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Satu Vänskä, Principal Violin
MURAL: MAYA HAYUK PHOTO: CAITLIN WORTHINGTON DESIGN: BRONWYNROGERS.COM WESF1341
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As one of the world’s leading oil and gas companies, Total appreciates that technical excellence, hard work, creativity and innovation are important drivers of success. When looking to form a flagship arts partnership in Australia, it was these attributes that attracted Total to the Australian Chamber Orchestra and its unique and exceptional musical performances. For the fourth year, Total will be a National Tour Partner of the ACO, this time supporting the Slava, Rodrigo & Beethoven VII tour. Australia is a key country for Total out of global operations which span 130 countries and include 100,000 employees. Here we are an active participant in Australia’s oil and gas industry, investing many billions as a major partner in two LNG projects, and offshore exploration interests. With Total committed to Australia long term, we hope to continue to make a positive contribution to Australia’s economy and to support exciting artistic endeavours like the ACO for as many as possible to experience. I very much hope you enjoy tonight’s performance.
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VA L E MICH A EL B A L L PICTURED, CLOCKWISE FROM TOP: Michael Ball with Richard Tognetti at the Bowral Fundraiser, 2009. Michael Ball with Anne & John Leece, 2013. Michael Ball with Peter Yates, 2012. Michael Ball with Jessica Block and Guido Belgiorno-Nettis, 2011. Michael Ball with Barry Humphries, 2010.
MICHAEL BALL
am
(1936–2016)
The ACO family recently lost one of our most passionate supporters, whose impact on the ACO has been profound. Michael Ball’s philanthropic leadership and passion was as boundless as it was exemplary and will have an impact on the ACO long into the future. Michael’s close association with the ACO began in 2005. From his position as Chairman of the ACO’s Bowral Event Committee through to his support of Richard Tognetti’s chair as a Medici Patron, his considerable support for the ACO’s National Education Program, and as a Patron of other projects, he was a passionately dedicated philanthropist and advocate for music excellence and music education. Michael’s commitment to the arts and to arts philanthropy was not simply a matter of donating money, it was also about giving his time and building important support networks. In this sense, he acted as an ambassador for the ACO, using his passion and sense of adventure to encourage others to give generously. His commitment to increasing private support for Australia’s cultural life was prolific. He was a leading philanthropist, an ambassador, and a true friend to Richard and all at the ACO. We will miss him greatly, and offer our deepest condolences to Daria, his family, and his many, many friends. 9
“It’s clear that everything the ACO does is in the service of the music” MARGARET THROSBY
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AC040: The Fortieth Year captures the ACO on stage, in rehearsal, and in their private lives. With revealing text by Margaret Throsby and elegant photography by Anthony Browell, ACO40 is a sumptuous souvenir of “one of the greatest chamber orchestras in the world” (The Guardian, UK). Released in a limited single-run edition of 1000 copies only. GUARANTEE YOUR COPY NOW LIMITED RUN – ONLY AVAILABLE WHILE STOCKS LAST
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ME S S AGE F ROM T HE M A N A GING DIR E C T OR
This concert, featuring dazzling guitar virtuoso Slava Grigoryan, has been much anticipated by audiences since its announcement late last year. The magic combination of Slava and the ACO is always celebratory, and with this program we mark the passing of one of our most passionate supporters, the late Michael Ball. We will miss him greatly, and fondly remember all that he has done over many years for the ACO. In this spirit of celebration and generosity I also mark the arrival in October of this year of the biggest single gift in our 41-year history – a 1729 Guarneri cello (played by our Principal Cello Timo-Veikko ‘Tipi’ Valve) having been on loan to us for over ten years. This phenomenal gift comes from our most generous patron, Peter Weiss. The ACO has enjoyed Peter’s company, friendship and support in many different guises over the years: as Patron of the Instrument Fund following an extraordinary $1m foundation donation; as Medici Patron of our Principal Cello, Tipi; as a Life Patron; as Patron of the Emerging Artists’ and Education Program; as Patron of the 2010 Trans-Atlantic Tour; as co-sponsor of numerous concerts; as founder and patron of special event concerts and recordings; as Chair of the Medici Council; and as former Deputy Chair of the ACO Board. Peter is an essential part of what makes the Australian Chamber Orchestra great. And now, with this extraordinary gift of the Guarneri cello, his connection to and generosity for the ACO will go on in perpetuity. Peter, we offer you our profound thanks. The generosity of our donors and friends like Michael and Peter, in concert with our audience and our many corporate supporters, keep the ACO ‘on the road’. I particularly thank Total, our National Tour Partner, for their ongoing relationship with the ACO and their assistance in bringing these concerts to you. With only a few concerts left in this year’s roster, it’s time to secure your seats for next year. Single tickets go on sale from 24 November, so make sure you book now to avoid missing out!
