BEETHOVEN & MOZART V Concert Program

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“Life is no brief candle to me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.� GEORGE BERNARD SHAW Please consider supporting the ACO with a gift in your will and make sure the ACO plays on for future generations. Your bequest will make a difference. For more information on our Continuo Circle please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au ACO.COM.AU





HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD? When the violin in question is a rare Guadagnini, handmade in 1759, you celebrate by giving it the biggest possible audience you can find. That’s why we lent ours to the Australian Chamber Orchestra. That way, thousands of people can experience its remarkable sound. After all, an instrument this special is worth celebrating.


N AT ION A L T OUR PA R T NER

This year marks 28 years of partnership between the Commonwealth Bank and the Australian Chamber Orchestra. Our long association has given us the privilege of watching the ACO grow into an innovative and world-leading organisation. ACO Virtual is one example of this innovation and we are proud to have been its founding partner. Built using state-of-the-art technology with projections of the ACO surrounding you on all sides, this virtual orchestra is giving communities across Australia a new way to experience music. Another special way we support the ACO is through the loan of our 1759 Guadagnini violin. We are pleased to share this special instrument with Australian and international audiences, played by Helena Rathbone, the ACO’s Principal Violin. On behalf of the Commonwealth Bank, I hope you enjoy this very special performance of Beethoven & Mozart V directed by Richard Tognetti.

NATIONAL TOUR PARTNER

Ian Narev Chief Executive Officer Commonwealth Bank

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ACO concerts are regularly broadcast on ABC Classic FM. This concert will be broadcast live on Sunday 8 May at 2.30pm.


ME S S AGE F ROM T HE M A N A GING DIR E C T OR

This concert promises to be an unforgettable odyssey, as we step from JS Bach’s stunning counterpoint primer, The Art of Fugue, to Mozart’s joyous fifth and final violin concerto, to Beethoven’s initial and boldest vision of his String Quartet Op.130, including the extraordinary Grosse Fuge as the imposing finale. It will be one of those many times you wish you could go back and listen to it over and over. Well, thanks to the generosity of The Thomas Foundation, we are making a live stream of this Beethoven & Mozart V program available on our website. As a ticket holder, we will send you an email with the link to the recording so you can replay and relive the experience as many times as you’d like. Coming up in June, the ACO will once again be part of Sydney’s Vivid Festival. This year, we will be performing with British band New Order in a collaboration celebrating their 35 years together with a specially created live retrospective at the Sydney Opera House in two shows (2 and 4 June), featuring celebrated British composer/conductor Joe Duddell. Whenever the ACO has branched out into unknown territory, our long-standing partner, the Commonwealth Bank, has always been there to support us. In 2013 when we launched ACO Virtual, the Bank immediately saw its potential and stepped in as its Founding Partner. Now, as we head towards our 30th year together, the Commonwealth Bank is once again helping us bring the finest musicians and the greatest music to the mainstages of our National Concert Season. Since our early concerts together the ACO has developed from a small chamber orchestra into a national institution. It has been a privilege for the Orchestra to build its national and international reputation bolstered by the faith which this iconic Australian company has in our vision.

Richard Evans Managing Director 9


INSPIRE THE NEXT GENERATION OF MUSICIANS

Julian Thompson with students from Soldiers’ Settlement Public School Matraville, following a workshop presented in partnership with the Australian Children’s Music Foundation. Image © Fiora Sacco.

Our National Education Program includes a wide range of programs focused on bringing music to young people regardless of background – from primary school children in significantly disadvantaged communities to talented young musicians at the post-tertiary level. Your contribution will help fund our schools’ programs, which allow us to make quality music education available to children across Australia, delivering tangible benefits above and beyond the music itself. Your donation will make a difference – please join us by supporting our National Education Program.

Richard Tognetti AO Artistic Director

To donate please visit aco.com.au/2016education For more information, please phone Sally Crawford, Patrons Manager, on (02) 8274 3830 or email sally.crawford@aco.com.au


BEETHOVEN & MOZ A R T V Richard Tognetti Director & Violin JS BACH Contrapunctus 1–4 from The Art of Fugue, BWV1080 MOZART Violin Concerto No.5 in A major, K.219 ‘Turkish’ Interval BEETHOVEN (arr. strings) String Quartet in B-flat major, Op.130 BEETHOVEN (arr. strings) Grosse Fuge, Op.133

Approximate durations (minutes): 12 – 28 – INTERVAL – 34 – 16 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. 11


W H AT YOU A R E A BOU T T O HE A R ‘However it happened, [the Grosse Fuge] turned out to be some sort of fugue to end all fugues; call it Beethoven’s answer to Bach’s giant Art of Fugue boiled down to a single movement.’ In Beethoven: Anguish & Triumph, Jan Swafford’s analysis of not only the Grosse Fuge, but indeed all of Op.130 lays bare Beethoven’s genius approach to quartet writing – a genre that was, at the time, taking a sharp turn away from easy-to-play salon music, and plunging headlong into compositions worthy of professional performance on a concert hall stage.

PICTURED: Ludwig van Beethoven

Another of the great writers on Beethoven’s quartets, Joseph Kerman, summed up the Op.130 quartet thus: ‘The first movement is Beethoven’s most contrasty and enigmatic . . . the second movement stands out as his most precipitous and ill-behaved, the fourth movement as his most innocently dance-like. The Cavatina is his most emotional slow movement . . . As for the Finale, the Great Fugue, it not only 12


The Great Fugue . . . not only beggars superlatives but obviously was written with the express purpose of beggaring superlatives . . .

PICTURED ABOVE: Johann Sebastian Bach. RIGHT: Posthumous painting of Mozart by Barbara Krafft in 1819.

beggars superlatives but obviously was written with the express purpose of beggaring superlatives (which is not to say that this was its exclusive purpose).’ So this program covers the gamut of expressive musical possibilities – from extreme anguish and despair to heartaching simplicity, from intellectual rigour and pure consonance to shattering dissonance. It is everything. We begin with the greatest polyphonist of all time: the unearthly splendours of Bach and his uncanny ear for making multiple parts speak and sing as one. And we conclude with Beethoven’s enigmatic, Grosse Fuge emblematic of the breakdown of accessible external music. For this ride, you need to trust that LvB knows where he’s going even if it doesn’t sound like it at all times. The Grosse Fuge is hyper-controlled cacophony rousing responses ranging from rapture to confusion. This is LvB in his internally evolving world, where the questioning philosopher replaces the symphonic Beethoven, the knower, the external (ausser) unifier of humanity and clarifier of musical intention as exemplified in his symphonies. The symphonic LvB is superseded by the string quartet Beethoven: the debater, the philosopher, the questioner, the discombobulator. Op.130 inhabits a space near the edge of the universe. 13


. . . the ‘innerlich’ heart of Beethoven’s uniquely powerful music. In offering an orchestral experience of this quartet, we are careful not to exploit the greater dynamic capabilities at the expense of the ‘innerlich’ heart of Beethoven’s uniquely powerful music. The brutality of Beethoven’s music is more easily facilitated in a large concert hall with more troops, building on a tradition of performing these quartets at orchestral strength, especially the Grosse Fuge, which goes back many years.

