SEQUENZA ITALIANA concert program by Australian Chamber Orchestra

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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. Thatâ&#x20AC;&#x2122;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.

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One of the most celebrated pianists of our time, Elisabeth Leonskaja, takes on Mozart’s Jeunehomme Piano Concerto, perhaps the first unequivocal masterpiece of the Classical style. Elisabeth Leonskaja Piano Roman Simović Guest Leader R STRAUSS Sextet from Capriccio MOZART Piano Concerto No.9 in E-flat major ‘Jeunehomme’ BEETHOVEN (arr. strings) String Quartet in E-flat major, Op.127

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Johnson, Winter & Slattery is very proud to be the ACO’s National Tour Partner of Sequenza Italiana, featuring the brilliant Italian cellist and composer, Giovanni Sollima, and outstanding ACO soloists Satu Vänskä and Maxime Bibeau. As the National Tour Partner for Giovanni’s first Australian appearances in 2014, we are delighted to be associated with his second tour. His first tour was widely acclaimed for his sublime artistry and creativity. Giovanni thrilled audiences around Australia. I recall the spontaneous, irresistible outbursts of applause at the end of the first movement of his composition, LB Files (composed by Giovanni in honour of Luigi Boccherini) and the wide exuberant smiles of orchestra members as he led them on a different path every night. Amongst many other admirers we encouraged him to return as soon as possible. JWS is also proud to be the ACO’s national legal adviser on many exciting and creative projects. We appreciate the extraordinary support we receive in return in organising our participation in this tour. We look forward to Sequenza Italiana!

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Richard Tognetti first became acquainted with Italian musical dynamo Giovanni Sollima in Slovenia at Festival Maribor, where Richard serves as Artistic Director. Their friendship has continued to grow, and everyone at the ACO is delighted to welcome Maestro Sollima back. Among the many enthusiastic ovation-givers at Giovanni Sollima’s first performances with the ACO in 2014 was John Kench, Chairman of Johnson Winter & Slattery. JWS presented that first tour and as soon as they heard that Sollima was returning, immediately put up their hand to present his return run. We thank all of the team at JWS, who not only support our national touring, but provide us with indispensable legal advice in our endeavours at home and abroad. The Orchestra begins another exciting tour of Europe at the end of July. The tour starts with performances at the Gstaad Menuhin Festival in Switzerland, a reciprocal invitation arising from our exchange last year with the Basel Chamber Orchestra. From there, it is back to London and four performances of Weimar Cabaret with Barry Humphries and Meow Meow in Cadogan Hall. Then, another quick continental side trip to Copenhagen, before coming back to the Edinburgh Festival for three more concerts. Finally, the Orchestra comes home via Massachusetts and the prestigious Tanglewood Festival. International touring not only gives us the opportunity to meet and play with soloists like Giovanni Sollima, but benchmarks the ACO against the very best in the world. This is only possible thanks to the unstintingly generous support of our patrons, and we thank in particular our International Patrons and members of our Chairman’s Council. I do hope that you enjoy the concert, and many thanks for all of your continued support of the ACO.

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.

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SEQUENZA

ITA LIA N A Giovanni Sollima Director & Cello Satu Vänskä Leader & Violin Maxime Bibeau Double Bass MONTEVERDI (arr. strings) Lamento della ninfa (The Nymph’s Lament) BERIO Sequenza VIII for Solo Violin & Sequenza XIVb for Solo Double Bass LEO Cello Concerto No.3 in D minor, L.60 I. Andante grazioso II. Con spirito III. Amoroso IV. Allegro PAGANINI Introduction and Variations on ‘Dal tuo stellato soglio’ from Rossini’s Mosè in Egitto Interval ROSSINI (arr. Eliodoro Sollima) Une Larme: Thème et Variations from Péchés De Vieillesse (A Tear: Theme and Variations from Sins of Old Age) SCELSI C’est bien la nuit from Nuits GIOVANNI SOLLIMA Fecit Neap. 17. . . for Cello, Strings and Continuo Approximate durations (minutes): 7 – 13 – 17 – 6 – INTERVAL – 10 – 3 – 20 The concert will last approximately 1 hour and 40 minutes, 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 Photo by Gian Maria Musarra

Sequenza Italiana celebrates Italian composers from the middle of the 16th century through to the present day, complete with an original concerto by our visiting Italian soloist, Giovanni Sollima. There is a deliberate Neapolitan thread that runs through this program, spanning five centuries of Italian music – Leo was part of the so-called Neapolitan School of which Monteverdi was an immediate precursor, Rossini wrote numerous ‘Neapolitan’ operas (including the one on which Paganini based his Fantasy), and Sollima’s own concerto is ‘in the Neapolitan style’. But what of Berio and Scelsi? While they were unflinchingly avant-garde, both were Italian to the core. Berio’s Sequenzas are not for the faint of heart. This is music that grabs you by the throat. It is worth keeping in mind that Berio is exploring the concept of a single line opening out into a series of dialogues, just as Monteverdi does in his Lament. So while each sequenza is notionally for one voice, there is something masterful and Italianesque in the way he unfolds the music's polyphonic twists and turns. Scelsi’s double bass solo, C’est bien la nuit, is a mere three minutes in duration, but within those 180 seconds we glimpse the inner workings of a man who was consumed by ‘the art of sound’. Scelsi could happily play a single note over and over, in his quest to drain every last ounce of timbral diversity from it. Giovanni Sollima is not only a brilliant performer and director, but also an exceptional composer: ‘I see through sound, and so it’s like a flow . . . sound is liquid matter, it encompasses you, it covers you, disappears, it transfixes you. It can also be violent; it may be like a blade. It depends. But it’s never something you can grasp, because it embraces you, it takes you with it.’

PICTURED, ABOVE: Joining guest director and cellist Giovanni Sollima as soloist for the Berio and Paganini is ACO Principal Violin Satu Vänskä and for the Berio and Scelsi is ACO Principal Double Bass Maxime Bibeau.

A BOU T T HE MUSIC CLAUDIO MONTEVERDI Born Cremona, 1567. Died Venice, 1643. LAMENTO DELLA NINFA (THE NYMPH’S LAMENT) FROM MADRIGALI GUERRIERI, ET AMOROSI, LIBRO OTTAVO (MADRIGALS OF WAR AND LOVE, BOOK EIGHT) Published 1638. The assertion that Monteverdi was the ‘creator of modern music’ might be somewhat hyperbolic, but it’s not that far from the truth. He was the first great operatic composer – L’Orfeo being one of the earliest examples of opera and still a stalwart of the modern repertory – and without him, musical style would have undoubtedly moved in a very different direction.

PICTURED: Monteverdi by Bernardo Strozzi, c.1630 13

It is about a woman mourning her lost love, and is filled with passion, heartache and utter devastation. Monteverdi published a collection of three-part motets when he was just 15, and his first book of madrigals led to his first job – in Mantua, in the Court of Duke Gonzaga – where he eventually rose to the position as maestro di cappella. One of the key points of difference between Monteverdi and other composers of the time was that he believed that text was the ‘mistress of the harmony’ and not vice-versa – an opinion that sparked an altercation with theorist Giovanni Maria Artusi, whose firmly held belief was that musical form took precedence over words and that rules should be strictly observed at all times. The eighth of his nine books of madrigals, published in 1638, represents, in many ways, the genre’s absolute pinnacle. The dramatic expressiveness is pushed to the extreme. Monteverdi called it ‘Madrigals of War and Love’, and whether or not it was intended, there is a definite narrative progression to the opus. The Lamento della Ninfa is one of the most famous of Monteverdi’s madrigals from the ‘Madrigals of War and Love’. With its rich and dynamic tonalities, it is designed to not so much pull at the heartstrings, but to rip them to shreds. It is about a woman mourning her lost love, and is filled with passion, heartache and utter devastation. A hypnotic four-note ground bass accompanies her anguished cries.