Richard Evans 11
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SL AVA , RODR IGO & BEE T HOV EN V II Richard Tognetti Artistic Director & Violin Slava Grigoryan Guitar Helena Rathbone Violin 1 GORDON KERRY So dream thy sails * Quasi barcarola – Inquieto – Tranquillo
world premiere 1
RAVEL Le tombeau de Couperin 2 I. Prélude II. Forlane III. Menuet IV. Rigaudon RODRIGO Concierto de Aranjuez I. Allegro con spirito II. Adagio III. Allegro gentile Interval BEETHOVEN Symphony No.7 in A major, Op.92 I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto IV. Allegro con brio Approximate durations (minutes): Melbourne 21 – 23 – INTERVAL – 39 Other cities 15 – 23 – INTERVAL – 39 The concert will last approximately one hour and 50 minutes, including a 20-minute interval. * Gordon Kerry’s So dream thy sails was commissioned by Andrew and Fiona Johnston to mark the 90th birthday of Andrew’s father, David Johnston. 1 Melbourne only 2 Adelaide, Brisbane, Canberra, Perth and Sydney
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 13
WHAT YOU ARE ABOUT TO HE AR ‘I consider it my duty to thank all the worthy members who took part in the concerts given on the 8th and 12th of December for the benefit of the Imperial Austrian and Royal Bavarian warriors wounded at the battle of Hanau, for the zeal displayed by them in so worthy a cause.’ So began Beethoven’s letter of thanks he wrote after the last concert in the assembly hall of the University of Vienna. The ‘worthy members’ included Ignaz Schuppanzigh (leader of the first violins), Antonio Salieri (Chief Capellmeister) and Louis Spohr, Giacomo Meyerbeer and Ignaz Moscheles, among others. There is perhaps no concert in the history of music that inspires the sense of ‘I wish I were there when. . .’ more than these concerts, with this motley crew of performers – not only the ‘celebrities’ but the array of other ‘regular’ players. Especially considering that today’s equivalent would be going to the RSL for a concert!
PICTURED: Ludwig van Beethoven
Beethoven composed his Seventh and Eighth Symphonies more or less concurrently in 1811 and 1812. He conducted the first public performance of No.7 at those two concerts in December 1813. Even though the hit of the evening was the premiere of his wartime occasional piece Wellington’s Victory, it was the Allegretto second movement of the Seventh Symphony that was encored by popular demand. In this symphony, Beethoven explores a whole universe of emotions. Even though it isn’t programmatic, he somehow manages to draw us in, examining the minutiae of day-to-day existence in each of the four movements. Much has been written about the Seventh Symphony, including reviews by other composers. One of the most-used is Wagner’s declaration that the Seventh Symphony is ‘the apotheosis of the dance’. While, on the surface, the symphony isn’t especially dance-y, I do think that the first movement is forlane-like in its rhythm. A forlane is, according to Grove, ‘a lusty, but graceful, dance of flirtation’. There are not many forlanes in music. And we have performed one recently (in Bach’s first Orchestral Suite), and there is another on this program in Ravel’s Le tombeau de Couperin.
PICTURED: Maurice Ravel
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Ravel began work on his forlane in Le tombeau around the time the Catholic Church banned the tango as an inherently lascivious dance, offering instead the forlane as an alternative. Ravel wrote to his friend Cipa Godebski that he was transcribing a forlane by Couperin that he would like to have ‘danced at the Vatican by Mistinguett and Colette . . . in drag’!