PICTURED: Velvet fragment, second half of the 16th century. Turkey, Bursa.

The DNA of Mozart the opera composer is evident throughout his fifth and final violin concerto, which earnt its nickname the ‘Turkish’ for the pervasive influence, in the finale, of the Ottoman Empire. The exuberant and exotic colours of the Ottomans can be perceived in many aspects of this shining, open work.

Richard Tognetti Artistic Director

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A BOU T T HE MUSIC JOHANN SEBASTIAN BACH Born Eisenach, 1685. Died Leipzig, 1750. THE ART OF FUGUE, BWV1080 Composition date unknown. First published posth. 1751. Contrapunctus I Contrapunctus II Contrapunctus III Contrapunctus IV No one is sure when Bach wrote the various movements that make up The Art of Fugue. It wasn’t commissioned; it had no ‘purpose’ that we know of. It seems to be a labour of love, with the greatest master of counterpoint capturing his knowledge on paper in a series of examples of different kinds of fugues and canons. The general thinking is that he began writing it around 1740–45 (although possibly as early as the 1730s), put it aside, then returned to it shortly before his blindness and death in 1750. It is unfinished – although one hypothesis about the work proposes that the final movement is deliberately incomplete, so that students could learn by working it through themselves. Bach may have become too ill to write; or just turned to something else for a while. After his death, his sons edited The Art of Fugue into publishable form, so the first printing is considered authoritative, but there are some minor differences between it and the composer’s autograph score. PICTURED: Johann Sebastian Bach

The idea that this may be a work for educational purposes gains some (though not conclusive) weight because we don’t know for what instrument or ensemble it was intended. Some of it is written in ‘open score’, with a separate stave for each melodic line, which is how ensemble works are usually done. But then, some of his works explicitly for keyboard are written like that too. In the 1950s Gustav Leonhardt made a serious stab at claiming it for the harpsichord, and many of his arguments are reasonable. Even the passage which requires the left hand to play a 12th chord – most of us can only stretch an octave or a ninth – may be explained by a 1790s description of Bach which says he had enormous hands. A ‘pedal harpsichord’, a sort of cross between an organ and a harpsichord, has also been put forward: Bach had one at home. But Contrapunctus IV seems so apt for a chamber group; XII looks like it would suit a choir; XI has the drama and dense texture of the composer’s Passion works. 15


PICTURED ABOVE: Detail from the title page of The Art of Fugue manuscript. RIGHT: First page of Bach’s manuscript.

Perhaps, then, The Art of Fugue exists best in the imagination. Maybe Bach was mentally selecting a good instrumentation to demonstrate the compositional technique being showcased, on a movement-by-movement basis, with no real intention of them ever being performed. It may have been music to read rather than experience. Certainly, students of counterpoint and composition can return to this work again and again. Bach’s chorales are usually the first port of call for beginners learning four-part harmony. The trick with Bach, though, and what leads to it being called the ‘Art’ not the ‘Technique’ of Fugue, is that he didn’t always follow the standard rules – he broke them with magnificent imagination and taste. The Art of Fugue, in performance, easily satisfies the person who loves music but doesn’t know much about the nuts and bolts of it. It is a beautiful work in the High Baroque manner. If played in the sequence above, it has a sense of 16


Bach is considered the greatest master of counterpoint because his choices were not just ‘correct’, but exceptionally beautiful. accumulating complexity and intensity which can be emotionally overwhelming. Those who have studied theory sometimes hear it with divided sentiments – what Bach achieves technically can add a layer of wonder which either enriches the experience or detracts from it, because the mind becomes too busy marvelling at the technical aspects. In some movements, the chosen form is so complex that unless you are deliberately listening for it, almost no one would hear the technical basis. You don’t need to know how it’s put together in order to enjoy it. (You can enjoy driving a Rolls-Royce, and appreciate its technical greatness, without knowing how an engine works.)

PICTURED: Dr Wolfgang Graeser, who re-introduced The Art of Fugue to the world in 1927. Photo: Alex Binder, Berlin

And yet – there is a type of nerdy musician who likes doing counterpoint when they’ve finished a Sudoku. There is a similar kind of satisfaction to be found in harmonising a theme according to the ‘rules’. It requires the mind to think horizontally (in melodies) but also vertically (for harmony). You can’t have melodic lines which leap awkwardly and unsingably; nor can you have smooth melodic lines which create hideous clashes when performed simultaneously. Bach is considered the greatest master of counterpoint because his choices were not just ‘correct’, but exceptionally beautiful. He always found the best solution. The rest of us feel pleased if we can find an adequate one. The Art of Fugue has been recorded and performed many times since Wolfgang Graeser re-introduced it to the world in 1927, following his academic research on the early manuscripts. Bach’s reputation as a composer disappeared rapidly after his death, as his music was seen as old-fashioned, and it did not begin to find admirers again until Mendelssohn dusted off the St Matthew Passion in the 19th century. However, Bach has always been the model and standard text for students of counterpoint and composition, fascinating and intriguing musical minds as diverse as Mozart, Liszt and Kurtág. The first four pieces in the The Art of Fugue, Contrapunctus I to IV, are an exposition of the fugue subject. It is first heard from the second violin, ‘answered’ by the first violin. The subject is simple, as it needs to be to appear in so many guises. In Contrapunctus II the subject is treated in dotted rhythms. In III the subject is upside down (‘inverted’: each upward interval becomes an equivalent downward interval and vice versa). In IV the subject appears in its original guise, but is counterpointed by a motive of four notes from the subject’s tail. In this more complex fugue Bach begins to reveal how rich his exploration of the subject will be. 17


WOLFGANG AMADEUS MOZART Born Salzburg 1756. Died Vienna 1791. VIOLIN CONCERTO NO.5 IN A MAJOR, K.219 ‘TURKISH’ Composed December 1775. I. Allegro aperto II. Adagio III. Rondeau – Tempo di Menuetto For reasons now known only to himself, in April 1775 Mozart started to write violin concertos. As the leader of Archbishop Colloredo’s court orchestra in Salzburg, he probably intended the solo parts for his own performance, as he played as dazzlingly on the violin as he did on keyboard. Interestingly, the five concertos written that year between April and December seem to be the only works of their kind that he ever produced – though there are a number of others whose authenticity is either doubtful or else completely discredited. The more popular of his violin concertos are among the earliest works by Mozart still heard regularly in the concert hall. Looking at the five concertos as a set, most observers find that the first two are less than perfect, apparently written by a 19-year-old testing the waters. With the third and fourth, Mozart began to hit his stride; and for the fifth he composed a wonderfully original work, replete with exquisite melodies and unexpected contrasts of style and form. It’s tempting to conclude that at this point the young composer felt he’d PICTURED: Wolfgang Amadeus Mozart wearing the insignia of the Order of the Golden Spur.