PICTURED: Monteverdi’s Madrigals, Libro Ottavo (Book 8).

While this performance is arranged for strings alone, the beauty of the writing is such, that one can hear the exquisite words by Ottavio Rinuccini.

Lamento della ninfa

The Nymph’s Lament

Non havea Febo ancora recato al mondo il dí, ch’una donzella fuora del proprio albergo uscí.

The Sun had not brought The day to the world yet, When a maiden Went out of her dwelling

Sul pallidetto volto scorgeasi il suo dolor, spesso gli venia sciolto un gran sospir dal cor.

On her pale face Grief could be seen, Often from her heart A deep sigh was drawn.

Sí calpestando fiori errava hor qua, hor là,

Thus, treading upon flowers, She wandered, now here, now there,

i suoi perduti amori cosí piangendo va:

And lamented her lost loves Like this:

“Amor”, dicea, il ciel mirando, il piè fermo, “dove, dov’è la fè ch’el traditor giurò?”

“Oh Love” she said, Gazing at the sky, as she stood. “Where’s the fidelity, That the deceiver promised?”

Miserella.

Poor her!

“Fa’ che ritorni il mio amor com’ei pur fu, o tu m’ancidi, ch’io non mi tormenti più.”

“Make my love come back as he used to be Or kill me, so that I will not suffer anymore.”

Miserella, ah più no, no, tanto gel soffrir non può.

Poor her! She cannot bear All this coldness.

“Non vo’ più ch’ei sospiri se non lontan da me, no, no che i martiri più non dirammi affè.

“I don’t want him to sigh any longer But if he’s far from me. No! No he will not make me suffer Anymore, I swear!

“Perché di lui mi struggo, tutt’orgoglioso sta, che si, che si se’l fuggo ancor mi pregherà?

“Because he’s proud That I languish for him. Perhaps if I fly away from him He will come to pray to me again.

“Se ciglio ha più sereno colei, che’l mio non è,

“If her eyes are more serene Than mine,

già non rinchiude in seno, Amor, sí bella fè.

O Love, she does not hold in her heart A fidelity so pure as mine.

“Ne mai sí dolci baci those lips da quella bocca havrai, ne più soavi, ah taci, taci, che troppo il sai.”

“And you will not receive from

Sí tra sdegnosi pianti spargea le voci al ciel; cosí ne’ cori amanti mesce amor fiamma, e gel.

So, amidst disdainful tears, She spread her crying to the sky; Thus, in the lovers’ hearts Love mixes fire and ice.

Kisses as sweet as mine, Nor softer. Oh don’t speak! Don’t speak! You know better than that!”

LUCIANO BERIO Born Oneglia, 1925. Died Rome, 2003. SEQUENZA VIII FOR SOLO VIOLIN Composed 1976. SEQUENZA XIVb FOR SOLO DOUBLE BASS Composed for Cello in 2002. Posthumous authorised revision by Stefano Scodanibbio for double bass in 2004. Luciano Berio was the original enfant terrible of the avant garde. With all his ancestors dating back to the 18th-century musicians, it seemed inescapable that Berio too would take up the family trade. His style is notable for combining lyric and expressive musical qualities with the most advanced techniques of electronic and aleatoric music. Berio was one of the most prolific and pioneering composers of the 20th century and the leading Italian composer of his generation. His extensive and varied output included five major works for the stage along with several shorter dramatic pieces, an array of both choral and orchestral music, such as the Sinfonia, instrumental works and vocal pieces, of which many were written for his first wife, Cathy Berberian. PICTURED: Luciano Berio

However, as Richard Whitehouse wrote, ‘the music of Luciano Berio is encapsulated in the Sequenza series running through 34 years of his creativity.’ The composer himself said of the Sequenzas that they were ‘written for performers whose virtuosity is above all a virtuosity of knowledge.’ There were 14 in all, although several were arranged for alternate instruments: Sequenza I, written in 1958 for the flautist Severino Gazzelloni. Sequenza II, written in 1963 for the harpist Francis Pierre. Sequenza III, written in 1966 for the vocalist Cathy Berberian. Sequenza IV, written in 1966 for the pianist Jocy de Corvalho. Sequenza V, written in 1965 for the trombonist Stuart Dempster. Sequenza VI, written in 1967 for the violist Serge Collot. Sequenza VII, written in 1969 for the oboist Heinz Holliger. Sequenza VIIb, arranged in 1995 for soprano saxophonist Claude Delangle. Sequenza VIII, written in 1976 for violinist Carlo Chiarappa. Sequenza IXa, written in 1980 for the clarinettist Michel Arrignon. Sequenza IXb, arranged in 1981 for alto saxophonist Claude Delangle.

. . . the Sequenzas were ‘written for performers whose virtuosity is above all a virtuosity of knowledge.’ LUCIANO BERIO Sequenza X, written in 1984 for the trumpeter Thomas Stevens. Sequenza XI, written in 1988 for the guitarist Eliot Fisk. Sequenza XII, written in 1995 for the bassoonist Pascal Gallois. Sequenza XIII, written in 1995 for the accordionist Teodoro Anzellotti. Sequenza XIV, written in 2002 for the cellist Rohan de Saram. Sequenza XIVb, arranged posthumously by and for double bassist Stefano Scodanibbio. Berio’s Sequenzas are difficult both to play and to listen to. He makes the performer and the audience work for it. This is not prosaic music. But one could argue that no good music is, because without effort there is no reward. Music journalist for The Guardian Tom Service described the Sequenzas as ‘a compositional love-letter from Berio to the repertoires and possibilities of each instrument,’ and this love runs deeply and passionately through both the Double Bass and Violin Sequenzas you will hear. For this performance, our soloists, Max and Satu, have chosen to heighten the inner theatrics of the works by shortening both individual Sequenzas and combining them to create a unique interplay. This linear narrative will cross and diverge as both players tackle the many extended techniques and challenges of the works. The Double Bass Sequenza calls for specific tuning and requires a very bright and resonant sound to highlight the harmonics of the score, so Max will play on a different instrument for the Berio. The composer writes:

Sequenza VIII To compose Sequenza VIII has been like paying a personal debt to the violin, which to me is one of the most subtle and complex of instruments. I studied violin myself, while I was already learning the piano and before starting the clarinet (my father wanted me to practise ‘all’ the instruments), and I have always maintained a strong attraction for this instrument, mixed, however, with rather tormented feelings (perhaps because I was already 13 – much too late – when I started my violin lessons). While almost all the other Sequenzas develop to an extreme degree a very limited choice of instrumental possibilities, 17

Sequenza VIII deals with a larger and more global view of the violin . . . BERIO Sequenza VIII deals with a larger and more global view of the violin: and can be listened to as a development of instrumental gestures. Sequenza VIII is built around two notes (A and B), which – as in a chaconne – act as a compass in the work’s rather diversified and elaborate itinerary, where polyphony is no longer virtual but real, and where the soloist must make the listener constantly aware of the history behind each instrumental gesture. Sequenza VIII, therefore, becomes inevitably a tribute to that musical apex which is the Ciaccona from Johann Sebastian Bach’s Partita in D minor, where – historically – past, present and future violin techniques coexist. Sequenza VIII was written in 1976 for Carlo Chiarappa. PICTURED: Luciano Berio