Le tombeau de Couperin is Ravel’s response to the ravages of war, tearing apart the world around him. Written originally for piano, Ravel himself arranged four of the movements for orchestra shortly after the work’s piano premiere in April 1919. Each was originally dedicated to a friend who had fallen at the front. The Prelude is dedicated to Lieutenant Jacques Charlot; the Forlane to Lieutenant Gabriel Deluc; the Menuet to Jean Dreyfus, at whose parents’ house Ravel completed Le tombeau; and the Rigaudon to his childhood friends, Pierre and Pascal Gaudin.
PICTURED: Joaquin Rodrígo
There is no doubt that Ravel was a brilliant orchestrator. One might say, ‘arranged’, but it is far more accurate to say that Ravel ‘instrumented’ his compositions. French poet and critic André Suarès explains, ‘Ravel always writes the tone, never the note.’ And Jean-François Monnard says of the orchestral version of Le tombeau, ‘Thanks to their orchestral setting, the four movements of the Le tombeau undeniably assume greater emotional weight, and the pastel tones, the shimmering of the woodwinds that let dissonances slide about with subtlety contribute to conveying a transparent harmonic structure. One stands agape in view of the wealth of tone colors and their subtle interconnections.’
Photo: Keith Saunders
Slava Grigoryan returns to the ACO stage for Joaquín Rodrigo’s Concierto de Aranjuez. The piece takes its title from the summer palace of Spain’s Bourbon Kings. It’s an elegant cream and terracotta coloured building, with meticulously landscaped gardens. For Rodrigo it became a mental image of an idealised Spain, evoking ‘the fragrance of magnolias, the singing of birds and the gushing of fountains’. Slava says of the Concierto that it is ‘a fantastic jewel in the repertoire, an exceptionally important piece for all guitarists, without doubt the most popular work for guitar and orchestra. I’ve had a long history with this wonderful work and after almost twenty years since my last performance of this with the ACO, I can’t wait to explore it with them again’.
PICTURED: Gordon Kerry
Our Melbourne audiences will hear the world premiere of Gordon Kerry’s concerto for violin, horns, harp and strings, So dream thy sails. This work was commissioned by long-time ACO supporters, Andrew and Fiona Johnston, and is a celebratory piece for Andrew’s father, David, who is turning 90. The only proviso was that it should reflect David’s love of sailing on Port Phillip Bay.
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The ACO and Voyages Ayers Rock Resort are delighted to once again present three sublime concerts over one sensational weekend at the ACO Uluru Festival, 2-4 June 2017. Led by Richard Tognetti, these three transcendental concerts will be complemented by memorable, unique dining events and tailored cultural tours to immerse yourself in the spiritual heart of Australia.
Book early to avoid disappointment. Visit www.ayersrockresort.com.au/ acoulurufestival or call 1300 134 044 EVENT PARTNER
ABOUT THE MUSIC GORDON KERRY Born 1961. SO DREAM THY SAILS: CONCERTO FOR SOLO VIOLIN, HORNS, HARP AND STRINGS Composed 2014. Quasi barcarola – Inquieto – Tranquillo
PICTURED: Gordon Kerry. Photo: Keith Saunders
Gordon Kerry lives on a hill in Victoria. His catalogue includes operas, symphonic works (including six concertos), and a body of chamber and vocal music composed for ensembles, orchestra and choirs in Australia and abroad. He was Musica Viva Australia’s Featured Composer in 2012, and his first string quintet was that year’s AMC APRA Instrumental Work of the Year. He has recently completed his second string quintet for the Australian String Quartet and Pieter Wispelwey. Other recent pieces include the opera Snow White and Other Grimm Tales (with John Kinsella),