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. . . the young composer felt he’d mastered that particular challenge, and so never returned to the genre again. mastered that particular challenge, and so never returned to the genre again. Other major musical events for Mozart in 1775 included the premiere of La finta giardiniera (inelegantly translated as The Fake Female Gardener), a cheerful buffo opera; and the composition of its more serious cousin, Il re pastore (The Shepherd King). This is not irrelevant to the work in question. Much of the charm of the Violin Concerto No.5 lies in its lyrical lines, and its key (A major) was Mozart’s preferred one for operatic love duets. As well, in the ‘Turkish’ episode which gives the concerto its nickname, Mozart is anticipating later works, including the Rondo alla turca from K.331 (c.1781–3) and of course 1782’s Die Entführung aus dem Serail (The Abduction from the Seraglio). PICTURED: Archbishop Colloredo.

The autograph score of the Concerto No.5 is now held in the Library of Congress, having been once owned by the noted violin virtuoso Joseph Joachim. (Joachim also composed the most famous and frequently used cadenzas for the Concerto. However, in this performance they are written by Richard Tognetti. Richard studied the cadenzas Mozart sketched for his piano concertos and imbibed the spirit to come up with these.)

PICTURED: Joseph Joachim – who once owned the autograph score of Mozart’s Concerto No.5.

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If this were an opera, the heroine would now be lamenting her fate while bravely resolving to be true to her beloved. Some musicologists have noted similarities in the third movement to Mozart’s sketches for an unrealised ballet, Le gelosie del seraglio – which itself bears a strange resemblance to music by a popular Viennese composer of the time, Josef Starzer. However, the fashion for Turkish or ‘Janissary’ music extended from Lully and Haydn through to Beethoven, and similarities should probably be regarded as stylistic consistency rather than anything more sinister. The concerto opens with a brisk Allegro, which is conventional enough. The convention is overturned, though, by the entry of the soloist in an Adagio episode reminiscent of moments in Così fan tutte and Zaïde where singers sigh over gentle breezes. This little slice of heaven is pushed aside in favour of finishing the movement in the accepted sonata form. The second movement, in E major, is altogether more sweet and stately. Long, decorative lines stretch ethereally high over an accompaniment which is mostly content to keep out of the way. (If this were an opera, the heroine would now be lamenting her fate while bravely resolving to be true to her beloved.) A striking motif of an upward leap into unexpected key areas lends an added touch of drama. The large-scale structure of the final movement is a highly original combination of a Rondo (a recurring theme separated by contrasting episodes) with the standard Classical-era Minuet and Trio. A trio is generally expected to differ significantly from its minuet, and Mozart took this idea to new heights. A sudden change of tempo, time signature (from 3/4 to 2/4), key and mood introduces the ‘Turkish’ music that has attracted so much attention. A drone-like accompaniment sets off the crushed notes of the main theme. Lacking the traditional Janissary instruments of cymbal and triangle, the composer asks the cellos and bass to play with the stick of the bow to lend a percussive effect. Sinuous chromatic passages also strive to evoke the mysterious East, in a way which to modern ears might seem rather Western. At the time, it was considered daring enough to require the return of the genteel Minuet theme, so that the audience should not become too agitated.

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LUDWIG VAN BEETHOVEN Born Bonn 1770. Died Vienna 1827. STRING QUARTET IN B FLAT MAJOR, OP.130 (WITH THE GROSSE FUGE, OP.133) (arranged for strings by Richard Tognetti) Composed 1825. I. Adagio ma non troppo – Allegro II. Presto III. Andante con moto ma non troppo (poco scherzoso) IV. Alla danza tedesca: Allegro assai V. Cavatina: Adagio molto espressivo VI. Grosse Fuge: Overtura: Allegro (fuga) – Meno mosso e moderato – Allegro molto e con brio PICTURED: Ludwig van Beethoven by Ferdinand Waldmuller, 1823.

Just as Beethoven’s working life has been customarily packaged into three neat periods – unsurprisingly, early, middle and late – so too did his attention to the string quartet medium divide into three discrete phases. His set of six quartets, Op.18 was composed between 1798 and 1800, and the three Op.59 Razumovskys; the ‘Harp’ Op.74 and the ‘Serioso’ Op.95 came between 1805 and 1810. 21


Beethoven returned to quartet writing after a 12-year gap in response to an unassuming note from the Russian Prince Nikolas Galitzin, a young amateur cellist who had got to know the music of Haydn, Mozart and Beethoven when briefly resident in Vienna. In a letter from St Petersburg on 9 November 1822, he enquired whether Beethoven would consider writing ‘one, two or three new quartets, for which labour I shall be glad to pay you what you think proper.’ He duly obliged with the full three, once the Ninth Symphony was complete: Op.127 in E-flat, written between 1822–5, Op.132 in A minor (late 1824–July 1825), and, the third to be written but with a lower opus number, the work in question here.

PICTURED ABOVE: Detail from the title page of the first edition of the Grande Fugue, published in Vienna by Matthias Artaria in 1827 (in French, using Beethoven’s French name ‘Louis’). PICTURED BELOW: A page from the lost manuscript of the Grosse Fuge in the composer’s version for piano four-hands, Op.134, written during Beethoven’s last summer in 1826.

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Op.130 was composed between August and November 1825, but a new finale was written a year later (it was to be his last completed work), and the quartet in its final form was only performed after Beethoven’s death, on 22 April 1827. In this performance, we return to Beethoven’s first, and grandest thoughts – premiered on 21 March 1826, JS Bach’s birthday – and feature the ‘Grosse Fuge’ as the last movement. This was published separately by Matthias Artaria just weeks after Beethoven’s death as Op.133, and in a four-hands version as Op.134. Both were dedicated to the composer’s friend, patron and pupil, the Imperial Archduke Rudolph – the recipient previously of other dedications in significant works such as the ‘Emperor’ concerto, the ‘Archduke’ Trio and the Missa Solemnis.


