer Mr Daniel Gauchat Principal, The Adelante Group Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas Mr John Grill ao Chairman, WorleyParsons Mr Grant Harrod Chief Executive Officer, LJ Hooker Mr Richard Herring Chief Executive Officer, APN Outdoor Mrs Janet Holmes à Court ac
Ms Naomi Milgrom ao Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige Chief Executive Officer, Servcorp Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects Mr Mark Robertson oam & Mrs Anne Robertson Ms Margie Seale & Mr David Hardy Mr Glen Sealey General Manager, Maserati Australia & New Zealand Mr Tony Shepherd ao Ms Anne Sullivan Chief Executive Officer, Georg Jensen
Mr Simon & Mrs Katrina Holmes à Court Observant
Mr Paul Sumner Chief Executive Officer, Mossgreen Pty Ltd
Mr John Kench Chairman, Johnson Winter & Slattery
Mr Mitsuyuki (Mike) Takada Managing Director & CEO, Mitsubishi Australia Ltd
Ms Catherine Livingstone ao Chairman, Telstra
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Mr Andrew Low
Mr David & Mrs Julia Turner
Mr David Mathlin
Ms Vanessa Wallace & Mr Alan Liddle
Ms Julianne Maxwell
Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Mr Michael Maxwell Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank
Mr Peter Young am & Mrs Susan Young
AC O GOV ER NMEN T PA R T NER S THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT
The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The ACO is supported by the NSW Government through Arts NSW.
QUEENSLAND REGIONAL TOURING PARTNER
The ACO’s Queensland regional touring is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.
AC O COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE
MELBOURNE DEVELOPMENT COUNCIL
EVENT COMMITTEES
Heather Ridout ao (Chair) Director, Reserve Bank of Australia
Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
SYDNEY
Debbie Brady
Sandra Ferman
Paul Cochrane Investment Advisor, Bell Potter Securities
Fay Geddes
Ann Gamble-Myer
Lisa Kench
Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings Bill Best Maggie Drummond Tony Gill Andrea Govaert John Kench Chairman, Johnson Winter & Slattery Jennie Orchard Tony O’Sullivan Peter Shorthouse UBS Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton
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
37
ACO PA R T NER S WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT PRINCIPAL PARTNER
FOUNDING PARTNER
NATIONAL TOUR PARTNERS
FOUNDING PARTNER: ACO VIRTUAL
OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
38
EVENT PARTNERS
PERTH SERIES AND WA REGIONAL TOUR PARTNER
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SUPPORT OUR FUTURE INSPIRE THE NE X T
Another new work which attracted wonderful audience reactions all over the country was Brenton Broadstock’s evocative Never Truly Lost, which was fittingly commissioned by Rob and Nancy Pallin in memory of Rob’s father, the legendary adventurer Paddy Pallin and received its premiere in the Mozart Clarinet Concerto program. Within the Orchestra, we warmly welcomed our newest recruit, the Romanian violist Alexandru-Mihai Bota. Sascha has quickly become one of the Orchestra’s most recognisable personalities. We also welcomed the ACO’s oldest member – an astonishingly wonderful double bass made by Gasparo da Salò in the 1590s, on loan to the ACO from one of our most generous and enlightened benefactors. The double bass joins a growing family of extraordinary instruments which are played by our musicians thanks to wonderful individuals, such as Peter Weiss, visionary sponsors, like the Commonwealth Bank, and the ACO Instrument Fund.
GENER ATION OF MUSICIANS
Playing a major part in the development of the next generation of Australian string players has been an increasing role for us all in the ACO, and in 2013 our emerging artists and regional touring ensemble AcO2 came of age, undertaking a full, 12-concert national tour of all major concert halls as part of our 2013 national concert season. It was exciting for me to lead this group of fine young musicians, and immensely reassuring to know that the country’s musical future is in such talented hands. My colleagues in the Orchestra rose to the challenge of every program, tour, premiere and collaboration with their signature commitment and exceptional artistry, and I am deeply grateful to all of them for making the life of this Artistic Director musically rewarding. theEducation ACO We celebrate theso 10th anniversary of our While National remains an evenly matched ensemble of musicians, I cannot Program this year and are committed to providing immersive sign off 2013 without thanking some specific individuals music education opportunities for children and young who showed special in 2013, our two musicians across theleadership country. Thanks to especially you, our supporters, Principal Violins Helena Rathbone and Satu Vänskä who we are nurturing the future of Australian music. led full national tours, Aiko Goto who brought her tireless and energy to our newly formed orchestra Itspirit is my vision to continue delivering andyouth expanding our – the ACO Academy, and to Timo-Veikko Valve who curated an important programs, introducing more young people to the intimate series ofof chamber joys and benefits music. concerts in Pier 2/3 at Walsh Bay.
Please join us by supporting our National Education Program.
Richard Tognetti AO RICHARD TOGNETTI ao Artistic Director Artistic Director
To donate please visit ACO.COM.AU/SUPPORT/DONATE For more information please phone Ali Brosnan on (02) 8274 3830 or email patrons@aco.com.au 5
Image: Students and ACO musicians participating in a workshop at Sunshine Harvester School, presented in partnership with the Australian Children’s Music Foundation. Image © Lee Te Hira
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