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‘The piece attempts to capture the feeling of the various moods of the sea . . .’ GORDON KERRY a violin concerto and chamber works for Melbourne Chamber Orchestra, Syzygy, Plexus, Huntington Estate Festival, the Australia Ensemble and Ensemble Liaison with the Young Voices of Melbourne. Current projects include his fifth string quartet (for the Acacia Quartet) and a fourth opera (for Victorian Opera). In 2009, he was awarded the Ian Potter Foundation’s Established Composer Fellowship, which supported new works for the Sydney Symphony Orchestra, Scottish Chamber Orchestra and Sydney Chamber Choir, and the opera Midnight Son with Louis Nowra for Victorian Opera. He has also held fellowships from the Australia Council, Peggy Glanville-Hicks Trust and Virginia Center for the Creative Arts. He studied in Melbourne with Barry Conyngham. The composer writes: It is a wonderful thing for a composer to receive a message from a philanthropically-minded person who wants to commission a new work, especially when that work will be of great personal significance to the commissioner. So I was thrilled that Andrew and Fiona Johnston wanted me to write a substantial piece to celebrate the forthcoming 90th birthday of Andrew’s father, David Dawson Johnston, and that the ACO was happy to perform it. Andrew agreed that a violin concerto would be ideal, and stipulated only that the work should if possible reflect his father’s great love of sailing on Port Phillip Bay. The piece attempts to capture the feeling of the various moods of the sea, from a gentle ‘barcarolle’ at the start which features the soloist in long singing lines over a rocking accompaniment, to a fast and much less predictable central movement, and finally a slow finale of wide vistas and a soaring solo line. The solo violin interacts with the strings en masse and as individuals or smaller groups; horns and harp add a maritime colour and, where necessary, a little extra heft and bass reinforcement to the orchestral tutti. Various poetic images of sailing influence the work – the tenacious heroes of Tennyson’s Ulysses, and the Anglo-Saxon Seafarer as translated by Ezra Pound and J M Couper, for instance, and the sailing vessels that stream through Kenneth Slessor and James McAuley. But the title comes from a fragment by Hart Crane, for whom, like me, the sea was a source of inspiration. 18
MAURICE RAVEL Born 1875. Died 1937. LE TOMBEAU DE COUPERIN Composed 1914/17. I. Prélude II. Forlane III. Menuet IV. Rigaudon The French critic André Suarès, writing in 1925, stressed that ‘nothing could be more objective than the art of Ravel, or more deliberately intended to be so. If music is capable of painting an object without first revealing the painter’s feeling towards it, then Ravel’s music achieves this more than any other. We have to go back to the 18th century, to the divertissements of Couperin and Rameau, to encounter a similar inclination.’ In Le tombeau de Couperin it is Ravel himself who takes us back to the 18th century. The music isn’t a pastiche, however, but an anachronistic tribute that proclaims Ravel’s affinity with the French Baroque masters in his conception of music as diversion, his taste for ‘artifice’, and his preference for emotionally disengaged dance forms. PICTURED: Maurice Ravel, 1914.
In his title Ravel revived the 17th-century French literary and musical tradition of the tombeau (literally ‘tomb’ or ‘tombstone’) –
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‘I’m beginning two series of piano pieces: first, a French suite – no, it’s not what you think . . .’ RAVEL originally poetry written to commemorate a mentor or colleague. The earliest musical tombeaux were by lutenists, but the genre was quickly adopted by French harpsichordists: Louis Couperin and D’Anglebert both commemorated their teacher Chambonnières with tombeaux for the harpsichord, while in the next generation François Couperin (1668–1733) honoured the tradition with his Apothéoses of Corelli and Lully. Ravel’s tombeau was conceived towards the end of 1914, when the composer wrote to Lucien Garban (of Durand publishers): ‘I’m beginning two series of piano pieces: first, a French suite – no, it’s not what you think – the Marseillaise doesn’t come into it at all, but there’ll be a forlane and a jig; not a tango though . . .’ The sketches for the ‘French suite’, largely completed, were set aside on the outbreak of World War I, and it was not until 1917 that they emerged as Le tombeau de Couperin – Ravel’s last work for solo piano, each of its six movements dedicated to the memory of a friend who had died in the war. The work’s musical tribute is cast more broadly: ‘. . . not so much,’ said Ravel, ‘to Couperin himself as to 18th-century French music in general.’