Beethoven’s late quartets were written for a performance medium in a state of flux. The string quartet’s early history, from Papa Haydn and Mozart to Beethoven’s earlier sets, was firmly established in a private, amateur, music-for-chamber context. From 1823, with the afternoon concerts in Vienna’s ‘Zum Roten Igel’ tavern by Ignaz Schuppanzigh and his quartet, the medium gradually acquired a more public, professional profile. Accessibility increased exponentially with the quartet’s reputation as the most impressive vehicle for rational dialogue and compositional sophistication. Interestingly, Beethoven wrote of the earlier Op.95 quartet (1810) to the British conductor-impresario Sir George Smart: ‘NB. The Quartet is written for a small circle of connoisseurs and is never to be performed in public’ – a somewhat extreme instruction, and one which has (happily) been consistently disobeyed since. The shift of the string quartet’s status coincided with – and was affected by – the growing popularity of the piano. With its mechanical reliability and pivotal social function as an entertainment tool, this instrument effectively took over in the early 19th century as the main means and provider of amateur chamber music. Four-hand arrangements were made of quartets, in order that a new bourgeois musical public could absorb and replicate what was being performed by the likes of Schuppanzigh’s quartet. And by return, a further demand for performances of the ‘real thing’ was set up. Needless to say, Beethoven’s late quartets, after their initial performances, enjoyed almost total obscurity until mid-century. Their sheer technical difficulties and ambitious designs gained them a reputation as being the incomprehensible, aberrant and disjointed finales of a man whose genius had taken him beyond his listeners’ capabilities. The words of Goethe in January 1827, just weeks before Beethoven’s death, sum this feeling up well: It is amazing where the newest composers are heading, with technical and mechanical dimension raised to the very highest levels; their works end up no longer being music, for they go beyond the scope of human emotional responses and one cannot add anything more to such works from one’s own spirit and heart . . . For me, everything just remains stuck in my ears. PICTURED: Johann Wolfgang von Goethe by Stieler, 1828.

Put another way, Goethe was expressing the concerns linked to a period undergoing significant cultural transition; the shift from classicism’s harmonious, balanced relationship with itself and with nature, to one of asymmetry, subjectivity and romantic rebellion from nature. A quartet such as Op.130 was clearly ‘ahead of its time’, and its very modernity ushered in a previously undeveloped notion of progress and innovation per se in music. Beethoven delivered something marvellous and ungraspable; and it was only decades later, when the myth 23


. . . the mystical reverence accorded to these works was never subsequently to be disputed

of Beethoven as the ‘prophet’ of the 19th century, as the father of romanticism, was in full swing, that the late quartets became a shining beacon of progressiveness. With Wagner proclaiming them as the prototypes for a new means of musical and narrative space (thus implying the intensely dramatic, theatrical qualities of this supposedly ‘pure’ medium), the mystical reverence accorded to these works was never subsequently to be disputed. Op.130 is the most structurally audacious of the three Galitzin quartets. With the original Op.133 Grosse Fugue to conclude the work, we hear six movements of hugely varying character. The sonata form first movement sets no alarm bells ringing; but the four movements that follow – a scudding Presto, a gently surprising Andante, a perverse German dance and an exquisite song without words – imply more a rag-bag suite or divertimento than the formally straight-laced string quartet. The massive Fugue – coming in at just under 20 minutes – brings the work to order with the severe authority one might expect of a work which brilliantly fuses ancient fugal practice with up-to-the-minute techniques of thematic transformation (in anticipation of the Romantic symphonic poem). The first movement is of unassuming proportions. But it is remarkable for the schizoid nature of its material – an opening Adagio theme that continues, intermittently, to halt the progress of the Allegro, marked by scuttling semi-quavers and a risingfourth motif. The coda highlights the duality of this movement’s material most of all, with the Adagio and Allegro themes jostling for supremacy virtually by the bar (of course the Allegro wins). Also strong in this movement is the frequency of key changes – a central 40-bar passage moves from six flats to two sharps to one sharp and back to two flats – and a sense of rhythmic dislocation caused by unusually placed loud-soft shifts in the rising-fourth Allegro motif. Beethoven continues to falsify our expectation of pulse and accent in the next movement too, where the quasi-Trio section’s upbeats and downbeats are thrown by sforzando accents and a displaced accompaniment. In the fourth movement, marked ‘in the manner of a German dance’, Beethoven’s dynamic markings create weird bulges that would, if played on rough seas, surely induce mass queasiness. And the slightly perverse, antique feel of this dance – witty, mischievous Haydn is firmly in the picture here – is extended almost ad absurdum at the end, where Beethoven shreds the tune bar by bar, and assigns each melodic scrap to one instrument in no particular order. The third movement is marked, ‘moving along, but not too much, and a little jokingly’ (poco scherzoso). Despite its busy, intensely detailed texture, a certain homogeneity shines through. Perhaps this is the most elusive of the six movements; a ‘character piece’ it certainly is, but how to characterise it? Is it more than mere easy-going charm and abundance of invention? It is

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. . . the [fifth] movement ‘cost the composer tears in the writing . . . ’ KARL HOLZ exceptionally rich in texture, with an abundance of exquisitely beautiful melodic layers. In his book Beethoven: Anguish & Triumph, author Jan Swafford points to the movement’s geniality and freshness: ‘In a section of the development marked cantabile, each of the four instruments has its own figure, the four fitting together like a mosaic of variegated colours.’

PICTURED: Karl Holz, violinist and confidante of Beethoven. Holz was second violinist in the quartet that debuted the Grosse Fuge, and was charged with the task of convincing Beethoven to separate the fugue from the rest of the quartet, Op. 130.

Teeming, sub-melodic detail is entirely absent in the fifth movement Cavatina, where smooth, cantabile line and organically integrated accompaniment create music of extraordinary repose and affecting tenderness. According to the second violinist in the Schuppanzigh Quartet, Karl Holz, this movement ‘cost the composer tears in the writing and brought out the confession that nothing that he had written had so moved him.’ If the main sotto voce melodic arch of this movement was unbearably moving for the composer, what of the brief central section, marked ‘beklemmt’? Heralded by hushed unison triplets in the lower three instruments, the first violin utters forth a passage which is, all at once, full of wonder, hesitation and absolute terror. ‘Beklemmt’ can mean anxious, weighed down, restricted in some way. For Beethoven, are these few bars a terrific glimpse of God, of death, or both? And what a transition, in Beethoven’s original design, from the serene E-flat major chord of the Cavatina’s close to the stark G octaves that announce the Grosse Fuge. The French subtitle reads ‘Grande Fugue, tantôt libre, tantôt recherchée’ – in part free, in part studied or worked. The detail of this contrapuntal tour de force is of course utterly worked; and the overall design is rigorous, yet entirely free in its surging bounty of invention. In the way it grows from a theatrical ‘overtura’ to the jagged, quasi-baroque ‘fuga’, then relaxes somewhat in the moderato section, only to re-energise for the 6/8 Allegro – stuffed with key and further tempo changes and the pervasive trill motif – this Grosse Fuge virtually redefines all notions of how grand and imposing a finale can be. Like the last movement of the Ninth Symphony, an overall structure breaks down into linked substructures, making it here a colossal fugal concerto for strings. Those at the March 1826 premiere failed to cope with its dimensions, and Beethoven was persuaded, somewhat unusually, to replace it with a more modest finale. Only in the last 100 years or so has the Grosse Fuge been reintegrated in performance with its sibling movements; and with full string forces in this arrangement, its powerful dimensions can be fully, justly realised. Australian Chamber Orchestra © 2016 25


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) Australian violinist, conductor and composer Richard Tognetti was born in Canberra and raised in Wollongong. He 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 26

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.