Stefano Scodanibbo writes:

Sequenza XIVb This version was prompted by an invitation I received from Luciano Berio in 2002 to ‘re-invent’ (rather than transcribe) for the double bass his Sequenza XIV for violoncello, putting into play the innovations that have transformed the instrument over the last decades. Hence the employment of a great diversity of instrumental techniques, the adaptations to the physical characteristics of the double bass and the exploitation of its particular timbral qualities. My reflection on some passages of the original, that are particularly suited for further development on the double bass, has led me to add three short, newly composed ‘tributes’ (among which is a ‘cadenza’) that make explicit reference to other Sequenzas (Sequenza XI for guitar, Sequenza VIII for violin). In his note for the original cello version of this sequenza, Berio wrote about the influence of the Sri Lankan Kandyan drumming tradition. The cellist for whom he wrote Sequenza XIV, Rohan de Saram, taped and transcribed Kandyan drum rhythms. Berio requires the player to be both instrumentalist and drummer, treating the body and the strings of the instrument as a percussion instrument – thus transforming it into a hybrid, the instrument and the drum together in one instrument.

LEONARDO LEO Born San Vito degli Schiavoni, 1694. Died Naples, 1744. CELLO CONCERTO NO.3 IN D MINOR, L.60 Composed 1737/38. I. Andante grazioso II. Con spirito III. Amoroso IV. Allegro Leonardo Leo was one of the leading Neapolitan composers of his day, particularly in the genres of theatre and church music.

PICTURED: Leonardo Leo

He studied with Nicola Fago (‘Il Tarantino’) at the Conservatorio S Maria della Pietà del Turchini and his first known major work, a sacred drama called S Chiara, o L’infedeltà abbattuta, was performed in 1712 at the conservatory. Its performance must have impressed the right people, because shortly thereafter, he was appointed both supernumerary organist in the viceroy’s chapel and Marchese Stella’s maestro di cappella. He may also have been maestro di cappella of S Maria della Solitaria.

The D minor Concerto . . . requires remarkable virtuosity, not just in the fast movements, but throughout the piece. Leo was a prolific composer of opera, although they are rarely performed today and are virtually unknown. He was also a prominent teacher and held positions at the Conservatorio S Onofrio and eventually succeeded his old teacher, Fago, at the Conservatorio S Maria della Pietà del Turchini. One of his greatest contributions to musical development of the time was attempting to reform Neapolitan religious music. In fact there was a great deal of rivalry between Leo and the other great composer of church music in Naples at the time, Francesco Durante – you were either a ‘Leisti’ or a ‘Durantisti’. He became principal organist of the vice-regal chapel on Alessandro Scarlatti’s death in 1725. But this marked the start of a bit of a rough patch for Leo – his compositional rivals Vinci and Hasse took hold until 1730, when Vinci died and Hasse left Naples. In the last year of his life, he finally became the maestro di cappella of the royal chapel. Domenico Marzio Carafa, the Duke of Maddaloni, and his wife Anna Colonna, welcomed the new king of Naples, Carlos de Borbón, to their palace in 1734. The Maddaloni Palace had a tradition of encouraging performers and composers, and many works had, over the years, been dedicated to the Maddalonian Dukes. Leonardo Leo was another such composer to enjoy the patronage of the Duke of Maddaloni. Composed between September 1737 and August 1738, he wrote six cello concertos dedicated to the present Duke and his wife. The autograph scores of these magnificent pieces are today to be found at the library of the Naples Conservatorium. The D minor Concerto, which has been dated as April 1738, requires remarkable virtuosity, not just in the fast movements, but throughout the piece. We have no idea who the first performer of this (or the other five) concerto was, but of this we can be sure: it was someone of enormous talent and technical capability.

NICOLÒ PAGANINI Born Genoa, 1782. Died Nice, 1840. INTRODUCTION AND VARIATIONS ON ‘DAL TUO STELLATO SOGLIO’ FROM ROSSINI’S MOSÈ IN EGITTO Composed ?1819. ‘Paganini’s flame of life has now extinguished and with it that one powerful blast of nature’s breath, which is only given to us for a short time, only long enough for it to be withdrawn from us quickly once again; with it a wonderful spirit disappeared, and now it remains only as a spark in the sphere of art, but what a particularly great spark it was.’ So wrote Franz Liszt in his obituary for Nicolò Paganini. PICTURED: Nicolò Paganini

Paganini lived his life with extraordinary colour. Much has been written about his brilliance on the violin and he was admired by such luminaries as Schubert and Chopin, who is said to have referred to Paganini as ‘perfect’. He was also great friends with Berlioz, about whom Paganini said, ‘Beethoven being dead only a Berlioz could reincarnate him. I who have fed on your divine compositions worthy of a genius as yours, feel it my duty to ask you to accept in homage the sum of 20,000 francs . . .’ (As a result of this generous gift, Berlioz’s Roméo et Juliette was dedicated to him.) 21

It is easy to forget that even though Paganini was full of flash, he most certainly had the substance to back it up. He was an extraordinary talent, who from an early age was astounding teachers and performers across Europe. He was a virtuoso on both the violin and the guitar, rising to fame after a tour of Europe between 1828 and 1830.

Paganini loved being a daredevil, a risk-taker, a showoff.

Along with his superlative talent on both instruments, he was a prolific and accomplished composer. His works served as inspiration to many composers, such as ‘La Campanella’ and the 24th Caprice which are the basis of works by Liszt, Rachmaninoff, Brahms, Schumann, Lutoslawski, even Andrew Lloyd Webber! Rossini remarked of Paganini’s compositional gift that had he ever attempted to write an opera that he would have ‘knocked out all of us.’ The stories of his pact with the Devil are legendary. His technical virtuosity was so astounding that no-one believed it was possible for him to simply have been born with this gift – he must have entered into an arrangement with some dark and sinister force to become so extraordinary. Then there was his physical appearance – through illness and neglect he lost all of his teeth, which meant his mouth looked sunken and evil, and he was also painfully thin. And to put the final nail in the coffin, so to speak, of his satanic contract, when he was near death, he refused to see a priest, thus confirming (erroneously, of course) that he was damned. In fact, following his death in 1840, the Bishop of Nice forbade his interment in consecrated ground and he was not formally buried for 36 years, when he was laid to rest in a cemetery in Parma! Paganini loved being a daredevil, a risk-taker, a showoff. While neither of these stories has anything to do with the Moses Fantasy as such, they do explain the kind of feeling, the method, the idea behind its composition. The first legend has it that while Paganini was performing, first, his E string broke, then the A, then the D, which left him with just the G. Refusing to stop, or to re-string, he played the remainder of the program on just the G string. The variation on this story has it that Paganini would intentionally file down his E string so it would snap midperformance, thus enabling him to do his trick of playing on just the one string. Even though in all likelihood both stories are complete fantasy, the introduction and set of variations based on an aria from Rossini’s opera Mosè in Egitto (Moses in Egypt), is, in fact, intended for performance on just the one string. Despite its mind-blowing difficulty, there is still plenty of serenely beautiful melodic artistry, as was the style of the bel canto opera whence it came.