PICTURED: Cover of the first printed edition of Le tombeau de Couperin designed by Ravel himself.
Ravel prepared for the composition of Le tombeau by transcribing a forlane from François Couperin’s Concerts royaux. The buoyant rhythms and refrain structure of his own Forlane reveal their origins in the vigorous 16th-century Italian dance as heard through 18th-century French ears. But the melody and acid harmonies are all Ravel’s. Similarly, the flowing Menuet is more like Ravel’s own Menuet antique than any by Couperin, for all the antique mood established by its modal harmonies and classically balanced phrases. It was the concept of the French Baroque suite – each dance with its specified character and set tempo – rather than its musical style that emerged in Le tombeau. And the apparent contradiction of a suite of dances dedicated to the memory of fallen comrades is perfectly resolved, although the muted gracefulness of the music suggests serenity, even resignation, rather than melancholy. Shortly after Marguerite Long gave the first performance in 1919, Ravel orchestrated four of the movements – Prélude, Forlane, Menuet and Rigaudon – omitting the Fugue and the pianistic Toccata that had concluded the original suite. The scoring is light – pairs of winds (including piccolo and cor anglais), two
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PICTURED: The house in Lyons-la-Forêt where Ravel composed Le tombeau de Couperin.
horns, trumpet, harp and strings – preserving the translucence, simplicity and restrained mood of the original. Ravel makes much of the contrast between woodwinds and strings, often passing the melodies between the two sections, but the winds are given prominence from the very beginning, with a breathless succession of rapidly articulated notes for the oboe. The orchestration takes advantage, too, of the enhanced capabilities of Erard’s double-action harp, and the feeling of perpetual motion in the Prélude is brought to a close with ravishing trills swept up in a harp glissando. The trumpet (reserved for subtle effect in Ravel’s orchestration) adds brilliance to the exuberant opening of the final movement (a vigorous Provençal Rigaudon), balancing the prominence of woodwind and strings in the preceding movements. Thus transformed, Le tombeau de Couperin has been claimed by many to surpass the original in its ingenuity and variety – a tribute also to its composer’s infallible ear for instrumental colour. 21
JOAQUÍN RODRIGO Born Sagunto 1901. Died Madrid 1999. CONCIERTO DE ARANJUEZ Composed 1939. I. Allegro con spirito II. Adagio III. Allegro gentile
PICTURED: Joaquin Rodrigo.
It is unlikely that when Rodrigo composed his Concierto de Aranjuez he envisaged it would one day be transcribed for flugelhorn solo with brass band accompaniment and used in a smash-hit movie (Brassed Off). Nor would he have expected it to form the basis of an array of popular and jazz classics, even television advertisements! The Concierto de Aranjuez is arguably one of classical music’s most famous concertos and definitely the most universally popular work for guitar. The work was composed in Paris in 1939, during a particularly bleak period in Spanish history – the civil war was barely over and the Second World War had scarcely begun. Rodrigo dedicated the concerto to the brilliant Spanish guitarist Regino Sainz de la Maza. Despite his fame as the composer of ‘that concerto’, Rodrigo’s oeuvre comprises over 60 vocal and choral works, including major song cycles, as well as a vast tract of other instrumental works.
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Joaquín Rodrigo was born in Sagunto (Valencia) in 1901. As a result of an epidemic of diphtheria, he lost his eyesight completely at about the age of three. For some, such a sensory deprivation may have precluded many creative pursuits; it simply made Rodrigo more determined to excel at music. His first compositions date from about 1923. He wrote in Braille and then dictated his scores afterwards to a copyist. His wife, the pianist Victoria Kamhi whom he married in 1933, was his copyist and most important musical collaborator until her death in 1997.
PICTURED: Rodrigo dedicated the concerto to the Spanish guitarist Regino Sainz de la Maza.