AUS T R A L I A N CH A MBER ORCHE S T R A ‘If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK) 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 Maja Savnik Violin Ike See Violin 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 Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello

From its very first concert in November 1975, the Australian Chamber Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the 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 (four 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. 27


MUSICI A NS ON S TAGE

Richard Tognetti ao 1 Artistic Director & Violin

Helena Rathbone 2 Principal Violin

Satu Vänskä 3 Principal Violin

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

Chair sponsored by Kate & Daryl Dixon

Chair sponsored by Kay Bryan

Glenn Christensen Violin

Aiko Goto Violin

Mark Ingwersen 4 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

Maja Savnik Violin

Chair sponsored by The Humanity Foundation

Chair sponsored by The Melbourne Medical Syndicate

Players dressed by WILLOW and SABA 28


Ike See Violin

Alexandru-Mihai Bota Viola

Nicole Divall 5 Viola

Chair sponsored by Di Jameson

Chair sponsored by Philip Bacon am

Chair sponsored by Ian Lansdown

Timo-Veikko Valve 6 Principal Cello

Melissa Barnard Cello

Julian Thompson 7 Cello

Chair sponsored by Peter Weiss ao

Chair sponsored by Martin Dickson am & Susie Dickson

Chair sponsored by The Grist & Stewart Families

Viola Nathan Braude

Horn Ben Jacks

Oboe Shefali Pryor

Courtesy of Sydney Symphony Orchestra

Ysolt Clark

Courtesy of Sydney Symphony Orchestra

Michael Pisani Courtesy of Melbourne Symphony Orchestra

Maxime Bibeau 8 Principal Bass Chair sponsored by Darin Cooper Foundation

1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 3 Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. 4 Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 5 Nicole Divall plays a 1610 Giovanni Paolo Maggini viola kindly on loan from a private Australian benefactor. 6 Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. 7 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 8 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor. 29


ACO BEHIND T HE S CENE S BOARD Guido Belgiorno-Nettis am Chairman Liz Cacciottolo Deputy Bill Best John Borghetti Judith Crompton (Observer) John Grill ao Anthony Lee Heather Ridout ao Carol Schwartz am Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo

ARTISTIC DIRECTOR Richard Tognetti ao

ADMINISTRATIVE STAFF

Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

EDUCATION Phillippa Martin ACO Collective & ACO Virtual Manager

MARKETING Derek Gilchrist Marketing Manager Mary Stielow National Publicist Hilary Shrubb Publications Editor Leo Messias Marketing Coordinator

Zoe Arthur Acting Education Manager

Cristina Maldonado Communications Coordinator

Caitlin Gilmour Education Assistant

Chris Griffith Box Office Manager

FINANCE

Dean Watson Customer Relations Manager

Steve Davidson Corporate Services Manager Fiona McLeod Chief Financial Officer

Christina Holland Office Administrator

INFORMATION SYSTEMS

EXECUTIVE OFFICE

Yvonne Morton Accountant

Ken McSwain Systems & Technology Manager

Richard Evans Managing Director

Shyleja Paul Assistant Accountant

Emmanuel Espinas Network Infrastructure Engineer

Jessica Block Deputy General Manager

DEVELOPMENT

Alexandra Cameron-Fraser Strategic Development Manager Helen Maxwell Executive Assistant to Mr Evans & Mr Tognetti ao

ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Anna Melville Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian

Rebecca Noonan Development Manager Jill Colvin Philanthropy Manager Penelope Loane Investor Relations Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Sally Crawford Patrons Manager

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

30


V ENUE SUPP OR T Australian National University ADELAIDE TOWN HALL 128 King William Street, Adelaide SA 5000 GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) 8203 7590 Email townhall@adelaidecitycouncil.com Web adelaidetownhall.com.au Martin Haese Lord Mayor Peter Smith Chief Executive Officer

QUEENSLAND PERFORMING ARTS CENTRE Cultural Precinct, Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101 Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au

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

Christopher Freeman am Chair John Kotzas Chief Executive

ARTS CENTRE MELBOURNE PO Box 7585, St Kilda Road, Melbourne VIC 8004

GRAND VENUES OF NEWCASTLE CITY HALL Owned and operated by the City of Newcastle

PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000

Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au

290 King Street, Newcastle NSW 2300

PO Box 3041, East Perth WA 6892

Telephone (Venue & Event Coordinators) (02) 4974 2996 Ticketek Box Office (02) 4929 1977 Email grandvenues@ncc.nsw.gov.au

Telephone (08) 9231 9900 Web perthconcerthall.com.au

CITY RECITAL HALL A City of Sydney Venue

SYDNEY OPERA HOUSE Bennelong Point

2–12 Angel Place, Sydney NSW 2000

GPO Box 4274, Sydney NSW 2001

WOLLONGONG TOWN HALL Wollongong Town Hall is managed by Merrigong Theatre Company

Tom Harley President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer

GPO Box 3339, Sydney NSW 2001 Telephone (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Elaine Chia General Manager

Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer

Brendon Ellmer General Manager

Crown & Kembla Streets, Wollongong NSW 2500 PO Box 786, Wollongong NSW 2520 Telephone (02) 4224 5959 Email info@merrigong.com.au 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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BEETHOVEN & MOZ A R T V TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY

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

Thu 5 May, 6.45pm Newcastle City Hall Pre-concert talk by Francis Merson Sat 7 May, 7.15pm Canberra Llewellyn Hall Pre-concert talk by Ken Healey am Sun 8 May, 1.45pm Melbourne Arts Centre Pre-concert talk by John Weretka Mon 9 May, 6.45pm Melbourne Arts Centre Pre-concert talk by John Weretka Tue 10 May, 6.45pm Adelaide Town Hall Pre-concert talk by Anna Goldsworthy

Wed 11 May, 6.45pm Perth Concert Hall Pre-concert talk by Cassandra Lake Sat 14 May, 6.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson Sun 15 May, 1.15pm Sydney Opera House Pre-concert talk by Francis Merson

Wed 18 May, 6.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson Fri 20 May, 12.45pm Sydney City Recital Hall Pre-concert talk by Francis Merson Sat 21 May, 6.45pm Wollongong Town Hall Pre-concert talk by Francis Merson