GIOACHINO ROSSINI Born Pesaro, 1792. Died Passy, 1868. UNE LARME: THÈME ET VARIATIONS FROM PÉCHÉS DE VIEILLESSE (A TEAR: THEME AND VARIATIONS FROM SINS OF OLD AGE) Composed 1857–68. Born just three months after Mozart died, Rossini’s extraordinary output of operas in his 20s and early 30s made him this medium’s natural successor to Mozart. But whereas opera was just one area which was touched by Mozart’s genius, Rossini’s achievements were mostly limited to vocal music – first opera, then song and sacred works. When he was 37, for some reason, Rossini decided to ‘retire’ from public life. He moved to France and set up shop in a magnificent home in Passy. He continued to compose, primarily sacred music and this little gem, Une Larme: thème et variations for cello and piano – heard in this program in an arrangement for cello and strings by our soloist’s father. Une Larme can be found in the ninth of 14 volumes of what Rossini called Péchés de vieillesse. These musical ‘sins of old age’ (of which there were about a hundred or so!) were composed over an 11-year period and were written for a variety of chamber ensembles. Une Larme (A Tear) was one of the more conservatively titled ‘sins’ – others included Gherkins, Asthmatic Study, and Miscarriage of a polka-mazurka, to name just a few . . . Une Larme starts off with a brief ‘crying’ motif in the strings, which is developed by the rest of the orchestra, with the Rossini crescendo effect, until the piece opens up and in total serenity flows into the final theme. Although not a particularly substantial work, it does demonstrate Rossini’s superlative understanding of the cello and it makes for a brilliant party piece.

PICTURED: Gioachino Rossini, c.1850. (Lithograph by F. Perrin) 23

GIACINTO SCELSI Born La Spezia, 1905. Died Rome, 1988. C’EST BIEN LA NUIT FROM NUITS Composed 1972. Giacinto Scelsi seemed determined to make it hard for people to find out about his music. Apart from the fact that he eschewed all interviews and requests to make analytical comments about his works, he was also known to do such things as deliberately redating compositions so as to confuse musicologists. He also refused to have his photo taken and instead preferred that he be represented by the symbol of a horizontal line placed under a circle. Scelsi, who American composer Morton Feldman dubbed the ‘Italian Ives’, began his compositional life writing extraordinarily beautiful and melodic works, albeit quite conservative in their construction. But before his compositional voice was allowed to fully mature, he suffered a nervous breakdown which coincided with the start of the Second World War. He wrote more than 100 works and by the 1980s, his music began to find its ways onto the stage and indeed recordings, despite his apparent reluctance to share his art – in fact, there is a collection on Mode records of the complete works of Scelsi. He did not restrict himself to any particular genre, writing for orchestra, chamber ensemble, string quartet, duos and solos, such as the work on this program for solo double bass. PICTURED: Giacinto Scelsi

Scelsi’s view of composition was that it had nothing to do with individualism but rather the composer was the creator of circumstances through which sound was revealed. He was very interested in the sonic possibilities of single notes and it is alleged that he would spend hours at the piano, playing the same note, over and over again, carefully listening to it and how it changed according to how he struck the key. This fascination with single note, drone-like repetition was part of the recovery process from his breakdown. By the 1970s, he had refined his style, and his pieces were quite short and musically compact, as can be heard in ‘C’est bien la nuits’. Maxime Bibeau says of the work: ‘From the incredible simplicity in writing, comes an extraordinary complexity. And hidden in plain sight are myriad timbres and colours that result in great exuberance, excitement, and a clearly Italian character, but also results in expressing something quite uneasy, tumultuous, disturbed even, which could have very well been a reflection of the state of mind of the composer at the time. Nevertheless, there is such passion in his writing, which is definitely more conceptual than practical in nature. Scelsi manages to create a brand new language in a very short piece. As with the Berio, the instrument has to be tuned differently from usual.’

GIOVANNI SOLLIMA Born Palermo, 1962. FECIT NEAP. 17. . . FOR CELLO, STRINGS AND CONTINUO Composed 2011. Cellist Giovanni Sollima has long been interested in expanding the expressive and sonic possibilities of his instrument. For his four-movement Terra Suite, commissioned for a dance performance at the 2001 Venice Biennale, Sollima was recorded multitracking on multiple cellos, and in Lasse Gjertsen’s accompanying video, Sollima can be seen sprouting extra arms to play all the parts on one cello. As a musician, Sollima resists easy categorisation. Although he performs the traditional cello repertoire, he also has invented his own instruments, and he once played an ice cello in a mountaintop igloo theatre. For his work Caravaggio, he reconstructed the tenor violin that is depicted in the great Italian’s paintings (the score itself is loosely based on the tiny scraps of music, thought to be by the Flemish composer Arcadelt, that can be seen in Caravaggio’s work). He regularly collaborates with artists, choreographers, and theatre directors who are as restless and innovative as he is; as a film composer, he has written music for Wim Wenders’s Palermo Shooting and Peter Greenaway’s Vaux to the Sea and Nightwatching. But the cello itself has been at the heart of Sollima’s life since childhood. ‘The cello,’ he once said, ‘both as an instrument (including its case . . .) that sounds, and as an object irresistibly fascinating for me, attracted my attention immediately.’

PICTURED: Giovanni Sollima 25

‘The cello . . . attracted my attention immediately.’ GIOVANNI SOLLIMA

The past, in particular the great Italian cultural heritage, is present in much of what Sollima does today. ‘I feel the past as a magnetic centre that is sending out signals,’ he has said. Dinko Fabris said of Fecit Neap. 17. . .: It can well be said that Giovanni Sollima appears to represent the reincarnation of the spirit of the Southern Italian virtuoso from three centuries past. Sollima’s own performances of 18thcentury concertos not only recall in a thrilling manner a set of Baroque ‘gestures’ which cannot just be restored by merely the cold execution of all the written notes, but make them come to life once more with their unexpected dynamic leaps, effects of tone colour, warmth of the sonority and finally by means of the surprising cadenzas which the performer himself supplies. For these reasons, the inclusion of one of his own original compositions ‘in the style’ of an 18th-century Neapolitan composer, sits in perfect harmony with the repertoire on this program. This work, dedicated to Antonio Florio, can be considered almost to carry a program title: Fecit Neap. 17 . . .. This is, of course, a recurrent abbreviated expression appearing in many manuscripts from the 18th century, through which the researcher can establish the autograph signature of a composer and, often also, some indications of the practical execution desired by the composer. The new work by Sollima, a highlyrated contemporary composer and one especially keen on the stylistic crossover between different genres, mixes here two deliberately contrasting moods. The first mood, all pensive and evocative of the most sensual and cantabile Baroque tone colours, derives from 18th-century Naples, especially with its gorgeous principal theme above an ostinato bass. The second mood is based on a rhythmic preoccupation – which reveals the mastery of the virtuoso of our own times – whilst demanding from the musicians playing historical instruments (expressly required) an almost inordinate amount of effort in the superimposition of irregular meters, in the manner of Stravinsky. Here then is a score which transmits a great energy.

GIOVA NNI S OL L IM A LE ADER & CELLO

Born in Palermo into a family of musicians, Giovanni Sollima studied cello with Giovanni Perriera and Antonio Janigro, and composition with his father Eliodoro Sollima, as well as Milko Kelemen.