Rodrigo’s compositional life was distinguished in a myriad of genres, but the Concierto de Aranjuez remains his most famous work. His daughter Cecilia once commented: ‘The music [my father] wrote for guitar is so famous that it overshadowed everything else. It is not fair, but then life is not fair – it happened to Ravel and his Boléro and to Bernstein with West Side Story.’ With a mysterious and seductive Hispano-Arabic flavour, the Concierto de Aranjuez is in three movements. The first movement builds with confidence an authority which imbues the entire work. The dominating force of this movement is rhythm, with patterns of shifting accentuation giving it additional piquancy. Rodrigo referred to these syncopated indulgences as ‘insistent rhythmic surges’. The melody darts between flamenco idioms and modern harmonies. The haunting and bittersweet slow movement (familiar to some as the 1960s pop song Mon Amour) is the epitome of eloquent appeal. Its profound tenderness, vulnerability and despair is 23
‘ . . . the Concierto is a curious mixture of the passion of flamenco and the restraint of the Baroque.’ RODRIGO
PICTURED: The Royal Palace of Aranjuez. The wings enclosing the courtyard were added in the 18th century.
typical of a cante hondo (deep song). The Adagio is launched by a flourish of B minor chords in the solo guitar part. What follows is a mournful dialogue between the guitar and orchestral soloists, especially the plangent cor anglais. A spirited rococo-flavoured court dance, the third movement is similar in feel to the first movement. Once again, shifting rhythmic impulses dapple the orchestral texture. Even though this movement may have a lilting simplicity to it, the soloist is required to negotiate almost the entire range of the guitar’s possibilities. The stylish and at times discreet scoring of the concerto guarantees that a feeling of airiness prevails. Rodrigo described the Concierto as being a curious mixture of the passion of flamenco and the restraint of the Baroque: ‘Throughout the veins of Spanish music, a profound rhythmic beat seems to be diffused by a strange phantasmagoric, colossal and multiform instrument – an instrument idealised in the fiery imagination of Albéniz, Granados, Falla and Turina. It is an imaginary instrument that might be said to possess the wings of the harp, the heart of the grand piano and the soul of the guitar . . . It would be unjust to expect strong sonorities from this Concierto; they would falsify its essence and distort an instrument made for subtle ambiguities. Its strength is to be found in its very lightness and in the intensity of its contrasts. The Concierto de Aranjuez is meant to sound like the hidden breeze that stirs the treetops in the parks, and it should be only as strong as a butterfly and as dainty as a veronica flower.’
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LUDWIG VAN BEETHOVEN Born Bonn 1770. Died Vienna 1827. SYMPHONY NO.7 IN A, OP.92 Composed 1811/12. I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto IV. Allegro con brio Beethoven’s Symphony No.7 was composed around 1811 and 1812, just after one disastrous love affair and just before the end of another. Since the late 1790s he had been aware that he was losing his hearing, and of the devastating effect that this ailment was having on his musical and social life. By 1809, the threat that was Napoleon became a terrifying reality as his troops took over Vienna. The war economy ruined Beethoven’s income, and he suffered from more than his usual amount of ill health.
PICTURED: Ludwig van Beethoven. 25
It was about this time that Beethoven fell dramatically in love with his doctor’s daughter, the nubile 18-year-old Therese Malfatti. Given that Beethoven was already 40, unwell and famously bad-tempered, it is unsurprising that his proposal of marriage was rejected. Even less surprising is Dr Malfatti’s recommendation that Beethoven should travel to Baden straight away, to take the waters for his health. Baden didn’t help much in the end, but a subsequent trip to Teplitz in 1811 did the trick.
PICTURED: Beethoven dedicated his 7th Symphony to Count Moritz von Fries.
The renowned author and statesman, Goethe, met Beethoven during this visit to the Bohemian resort town. The composer was a huge fan (as was almost any cultured person of the time). However, the author’s comments about the occasion can perhaps be read as diplomatically focusing on Beethoven’s merits. ‘I have never encountered an artist of such spiritual concentration and intensity, such vitality and magnanimity,’ recalled Goethe. ‘I can well understand how hard he must find it to adapt himself to the world and its ways.’ Was this code for ‘excusably rude, obviously brilliant’? Many people have left similar remarks regarding Beethoven’s utter disdain for conventions and common politeness. It’s possible to conclude that it was this same lack of concern for the accepted ways of doing things that allowed him to be such an extraordinary musical innovator. On his return to Vienna, Beethoven began work again, and the Seventh Symphony was completed by spring of 1812 – just before he wrote his now-famous letter to the mysterious, still anonymous ‘Immortal Beloved’, most often thought to have been Antonie Brentano. Alas, by autumn, Antonie had had to return to Frankfurt, and Beethoven plunged into a period of compositional barrenness and personal depression.