Mon 16 May, 6.15pm Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills Tue 17 May, 7.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson

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

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

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

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333. All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO–163 — 17812 — 1/050516 32


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

The late 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 ao & 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

Principal Viola peckvonhartel architects

Alexandru-Mihai Bota Philip Bacon am

Timo-Veikko Valve Principal Cello

Nicole Divall Ian Lansdown

Peter Weiss ao

Darin Cooper Foundation

FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett

Ilya Isakovich The Humanity Foundation

Kate & Daryl Dixon

Maxime Bibeau Principal Double Bass

Mr Robert Albert ao & Mrs Libby Albert

CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Grist & Stewart Families

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

33


ACO BEQ UE S T PAT RONS Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Philanthropy Manager, on 02 8274 3835. The late Charles Ross Adamson

Peter Evans

Selwyn M Owen

The late Kerstin Lillemor Andersen

Carol Farlow

The late Josephine Paech

The late Mrs Sybil Baer

Suzanne Gleeson

The late Richard Ponder

Steven Bardy

Lachie Hill

Ian & Joan Scott

Dave Beswick

David & Sue Hobbs

The late Mr Geoffrey Francis Scharer

Ruth Bell

The late John Nigel Holman

The Estate of Scott Spencer

The Estate of Prof. Janet Carr

Penelope Hughes

Leslie C Thiess

Sandra Cassell

The late Dr S W Jeffrey am

G.C. & R. Weir

The late Mrs Moya Crane

Estate of Pauline Marie Johnston

Margaret & Ron Wright

Mrs Sandra Dent

The late Mr Geoff Lee am oam

Mark Young

Leigh Emmett

Mrs Judy Lee

Anonymous (12)

The late Colin Enderby

The late Shirley Miller

ACO GENER A L SUPP OR T PAT RONS ACO General Support Patrons assist with the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830 Andrew Andersons

Peter & Edwina Holbeach

Kevin & Deidre McCann

John & Lynnly Chalk

Douglas & Elisabeth Scott

Dr Jane Cook

Michael Horsburgh am & Beverley Horsburgh

Pamela Duncan

Penelope Hughes

Dr Jason Wenderoth

Paul & Roslyn Espie

Mike & Stephanie Hutchinson

Brian Zulaikha

Dr Roy & Gail Geronemus

Professor Anne Kelso ao

Anonymous (2)

Jennifer Hershon

Bruce & Jenny Lane

Jeanne-Claude Strong

ACO NE X T ACO Next is an exciting philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830. MEMBERS Clare Ainsworth Herschell

John & Lara James

Jessica Read

Justine Clarke

Aaron Levine

Louise & Andrew Sharpe

Este Darin-Cooper & Chris Burgess

Royston Lim

Emile & Caroline Sherman

Amy Denmeade

William Manning

Michael Southwell

Catherine & Sean Denney

Rachael McVean

Helen Telfer

Jenni Deslandes & Hugh Morrow

Barry Mowzsowski

Karen & Peter Tompkins

Anita George

Paris Neilson & Todd Buncombe

Joanna Walton & Alex Phoon

Alexandra Gill

James Ostroburski

Nina Walton & Zeb Rice

Rebecca Gilsenan & Grant Marjoribanks

Nicole Pedler

Peter Wilson & James Emmett

Adrian Giuffre & Monica Ion

Michael Radovnikovic

John Winning Jr.

34


ACO T RUS T S & F OUNDAT IONS

Holmes à Court Family Foundation

The Neilson Foundation

The Ross Trust

AC O 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. For more information, please call Penelope Loane, Investor Relations Manager on 02 8274 3878. 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

John Leece am

SOLO $5,000 – $9,999

Andrew Stevens

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

Dr William F Downey

Jane Kunstler

Garry & Susan Farrell

John Landers & Linda Sweeny

Gammell Family

Genevieve Lansell

Edward Gilmartin

Bronwyn & Andrew Lumsden

Tom & Julie Goudkamp

Patricia McGregor

Philip Hartog

OCTET $100,000 – $199,999

Trevor Parkin

Brendan Hopkins

John Taberner

Elizabeth Pender

Angus & Sarah James

Robyn Tamke

Daniel & Jacqueline Phillips

Anonymous (2)

Ryan Cooper Family Foundation

PATRONS

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

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

Benjamin Brady

Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman 35


ACO SPECI A L C OMMIS SIONS & SPECI A L PRO JE C T S SPECIAL COMMISSIONS PATRONS

MOUNTAIN PRODUCERS’ SYNDICATE ACO ACADEMY BRISBANE

Peter & Cathy Aird

Major Producers

LEAD PATRONS

Gerard Byrne & Donna O’Sullivan

Janet Holmes à Court

Philip Bacon ao

Mirek Generowicz

Warwick & Ann Johnson

Kay Bryan

Peter & Valerie Gerrand

Producers

Dr Ian Frazer ac & Mrs Caroline Frazer

Peter & Victoria Shorthouse

Dr Edward Gray

G Graham

Di Jameson

Anthony & Conny Harris Rohan Haslam John Griffiths & Beth Jackson Andrew & Fiona Johnston Lionel & Judy King

THE REEF NEW YORK PRODUCERS’ SYNDICATE Executive Producers Tony & Michelle Grist

Wayne Kratzmann Bruce & Jocelyn Wolfe PATRONS Andrew Clouston

David & Sandy Libling

Lead Producers

Michael Forrest & Angie Ryan

Tony Jones & Julian Liga

Jon & Caro Stewart Foundation

Ian & Cass George

Robert & Nancy Pallin

Major Producers

Professor Peter Høj

Deborah Pearson

Danielle & Daniel Besen Foundation

Helen McVay

Alison Reeve

Janet Holmes à Court ac

Shay O’Hara-Smith

Augusta Supple

Charlie & Olivia Lanchester

Brendan Ostwald

Dr Suzanne M Trist

Producers

Marie-Louise Theile

Team Schmoopy

Richard Caldwell

Beverley Trivett

Rebecca Zoppetti Laubi

Warren & Linda Coli

Anonymous (1)

Graham & Treffina Dowland

MELBOURNE HEBREW CONGREGATION PATRONS

INTERNATIONAL TOUR PATRONS

Steve Duchen & Polly Hemphill

The ACO would like to pay tribute to the following donors who support our international touring activities in 2016:

Wendy Edwards

LEAD PATRONS Marc Besen ac & Eva Besen ao

Doug Elix

Gilbert George

Mr Robert Albert ao & Mrs Libby Albert

Tony & Camilla Gill

Linda & Graeme Beveridge

Max Gundy (Board member ACO US) & Shelagh Gundy

SUPPORTER

Rebecca John & Daniel Flores

Leo & Mina Fink Fund

Patrick Loftus-Hills (Board member ACO US) & Konnin Tam

EMANUEL SYNAGOGUE PATRONS

Jan Bowen Kay Bryan Stephen & Jenny Charles Daniel & Helen Gauchat

Sally & Steve Paridis (Board members ACO US)