His international career as a cellist began with collaborations with such artists as Claudio Abbado, Giuseppe Sinopoli, Jörg Demus, Martha Argerich, Katia and Marielle Labèque, Bruno Canino, DJ Scanner, Viktoria Mullova, Riccardo Muti, Ruggero Raimondi, Patti Smith, Philip Glass and Yo-Yo Ma.

Photo by Gian Maria Musarra

Sollima has performed in prestigious places around the world, as well as many alternative venues – Carnegie Hall, BAM, Alice Tully Hall, and Knitting Factory in New York; Wigmore and Queen Elizabeth Halls in London; Salle Gaveau in Paris; Muziekgebouw in Amsterdam; Tchaikovsky Hall in Moscow; Kunstfest in Weimar; La Scala in Milan; Santa Cecilia in Rome; and the festivals of Kronberg, Kuopio, Istanbul, Tokyo, Venice, Ravenna, Spoleto, and Shanghai (Expo 2010). As a composer, Sollima has been captivated by every kind of language and creates interesting blends among the most diverse genres by combining elements of classical and rock music, as well as music of the Mediterranean. He composes for both acoustic and electric instruments. He has worked with choreographers Karole Armitage, and Carolyn Carlson; for the theatre, Bob Wilson, Alessandro Baricco, and Peter Stein; and in film, Marco Tullio Giordana, Peter Greenaway, Lasse Gjertsen (DayDream), and John Turturro. Together with cellist and composer Enrico Melozzi he created the 100 CELLOS project in 2012. Cellists of all ages get together for three days, playing music from the baroque through to rock and contemporary music written while they’re together. The project is now in its fifth incarnation. In 2013 and 2014 Sollima was the Maestro Concertatore of ‘La Notte della Taranta’, a festival of traditional popular music from the Salento region, whose final concert reaches more than 140,000 people. Recent recordings include Neapolitan Cello Concertos (Glossa), and Caravaggio and Aquilarco (Egea). The Chicago Symphony Orchestra commissioned a double cello concerto for Sollima and Yo-Yo Ma, the premiere of which took place at Symphony Hall in Chicago in February 2014 to rave reviews. Giovanni Sollima, teaches at the Academy of Santa Cecilia in Rome. He plays a cello by Francesco Ruggieri (1679, Cremona). 27

S AT U VÄ NSK Ä VIOLIN

Satu Vänskä was appointed Assistant Leader of the Australian Chamber Orchestra in 2004. Satu was born to a Finnish family in Japan where she took her first violin lessons at the age of three. Her family moved back to Finland in 1989 and she continued her studies with Pertti Sutinen at the Lahti Conservatorium and the Sibelius Academy.

Photo by Jack Saltmiras

At the age of 11 Satu was selected for the Kuhmo Violin School in Finland, a special institution for talented young violinists where she attended masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov and had the opportunity to perform at the Kuhmo Chamber Music Festival with the Kuhmo Virtuosi Chamber Orchestra. From 1997 Satu was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich where she finished her diploma in 2001. This led to her performances with the Munich Philharmonic, the Bavarian Radio Symphony Orchestra, at the Tuusulanjärvi Festival, and at Festivo Aschau. In 1998 Sinfonia Lahti named her ‘young soloist of the year’. In 2000 she was a prize winner of the ‘Deutsche Stiftung Musikleben’ and from 2001 she played under the auspices of the Live Music Now Foundation founded by Lord Yehudi Menuhin which gave her the opportunity to perform with such musicians as Radu Lupu and Heinrich Schiff. Satu performs regularly as lead violin and soloist with the ACO. She is also front woman and curator of the critically acclaimed electro-acoustic ensemble ACO Underground. Satu features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor. She was presented in recital in July 2012 by the Sydney Opera House as part of their Utzon Room Music Series. In 2011, she became the custodian of the only Stradivarius violin in Australia – the magnificent 1728/29 violin on loan from the ACO’s Instrument Fund.

M A X IME BIBE AU DOUBLE BASS

Canadian-born Maxime Bibeau’s musical career started, as many young musicians do, in a high school garage band! Initially he wanted to pursue a career as a scientist. But the lure of music, particularly jazz, inspired Maxime to take up double bass at 17. He completed his undergraduate degree at the Conservatoire de Musique du Québec à Montréal with René Gosselin. He received his Master’s of Music from Rice University in Houston with Timothy Pitts and Paul Ellison where he was awarded a full university scholarship, as well as grants from the Canada Arts Council and the Canadian Research Assistance Fund. Maxime has been Principal Double Bass with the ACO since 1998.

Photo by Will Huxley

Early in his career, Maxime was given the opportunity to participate in several programs including the SHIRA International Symphony Orchestra Israel, Jeunesses Musicales World Orchestra, Music Academy of the West, Waterloo Festival, Centre d’Art d’Orford and Domaine Forget. These days he regularly appears as a chamber musician and has appeared as a guest artist with orchestras both in Australia and overseas. Maxime enjoys playing music from all eras and loves the flexibility, drive, talent and commitment of his ACO colleagues. Solo performances with the ACO include Bottesini’s Gran Duo Concertante with Stefan Jackiw, Mozart’s Per questa bella mano with Teddy Tahu Rhodes, Piazzola’s Kicho, Contrabajeando and Contrabajissimo. He has also premiered James Ledger’s Folk Song and Matthew Hindson’s Crime and Punishment, and later this year, he will be a featured soloist in a new work by Australian composer, Elena Kats-Chernin. As an educator he has been involved with the Australian Youth Orchestra’s National Music Camp, Sydney Youth Orchestra, University of NSW, Australian National Academy of Music, and as a lecturer at the Sydney Conservatorium of Music. When he isn’t collecting frequent flyer points, Maxime, like many of the ACO players, enjoys his downtime in the ocean as an avid diver and swimmer. Maxime plays a late-16th-century Gasparo da Salò double bass kindly made available to him by anonymous Australian benefactors.

CH133

A one-stop guide to Australiaâ&#x20AC;&#x2122;s diverse arts scene produced exclusively by Foxtel Arts WEDNESDAYS 8PM AEST, FROM MAY 11 foxtelarts.com.au

Hosted by Deborah Hutton Joined by Margaret Pomeranz Graeme Blundell Leo Schofield Chris Hook

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 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

‘If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK) 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 21 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.

MUSICI A NS ON S TAGE

Satu Vänskä 1 Principal Violin

Mark Ingwersen Violin

Chair sponsored by Kay Bryan

Chair sponsored by Ian Wallace & Kay Freedman

Ilya Isakovich Violin

Liisa Pallandi Violin

Chair sponsored by The Humanity Foundation

Chair sponsored by The Melbourne Medical Syndicate

Maja Savnik 2 Violin

Ike See Violin Chair sponsored by Di Jameson

Players dressed by WILLOW and SABA 32

Alexandru-Mihai Bota Viola

Melissa Barnard Cello

Chair sponsored by Philip Bacon am

Chair sponsored by Martin Dickson am & Susie Dickson

Maxime Bibeau 3 Principal Bass

Tommie Andersson Theorbo

Chair sponsored by Darin Cooper Foundation

Donald Nicolson Harpsichord (all concerts except Perth)

Erin Helyard Harpsichord (Perth only)

1 Satu Vänskä plays a 1728/29 Antonio Stradivari violin kindly on loan from the ACO Instrument Fund. 2 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 3 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor. 33

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

ARTISTIC DIRECTOR

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

Christina Holland Office Administrator

Richard Tognetti ao

Fiona McLeod Chief Financial Officer

ADMINISTRATIVE STAFF

Yvonne Morton Accountant

Ken McSwain Systems & Technology Manager

Shyleja Paul Assistant Accountant

Emmanuel Espinas Network Infrastructure Engineer

EXECUTIVE OFFICE Richard Evans Managing Director Jessica Block Deputy General Manager Alexandra Cameron-Fraser Chief Operating Officer

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

INFORMATION SYSTEMS

DEVELOPMENT 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 Alice Currie Development Coordinator

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

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

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

PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000

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

PO Box 3041, East Perth WA 6892

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

AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music

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

CITY RECITAL HALL A City of Sydney Venue 2–12 Angel Place, Sydney NSW 2000 GPO Box 3339, Sydney NSW 2001 Telephone (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Renata Kaldor ao Chair Elaine Chia Chief Executive Officer

SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 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

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.