PICTURED: Johann Wolfgang (von) Goethe.
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The Symphony was premiered in 1813 (very successfully) at a concert marking victory over Napoleon, held to raise funds for injured veterans. Elsewhere on the program was Beethoven’s Wellington’s Victory, a bit of blatant flag-waving based on a sketch by Johann Mälzel. Mälzel, who organised the performance, is also regarded as the principal inventor of the metronome. For years, those who liked their Beethoven grand and stately assumed that the composer’s new metronome was faulty, believing that the indications (given above) were unthinkably fast. Opinions have since changed, and Mälzel’s reputation has been vindicated.
Wagner referred to the Seventh Symphony as ‘the Apotheosis of the Dance’. It is obligatory for program note writers to mention that Wagner referred to the Seventh Symphony as ‘the Apotheosis of the Dance’. The work’s sunny nature presumably reflects Beethoven’s brief period of happiness, when he thought things would come right with his Immortal Beloved, despite his other troubles. But it’s dangerous to play guessing games – the (not very) slow movement has been invoked as a wedding (Schumann), a pastorale (d’Indy) and a ‘bombastic march’ (Lenz). PICTURED: Beethoven’s 7th Symphony manuscript.
This last idea has inspired further consideration that perhaps it is a funeral march, and maybe even a bitter, triumphant counterpart to Beethoven’s Third Symphony, the ‘Eroica’. That ‘hero’ symphony also contains a funeral march; famously, the work was dedicated to Napoleon when he seemed to be champion of freedom, and the dedication was angrily removed when he declared himself Emperor. Against this theory, one has to consider that the metronome indication for the Seventh Symphony’s Allegretto makes it a pretty sprightly sort of funeral, if so; and to remember that generally, when Beethoven wanted to indicate a musical program, he did it himself (the ‘Pastoral’ symphony, for example). As well as lacking a standard slow movement, the Symphony No.7 also avoids the ordinary third-movement label of ‘scherzo’, which, literally meaning ‘joke’, might imply a trivial levity Beethoven did not feel. The final ‘con brio’ movement shocked its first hearers so much that, based on its perceived violence, rumours ran through Vienna that the composer had been mad or drunk when he wrote it. (The rumours, if you’re interested, were probably started by rival composer Carl Maria von Weber and Clara Schumann’s father.) Notwithstanding these shockwaves, the Symphony was an instant success. The critic who reviewed it as ‘the richest in melody, most satisfying and understandable of all Beethoven symphonies’ would find few to argue with. Notes by Gordon Kerry, Yvonne Frindle and the Australian Chamber Orchestra © 2016 27
SL AVA GRIGORYAN GUITAR
Photo by Simon Shiff
SELECT DISCOGRAPHY THIS TIME Which Way Music 022 THE SEASONS Which Way Music 014 BAND OF BROTHERS ABC Classics 476 4316 DISTANCE Which Way Music 006 RODRIGO GUITAR CONCERTOS (2-CD set) ABC Classics 481 2231 SONG OF THE GUITAR (5-CD set) ABC Classics 481 1040 AFTERIMAGE ABC Classics 476 2271
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Slava Grigoryan was born in 1976 in Kazakhstan and immigrated with his family to Australia in 1981. As a major prizewinner at the Tokyo International Classical Guitar Competition, Slava was signed by the Sony Classical Label in 1995 and he released four solo albums and many collaborative recordings for this label. At the age of 18, his first tour was with guitar legends Paco Peña and Leo Kottke. Slava has appeared with many of the world’s leading orchestras, including the London Philharmonic, BBC Concert Orchestra, the Northern Sinfonia, Royal Scottish National Orchestra, Israel Symphony Orchestra, Dresden Radio Orchestra, Klagenfurt Symphony Orchestra in Austria, Hallé Orchestra, Hong Kong Sinfonietta, New Zealand Symphony Orchestra, Australian Chamber Orchestra and all the Australian symphony orchestras. He has also performed with many string quartets and chamber ensembles including the Goldner, Flinders and Australian String Quartets in Australia, the Endellion, Skampa and