CORPORATE PARTNERS

Peter & Victoria Shorthouse

Meriton Group

Delysia Lawson

John Taberner (Board member ACO US) & Grant Lang

LEAD PATRON

John Leece

Alden Toevs & Judi Wolf

Julianne Maxwell

Major Partner

Yvonne von Hartel am & Robert Peck am peckvonhartel architects Janet Holmes à Court

Adina Apartment Hotels

The Narev Family PATRONS

Jim & Averill Minto

David Gonski ac

Alf Moufarrige

Lesley & Ginny Green

Angela Roberts

Corporate Partner

Mike Thompson

Lexington Partners

Peter Weiss ao

Manikay Partners Corporate Supporter UBS

36

The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips


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 Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au Donor list current as at 18 April 2016 PATRONS

Louise & Martyn Myer Foundation

John Kench

Marc Besen ac & Eva Besen ao

Jennie & Ivor Orchard

Key Foundation

Janet Holmes à Court ac

Bruce & Joy Reid Trust

Anthony & Sharon Lee Foundation

Andrew & Andrea Roberts

Mrs Judy Lee

Mark & Anne Robertson

Lorraine Logan

Margie Seale & David Hardy

Macquarie Group Foundation

Rosy Seaton & Seamus Dawes

David Maloney & Erin Flaherty

Tony Shepherd ao

Julianne Maxwell

– Ballandry Fund

John Taberner & Grant Lang

Pam & Ian McDougall

Steven Bardy & Andrew Patterson

Leslie C. Thiess

Brian & Helen McFadyen

EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Daria & Michael Ball Australian Communities Foundation

The Hon Malcolm Turnbull mp &

P J Miller

Ms Lucy Turnbull ao

James Ostroburski & Leo Ostroburski

David & Julia Turner

QVB

E Xipell

John Rickard

Peter Yates am & Susan Yates

Paul Schoff & Stephanie Smee

Professor Richard Yeo

Greg Shalit & Miriam Faine

Peter Young am & Susan Young

Peter & Victoria Shorthouse

Anonymous (2)

Jann Skinner

Irina Kuzminsky & Mark Delaney

DIRETTORE $5,000 – $9,999

Sky News Australia

Dr Ian Frazer & Mrs Caroline Frazer

Geoff Ainsworth & Jo Featherstone

Ann Gamble Myer

Geoff Alder

Daniel & Helen Gauchat

Veronika & Joseph Butta

Andrea Govaert & Wik Farwerck

Andrew Clousten

John Grill & Rosie Williams

Leith & Darrel Conybeare

Kimberley Holden

Mrs Janet Cooke

Angus & Sarah James

Bridget Faye am

Miss Nancy Kimpton

AG Froggatt

Elmer Funke Kupper

Tony & Michelle Grist

Andrew Low

Liz Harbison

Prudence MacLeod

Kerry Harmanis

Anthony and Suzanne Maple-Brown

Dr John Harvey ao & Mrs Yvonne Harvey

MAESTRO $2,500 – $4,999

Jim & Averill Minto

Annie Hawker

Michael Ahrens

Alf Moufarrige

Dr Wendy Hughes

David & Rae Allen

John & Anne Murphy

I Kallinikos

Ralph Ashton

The Belalberi Foundation Guido & Michelle Belgiorno-Nettis Luca Belgiorno-Nettis am Andre Biet Liz Cacciottolo & Walter Lewin Rod Cameron & Margaret Gibbs Stephen & Jenny Charles Rowena Danziger am & Ken Coles am

Jon & Caro Stewart St George Foundation Anthony Strachan Mary-Anne Sutherland Alden Toevs & Judi Wolf Geoff Weir Westpac Group Simon & Amanda Whiston Shemara Wikramanayake Cameron Williams Anonymous (7)

37


Doug & Alison Battersby

Philip Bacon am

Launa & Howard Inman

The Beeren Foundation

Lyn Baker & John Bevan

John Griffiths & Beth Jackson

Berg Family Foundation

Adrienne Basser

Brian Jones

Jenny Bryant

David & Anne Bolzonello

Bronwen L Jones

Neil & Jane Burley

Brian Bothwell

Josephine Key & Ian Breden

Alan Fraser Cooper

Benjamin Brady

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39


AC O 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 Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao

Ms Ann Gamble Myer

Ms Gretel Packer

Mr Daniel Gauchat Principal, The Adelante Group

Mr Jeremy Parham Head of Langton’s, Langton’s

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

Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects

Mr Marc Besen ac & Mrs Eva Besen ao

Mr John Grill ao Chairman, WorleyParsons

Mr John Borghetti Chief Executive Officer, Virgin Australia

Mr Grant Harrod Chief Executive Officer, LJ Hooker

Mr Craig Caesar Mrs Nerida Caesar CEO, Veda Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Michael Chaney ao Chairman, Wesfarmers

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 Mr Andrew Low Mr David Mathlin

Mr & Mrs Robin Crawford

Ms Julianne Maxwell

Rowena Danziger am & Kenneth G. Coles am

Mr Michael Maxwell

Mr David Evans Executive Chairman, Evans & Partners

Ms Naomi Milgrom ao Ms Jan Minchin Director, Tolarno Galleries

Ms Tracey Fellows Chief Executive Officer, REA Group

Mr Jim & Mrs Averill Minto

Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel

Mr Alf Moufarrige Chief Executive Officer, Servcorp

Mr Richard Freudenstein Chief Executive Officer, FOXTEL

Mr Ian Narev Chief Executive Officer Commonwealth Bank

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Mr Mark Robertson oam & Mrs Anne Robertson Mrs Carol Schwartz am Ms Margie Seale & Mr David Hardy Mr Glen Sealey Chief Operating Officer, Maserati Australasia & South Africa Mr Tony Shepherd ao Mr Peter Shorthouse UBS Wealth Management Mr Paul Sumner Chief Executive Officer, Mossgreen Pty Ltd Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Mr David & Mrs Julia Turner Ms Vanessa Wallace & Mr Alan Liddle Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd 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.