SEQUENZA

ITA LIA N A

TOUR DATES & PRE-CONCERT TALKS

TOUR PRESENTED BY

Pre-concert talks take place 45 minutes before the start of every concert. Sat 25 Jun, 7.15pm Canberra Llewellyn Hall Pre-concert talk by Ken Healey am

Sun 3 Jul, 1.45pm Melbourne Arts Centre Pre-concert talk by John Weretka

Fri 8 Jul, 12.45pm Sydney City Recital Hall Pre-concert talk by Francis Merson

Tue 28 Jun, 6.45pm Adelaide Town Hall Pre-concert talk by Vincent Plush

Mon 4 Jul, 6.45pm Melbourne Arts Centre Pre-concert talk by John Weretka

Sat 9 Jul, 6.15pm Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills

Wed 29 Jun, 6.45pm Perth Concert Hall Pre-concert talk by Claire Stokes

Tue 5 Jul, 7.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson

Sun 10 Jul, 1.15pm Sydney Opera House Pre-concert talk by Francis Merson

Sat 2 Jul, 6.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson

Wed 6 Jul, 6.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson

Pre-concert speakers are subject to change.

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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

ACO COLLECTIVE

The late Amina Belgiorno-Nettis

VIOLIN

PRINCIPAL CHAIRS

Glenn Christensen Terry Campbell ao & Christine Campbell

Pekka Kuusisto Artistic Director & Lead Violin

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 Ilya Isakovich The Humanity Foundation

Kate & Daryl Dixon

Liisa Pallandi The Melbourne Medical Syndicate

Satu Vänskä Principal Violin

Ike See Di Jameson

Kay Bryan

VIOLA

Principal Viola peckvonhartel architects

Alexandru-Mihai Bota Philip Bacon am

Timo-Veikko Valve Principal Cello

Nicole Divall Ian Lansdown

Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation

Horsey Jameson Bird

GUEST CHAIRS Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

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

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

AC O 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

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 (13)

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

Baillieu Myer ac

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

Kevin & Deidre McCann

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

Aaron Levine

Louise & Andrew Sharpe

Justine Clarke

Royston Lim

Emile & Caroline Sherman

Este Darin-Cooper & Chris Burgess

William Manning

Michael Southwell

Amy Denmeade

Rachael McVean

Helen Telfer

Catherine & Sean Denney

Carina Martin

Karen & Peter Tompkins

Jenni Deslandes & Hugh Morrow

Barry Mowzsowski

Joanna Walton & Alex Phoon

Anita George

Paris Neilson & Todd Buncombe

Nina Walton & Zeb Rice

Alexandra Gill

James Ostroburski

Peter Wilson & James Emmett

Rebecca Gilsenan & Grant Marjoribanks

Nicole Pedler

John Winning Jr.

Adrian Giuffre & Monica Ion

Michael Radovnikovic

John & Lara James

Jessica Read

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. 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)

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

Jessica Block

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

CONCERTO $200,000 – $499,999

Genevieve Lansell

Edward Gilmartin

The late Amina Belgiorno-Nettis

Bronwyn & Andrew Lumsden

Tom & Julie Goudkamp

Naomi Milgrom ao

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

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

Benjamin Brady

Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman 39

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

G Graham

Tony & Carmilla Gill

Dr Edward Gray

Anthony & Conny Harris

John & Lisa Kench

Di Jameson

Rohan Haslam

Peter & Victoria Shorthouse

Wayne Kratzmann

John Griffiths & Beth Jackson

Alden Toevs & Judi Wolf

Bruce & Jocelyn Wolfe

Andrew & Fiona Johnston

THE REEF NEW YORK PRODUCERS’ SYNDICATE

PATRONS

Lionel & Judy King David & Sandy Libling

Executive Producers

Michael Forrest & Angie Ryan

Tony Jones & Julian Liga

Tony & Michelle Grist

Ian & Cass George

Robert & Nancy Pallin

Lead Producers

Professor Peter Høj

Deborah Pearson

Jon & Caro Stewart Foundation

Helen McVay

Major Producers

Shay O’Hara-Smith

Danielle & Daniel Besen Foundation

Brendan Ostwald

Dr Suzanne M Trist

Janet Holmes à Court ac

Marie-Louise Theile

Team Schmoopy

Charlie & Olivia Lanchester

Beverley Trivett

Producers

MELBOURNE HEBREW CONGREGATION PATRONS

Alison Reeve Augusta Supple

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 2016: Mr Robert Albert ao & Mrs Libby Albert Linda & Graeme Beveridge

Richard Caldwell Warren & Linda Coli Graham & Treffina Dowland

Andrew Clouston

LEAD PATRONS Marc Besen ac & Eva Besen ao

Steve Duchen & Polly Hemphill

Wendy Edwards Doug Elix Gilbert George Tony & Camilla Gill

SUPPORTER

Kay Bryan

Max Gundy (Board member ACO US) & Shelagh Gundy

Leo & Mina Fink Fund

Stephen & Jenny Charles

Rebecca John & Daniel Flores

EMANUEL SYNAGOGUE PATRONS

Ann Gamble Myer

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

CORPORATE PARTNERS

Daniel & Helen Gauchat Yvonne von Hartel am & Robert Peck am peckvonhartel architects

Sally & Steve Paridis (Board members ACO US)

Meriton Group

Janet Holmes à Court

Peter & Victoria Shorthouse

LEAD PATRON

Bruce & Jenny Lane

John Taberner (Board member ACO US) & Grant Lang

The Narev Family

Jan Bowen

Delysia Lawson John Leece Julianne Maxwell

Alden Toevs & Judi Wolf Major Partner

Angela Roberts Mike Thompson Peter Weiss ao

Corporate Partner Lexington Partners Manikay Partners Corporate Supporter UBS

PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation

Jim & Averill Minto Alf Moufarrige

Adina Apartment Hotels

Justin Phillips & Louise Thurgood-Phillips

AC O 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 10 June 2016 PATRONS

Jennie & Ivor Orchard

Key Foundation

Marc Besen ac & Eva Besen ao

Bruce & Joy Reid Trust

Anthony & Sharon Lee Foundation

Janet Holmes à Court ac

Andrew & Andrea Roberts

Mrs Judy Lee

Mark & Anne Robertson

Lorraine Logan

Rosy Seaton & Seamus Dawes

Macquarie Group Foundation

Tony Shepherd ao

David Maloney & Erin Flaherty

John Taberner & Grant Lang

Julianne Maxwell

Leslie C. Thiess

Pam & Ian McDougall

The Hon Malcolm Turnbull mp &

Brian & Helen McFadyen

EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Daria & Michael Ball Australian Communities Foundation – Ballandry Fund Steven Bardy & Andrew Patterson The Belalberi Foundation Anita & Luca Belgiorno-Nettis Foundation Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis Andre Biet Rod Cameron & Margaret Gibbs

Ms Lucy Turnbull ao David & Julia Turner E Xipell Peter Yates am & Susan Yates Professor Richard Yeo Peter Young am & Susan Young Anonymous (2)

P J Miller James Ostroburski & Leo Ostroburski QVB John Rickard Greg Shalit & Miriam Faine Peter & Victoria Shorthouse Jann Skinner

Stephen & Jenny Charles

DIRETTORE $5,000 – $9,999

Sky News Australia

Rowena Danziger am & Ken Coles am

Geoff Ainsworth & Jo Featherstone

St George Foundation

Irina Kuzminsky & Mark Delaney

Geoff Alder

Jon & Caro Stewart

Dr Ian Frazer ac & Mrs Caroline Frazer

Veronika & Joseph Butta

Anthony Strachan

Ann Gamble Myer

Caroline & Robert Clemente

Mary-Anne Sutherland

Daniel & Helen Gauchat

Andrew Clousten

Alden Toevs & Judi Wolf

Andrea Govaert & Wik Farwerck

Darrel & Leith Conybeare

Geoff Weir

John Grill & Rosie Williams

Mrs Janet Cooke

Westpac Group

Kimberley Holden

Bridget Faye am

Angus & Sarah James

AG Froggatt

Miss Nancy Kimpton

Warren Green

Elmer Funke Kupper

Tony & Michelle Grist

Liz & Walter Lewin

Liz Harbison

Andrew Low

Kerry Harmanis

MAESTRO $2,500 – $4,999

Prudence MacLeod

Dr John Harvey ao & Mrs Yvonne Harvey

Michael Ahrens

Anthony and Suzanne Maple-Brown

Annie Hawker

David & Rae Allen

Jim & Averill Minto

Dr Wendy Hughes

Ralph Ashton

John & Anne Murphy

I Kallinikos

Will & Dorothy Bailey Charitable Gift

Louise & Martyn Myer Foundation

John Kench

Doug & Alison Battersby

Simon & Amanda Whiston Shemara Wikramanayake Cameron Williams Anonymous (7)

Beeren Foundation

Philip Bacon am

Owen James

Berg Family Foundation

Lyn Baker & John Bevan

Anthony Jones & Julian Liga

Mr & Mrs Daniel Besen

Adrienne Basser

Brian Jones

Jenny Bryant

David & Anne Bolzonello

Bronwen L Jones

Neil & Jane Burley

Brian Bothwell

Mrs Angela Karpin

The Hon. Alex Chernov ac qc &

Benjamin Brady

Josephine Key & Ian Breden

Elizabeth Chernov

Vicki Brooke

In memory of Graham Lang

Alan Fraser Cooper

Diana Brookes

Julia Pincus & Ian Learmonth

Robert & Jeanette Corney

Westland Group Holdings

Airdrie Lloyd

Kate & Daryl Dixon

Dr Catherine Brown-Watt psm

Colin Loveday

Heather Douglas

Jasmine Brunner

Robin Lumley

Anne & Thomas Dowling

Sally Bufé

Diana Lungren

Maggie Drummond

Gerard Byrne & Donna O’Sullivan

Garth Mansfield oam & Margaret Mansfield

Michele Duncan

Andrew & Cathy Cameron

Greg & Jan Marsh

Suellen Enestrom

Terry Campbell ao & Christine Campbell

John Gandel ao & Mrs Pauline Gandel

Ray Carless & Jill Keyte

Robert & Jennifer Gavshon

Patrick Charles

Nereda Hanlon & Michael Hanlon am

Angela & John Compton

Reg Hobbs & Louise Carbines

Brooke & Jim Copland

Simon & Katrina Holmes à Court

Laurie & Julie Ann Cox

Erica Jacobson

Carol & Andrew Crawford

Ros Johnson

Judith Crompton

Peter Lovell

J & P Curotta

The Alexandra & Lloyd Martin Family

Michael & Wendy Davis

Foundation Jennifer Senior & Jenny McGee Jane Morley Sandra & Michael Paul Endowment Perpetual Trustee Company Limited Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard The Sandgropers D N Sanders Petrina Slaytor John & Josephine Strutt Ralph Ward-Ambler am & Barbara Ward-Ambler Richard & Suzie White William & Anna Yuille Anonymous (4)

Martin Dolan Dr William F Downey Daniel Droga Emeritus Professor Dexter Dunphy am Sharon Ellies Leigh Emmett Peter Evans Julie Ewington Elizabeth Finnegan Michael Fogarty Don & Marie Forrest Anne & Justin Gardener Kerry Gardner Colin Golvan qc In memory of José Gutierrez Paul Hannan

David Mathlin Janet Matton Jane Tham & Philip Maxwell Karissa Mayo Kevin & Deidre McCann Nicholas McDonald Ian & Pam McGaw Colin McKeith Bruce McWilliam Michelle Mitchell Suzanne M Morgan Glenn Murcutt ao Baillieu Myer ac Stuart Nash Nola Nettheim Anthony Niardone & Glen Hunter Paul O’Donnell Anne & Christopher Page L Parsonage Prof David Penington ac GV Pincus Lady Primrose Potter ac Beverley Price Mark Renehan Mrs Tiffany Rensen Dr S M Richards am & Mrs M R Richards Warwick & Jeanette Richmond

VIRTUOSO $1,000 – $2,499

Gail Harris

in Memory of Andrew Richmond

Jennifer Aaron

Christian Holle

Em. Prof. A W Roberts am

AJ Ackermann

Merilyn & David Howorth

Julia Champtaloup & Andrew Rothery

Annette Adair

Penelope Hughes

J Sanderson

Linda Addy

Professor Andrea Hull ao

In Memory of H. St. P. Scarlett

Samantha & Aris Allegos

Launa & Howard Inman

Lucille Seale

Jane Allen

John Griffiths & Beth Jackson

Dr Margaret Sheridan

Diana & Brian Snape am

John & Gay Cruikshank

Rob Mactier

Maria Sola

Marie Dalziel

Dr & Mrs Donald Maxwell

Dr P & Mrs D Southwell-Keely

Mari Davis

Kathleen McFarlane

Keith Spence

Mrs Sandra Dent

H E McGlashan

Mark Stanbridge

Kath & Geoff Donohue

JA McKernan

Ross Steele am

In Memory of Raymond Dudley

Peter & Ruth McMullin

In memory of Dr Warwick Steele

Margaret Dunstan

Margaret McNaughton

Charles Su & Emily Lo

M T & R L Elford

Tempe Merewether

Tamas & Joanna Szabo

Christine Evans

Marie Morton

Victoria Taylor

Carol Farlow

Elizabeth Manning Murphy

Robert & Kyrenia Thomas

Eddy Goldsmith & Jennifer Feller

Dr G Nelson

Anne Tonkin

Penelope & Susan Field

J Norman

Matthew Toohey

Jean Finnegan & Peter Kerr

Graham North

Angus Trumble

Jessica Fletcher

Robin Offler

Ngaire Turner

Peter Fredricson

John O’Sullivan

Kay Vernon

Steven Frisken

Willy & Mimi Packer

Rebecca & Neil Warburton

Sam Gazal

Robin Pease

John Wardle

Brian Goddard

Kevin Phillips

Marion W Wells

Marilyn & Max Gosling

Michael Power

Gillian Woodhouse

Arnoud Govaert

John Prendiville

Don & Mary Ann Yeats

Jillian Gower

Beverly & Ian Pryer

Rebecca Zoppetti Laubi

Annette Gross

Jennifer Rankin

Anonymous (22)