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

Liz Cacciottolo (Chair)

Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings Bill Best Maggie Drummond Tony Gill 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

SYDNEY Jane Adams Lillian Armitage Eleanor Gammell

Debbie Brady

Lucinda Cowdroy

Paul Cochrane Investment Advisor, Bell Potter Securities

Sandra Ferman

Ann Gamble-Myer

Julie Goudkamp

Colin Golvan qc

JoAnna Fisher Fay Geddes Deb Hopper Lisa Kench

Shelley Meagher Director, Do it on the Roof

Jules Maxwell Karissa Mayo Edwina McCann

James Ostroburski Director, Grimsey Wealth Joanna Szabo Simon Thornton Executive General Manager, Toll IPEC

Elizabeth McDonald Paris Neilson Nicole Sheffield John Taberner Lynne Testoni BRISBANE Philip Bacon

DISABILITY ADVISORY COMMITTEE Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts Richard Evans Managing Director, ACO Alexandra Cameron-Fraser Strategic Development Manager, ACO

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

Dean Watson Customer Relations & Access Manager, ACO 41


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42

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Maverick cellist Giovanni Sollima joins the ACO for an unmissable celebration of five centuries of Italian music. MONTEVERDI (arr. strings) Lamento della ninfa BERIO Sequenzas for Violin and Double Bass LEO Cello Concerto No.3 in D minor PAGANINI Introduction and Variations on ‘Dal tuo stellate soglio’ from Rossini’s Moses in Egypt ROSSINI (arr. Eliodoro Sollima) ‘Une larme’ Theme and Variations for Cello and Strings SCELSI C’est bien la nuit from Nuits GIOVANNI SOLLIMA Fecit Neap 17… Giovanni Sollima Director & Cello Satu Vänskä Leader & Violin Maxime Bibeau Double bass

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ACO NE W S CHAIRMAN’S COUNCIL AND MAJOR PATRONS’ COCK TAIL PARTIES In March we held our annual Chairman’s Council and Major Patrons’ Cocktail events in Sydney and Melbourne, to honour our most valued patrons and supporters. Chairman’s Council members Robin and Judy Crawford generously hosted the Sydney event at their beautiful Point Piper home, while Jan Minchin – also a member of our Chairman’s Council – hosted the Melbourne event at her gallery, Tolarno Galleries. In the intimate surroundings of these two stunning venues guests experienced an evening of fine music, fine wine and fine food. Our warmest thanks go to Robin and Judy and Jan for their warm and generous hospitality. PICTURED: RIGHT: Nina Walton, Judy Crawford, Lucy Turnbull & Zeb Rice. BELOW LEFT: Tom Goudkamp, Richard Evans, Liz Cacciottolo & Julie Goudkamp. BELOW RIGHT: Michelle & Guido Belgiorno-Nettis.

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PICTURED: TOP: Guests enjoy a sparkling performance by ACO members. ABOVE LEFT: Katrina Holmes Ă Court & Louise Myer. ABOVE RIGHT: Effie Papadopoulos & Joanna Szabo. RIGHT: Emily Choo, Kate Dixon, Malcolm Sheldrake & Anne Sullivan.

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ACO NE W S INSPIRE QUARTE T INSPIRED BY CAIRNS GONDWANA INDIGENOUS CHILDREN’S CHOIR In March, the ACO Inspire Quartet (with the support of Total E&P Australia) travelled to Gordonvale, outside of Cairns, to give a concert for the students of Djarragun College, a day and boarding school primarily for Indigenous children from Cape York, the Torres Strait Islands, Yarrabah and Cairns and surrounding areas. Over 200 students, particularly those in years 5 and 6 who take part in the ACO Music & Art Program, were enthralled by the Quartet’s performance. PICTURED: ACO Inspire Quartet with members of Cairns Gondwana Indigenous Children’s Choir. Photo: Lyn Williams

From there, the Quartet travelled up the Gillies Highway to Yungaburra in the Atherton Tablelands for the Cairns Gondwana Indigenous Children’s Choir Camp at Lake Tinaroo. The Camp was a fantastic weekend for all involved and a wonderful cultural exchange on so many levels. During the two-day Camp, the Quartet (Peter Clark, Jenny Khafagi, William Clark and Paul Zabrowarny) worked intensively with about 40 young singers aged between 9 and 17, led by Gondwana Choirs Artistic Director and Founder Lyn Williams with conductors Chris Burcin and Violet Hari and pianists Lauren Hannay and Sam Allchurch.

PICTURED: ACO Inspire Quartet in rehearsal with members of Cairns Gondwana Indigenous Children’s Choir. Photo: Lyn Williams

PICTURED: William Clark with choristers in rehearsal. Photo: Lyn Williams

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Jenny Khafagi wrote of her experience: ‘The camp was one of the most inspiring and moving experiences I’ve ever had. We began by rehearsing with the choir. Their singing and ensemble were impeccable, and the energy of the tutors and musicians in the room was contagious! Each member of the quartet then joined a group of choristers to create a composition. The inspiration behind our work was a selection of quotes taken from Stan Grant’s speech on Racism and the Australian Dream, published online shortly before Australia Day this year. The students were insightful and emotional and the memories will stay with me for a very long time. We performed our compositions for each other at the end of the session, and the overwhelming idea that ran throughout was that of reconciliation and recognition. We ended the day by performing as a quartet for the students. It was a wonderful atmosphere, a large part of which was due to having spent the day getting to know each other, so the students were really comfortable asking questions about the music we were playing. They particularly liked the different birdcalls and sound effects we could produce using our instruments! The next day was enlightening in a different way. After rehearsing with the choir in the morning, the furniture was cleared from the room, and we were invited to learn some traditional (and some not so traditional) Torres Strait Islander dances. The students were


PICTURED: ACO Inspire Quartet with members of Cairns Gondwana Indigenous Children’s Choir. Photo: Lyn Williams

very helpful and it was amazing to watch them dance and sing while the four of us struggled to remember the moves! At the conclusion of the weekend, we performed in Cairns for family and friends. It was wonderful to meet everybody from the camp, and a huge inspiration for us to see their love of music shine through.’ Lyn Williams echoed Jenny’s feelings: ‘This weekend could not have been more successful. The four members of the ACO Inspire Quartet engaged so generously with the singers of the Cairns Gondwana Indigenous Children’s Choir. They not only shared their own string playing skills but enthusiastically undertook composition workshops, and even enjoyed learning Island songs and dances from the children!’ And the choristers themselves were just as enthusiastic about the weekend: ‘They taught me that if you work hard you will succeed,” said one student. ‘I learnt that you can have fun while working, and if you can work hard you can succeed. And you can also talk and tell stories from playing music,’ said another. In July, the ACO Inspire Quartet will start working with Worawa Aboriginal College, a school for girls in years 7 to 10 in Healesville Victoria, on an adaptation of the ACO Music & Art Program. And in August, the Quartet will return to Cairns to perform with the Cairns Gondwana Indigenous Children’s Choir and students of Cairns High School at the official opening of the Parklands arts precinct.

The ACO is proud to acknowledge National Reconciliation Week 2016 and notes the special place, cultures and contributions of the first Australians. 47


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