Kevin Gummer & Paul Cummins

John Riedl

CONCERTINO $500 – $999

Lesley Harland

Angela Roberts

Gaye Headlam

GM & BC Robins

Kingsley Herbert

Sally Rossi-Ford

Dr Penny Herbert

Robin Rowe

A & M Barnes

in memory of Dunstan Herbert

Mrs J Royle

Robin Beech

Dr Marian Hill

Christine Salter

Ruth Bell

Sue & David Hobbs

Garry E Scarf & Morgie Blaxill

Max & Lynne Booth

Geoff Hogbin

Rena Shein

In memory of Peter Boros

Bee Hopkins

Florine Simon

C Bower

Dr & Mrs Michael Hunter

Casimir Skillecorn

Debbie Brady

Margaret & Vernon Ireland

Fionna Stack

Elsa Atkin am Rita Avdiev Lyle Banks

Johnson oam

Denise Braggett

Barry Johnson & Davina

Mrs Pat Burke

Caroline Jones

Georgina Summerhayes

Hugh Burton Taylor

Bruce & Natalie Kellett

In memory of Dr Aubrey Sweet

Heather Carmody

Graham Kemp & Heather Nobbs

Gabrielle Tagg

Jessica Carvell

Jacqueline & Anthony Kerwick

David & Judy Taylor

Fred & Angela Chaney

Karin Kobelentz & Miguel Wustermann

Simon Thornton

Dr Roger Chen

Ms Sarah R Lambert

Peter & Karen Tompkins

Colleen & Michael Chesterman

Prof Kerry Landman

Dr Ed & Mrs Julie van Beem

Richard & Elizabeth Chisholm

Philip Lawe Davies

G C & R Weir

ClearFresh Water

Kwong Lee Dow

Taryn Williams

Paul Cochrane

TFW See & Lee Chartered Accountants

Sally Willis

Spire Capital

Dimitra Loupasakis

Brian Zulaikha

P Cornwell & C Rice

Megan Lowe

Anonymous (35)

Professor Fiona Stewart

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 & Managing 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

Mrs Janet Holmes à Court ac

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

Mr Simon & Mrs Katrina Holmes à Court Observant Mr John Kench Chairman, Johnson Winter & Slattery Mr Andrew Low Mr David Mathlin Ms Julianne Maxwell Mr Michael Maxwell

Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Ms Tracey Fellows Chief Executive Officer, REA Group

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 Senior Partner, Crestone Wealth Management Mr Peter Tonagh Chief Executive Officer, FOXTEL Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd

Ms Naomi Milgrom ao

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Jan Minchin Director, Tolarno Galleries

Mr David & Mrs Julia Turner

Mr Jim & Mrs Averill Minto Mr Alf Moufarrige ao Chief Executive Officer, Servcorp

Mr Bruce Fink Executive Chairman, Executive Channel International

Mr John P Mullen Chairman, Telstra

Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel

Mr Ian Narev Chief Executive Officer Commonwealth Bank

Mr Mark Robertson oam & Mrs Anne Robertson

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.

The ACO’s 2016 International Festivals Tour is supported by the Australian government through the Ministry for the Arts’ Catalyst—Australian Arts and Culture Fund

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 Lewin (Chair)

Guido Belgiorno-Nettis am Chairman, ACO & Managing Director, Transfield Holdings Bill Best Maggie Drummond Tony Gill John Kench Chairman, Johnson Winter & Slattery Jennie Orchard Tony O’Sullivan Peter Shorthouse Senior Partner, Crestone 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 Shelley Meagher Director, Do it on the Roof

JoAnna Fisher Fay Geddes Deb Hopper Lisa Kench Jules Maxwell Karissa Mayo Edwina McCann

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

Elizabeth McDonald Nicole Sheffield John Taberner Lynne Testoni BRISBANE Philip Bacon Kay Bryan

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

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 45

ACO PA S ACO PAR TRNER T NERS PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

CONCERT AND SERIES PARTNERS

ASSOCIATE PARTNER: ACO VIRTUAL

MEDIA PARTNERS

EVENT PARTNERS

ACO NE W S MEMORIAL E VENT In April, a very special event was held at the Art Gallery of NSW in memory of Professor Janet Carr, whose life was celebrated at a gathering of friends and family in the beautiful surrounds of the John Schaeffer Gallery. Janet’s sister Elizabeth, her niece Julie, and several cousins and country friends, travelled from the Orange district where Professor Carr grew up, to be there. Friend and long-term collaborator Professor Roberta Shepherd spoke warmly of her, describing a woman of great intellectual curiosity, with a rigorous and probing approach to knowledge.

PICTURED: The Late Professor Janet Carr Photo: Robyn McLeod

Professor Carr was a pioneer of modern neurological rehabilitation and evidence-based physiotherapy, with a career dedicated to stroke recovery that spanned some 50 years. She and Professor Shepherd wrote and edited 13 books with translations into European and Asian languages. Their research collaboration investigated the effects of specific motor training on functional motor performance and recovery after stroke. Their work continues to play a crucial role in the field, with current researchers using their findings to further investigate new ways of stimulating neuroplasticity. Janet’s respect and affection for the ACO began more than two decades ago, when, after a biomechanics conference in Amsterdam, she and Roberta went to a concert given by the Orchestra at the Concertgebouw. On her return to Australia, she subscribed to the whole season and did so every year after that until she died in November 2014. The ACO is enormously grateful to Professor Carr for her wonderful and generous bequest to the Orchestra.

PICTURED, BELOW: Prof. Roberta Shepherd Photo: Jamie Williams PICTURED, BELOW RIGHT: Helena Rathbone, Maja Savnik, Nicole Divall and Melissa Barnard perform for guests. Photo: Jamie Williams

ACO NE W S EDUCATION NE WS The ACO Inspire Quartet performed an interactive concert in the ‘Main Street’ of the Royal Children’s Hospital, Melbourne last month. ACO Inspire Quartet violinist Peter Clark introduced students at the Hospital’s Education Institute to the emotional connection between music and art – just one of the many topics in the ACO Music & Art Program. This innovative program is under way in eight schools across Australia, with Peter and ACO Inspire Quartet cellist Paul Zabrowarny delivering interactive lessons via a virtual classroom. The second year of the Penrith Strings Program has begun at the Joan Sutherland Performing Arts Centre, with 31 students working with musicians from both the ACO and the Penrith Symphony Orchestra. String Workshops have also begun in earnest, with students from Rockhampton, Cairns, the Gold Coast, Melbourne, Adelaide, Sydney and Canberra already well into their programs. In addition, a special workshop for students participating in the Victorian State Schools Spectacular has been established. PICTURED, RIGHT: Pekka Kuusisto and ACO Collective perform for ACO Music & Art Program students from St Marys North Public School and the Penrith Strings at the start of their first tour for 2016.

PICTURED, BELOW RIGHT: One of the Education Institute students performed Danny Boy with accompaniment from the ACO Inspire Quartet. PICTURED, BELOW: Audience members were encouraged to create artworks, play percussion and dance to the ACO Inspire Quartet.

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