Chillingirian quartets in the UK, and the Southern Cross Soloists. His debut classical album for ABC Classics, Sonatas and Fantasies, won Best Classical Album at the 2002 ARIA Awards. Subsequent recordings have included Play (with his brother Leonard), Saffire (The Australian Guitar Quartet), which went on to win the 2003 Best Classical Album ARIA, a recording of the Rodrigo Concertos with Leonard Grigoryan and the Queensland Symphony Orchestra, Nigel Westlake’s Shadowdances, and an album of baroque guitar concertos with the Tasmanian Symphony Orchestra under Benjamin Northey. The collaboration with brother Leonard is one of the most significant. They have now released their fifth duo recording, The Seasons, and have performed together in the UK, USA, Germany, Austria, France, Italy, Spain, Russia, Estonia, Croatia, Hungary, Hong Kong, Malaysia, Indonesia, South Africa and the UAE as well as playing regular tours of Australia. In 2012, the brothers collaborated with leading Australian baritone José Carbó on My Latin Heart – a No.1 selling album and show. Slava Grigoryan was appointed as Artistic Director of the Adelaide International Guitar Festival for 2010, 2012, 2014 and 2016.
RICHARD TOGNE T TI 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
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 was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015. 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, he has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovenian 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, most recently as soloist and director with the MSO and TSO. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutosławski’s Partita. In November this year, he becomes London’s Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall. 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 Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd. 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. 29
HELENA R ATHBONE VIOLIN
Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006, Helena was appointed Director and Leader of the ACO’s second ensemble, ACO Collective, which sources musicians from the Orchestra’s Emerging Artists’ Program. Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff, Canada.
Photo by Jack Saltmiras
Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin in the Fields. When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra, and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, the Christchurch Arts Festival, the Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. The group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008. Helena plays a 1759 Guadagnini violin loaned to her by the Commonwealth Bank.
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AUS TR ALIAN CHAMBER ORCHES TR 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.
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MUSICI A NS ON S TAGE
Richard Tognetti ao 1 Artistic Director & Violin
Helena Rathbone 2 Principal Violin
Satu Vänskä 3 Principal Violin
Glenn Christensen 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
Chair sponsored by Terry Campbell ao & Christine Campbell
Aiko Goto Violin
Mark Ingwersen Violin
Ilya Isakovich Violin
Liisa Pallandi Violin
Chair sponsored by Anthony & Sharon Lee Foundation
Chair sponsored by Ian Wallace & Kay Freedman
Chair sponsored by The Humanity Foundation
Chair sponsored by The Melbourne Medical Syndicate
Maja Savnik 4 Violin
Ike See Violin
Zoë Black Violin
Thibaud Pavlovic-Hobba Violin
Caroline Henbest Viola
Timo-Veikko Valve 5 Principal Cello
Chair sponsored by Di Jameson
Alexandru-Mihai Bota Viola
Nicole Divall Viola
Chair sponsored by Philip Bacon am
Chair sponsored by Ian Lansdown
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Chair sponsored by Peter Weiss ao
Melissa Barnard Cello
Julian Thompson 6 Cello
Chair sponsored by Martin Dickson am & Susie Dickson
Chair sponsored by The Grist & Stewart Families
Guy Ben-Ziony Viola
Dudu Carmel Oboe
Jane Gower Bassoon
Peter Mankarious Trumpet
Courtesy of Israel Philharmonic Orchestra
Courtesy of Orchestre Révolutionnaire et Romantique
Dmitry Malkin Oboe
Melissa Woodroffe Bassoon
Peter Miller Trumpet
Kees Boersma Double Bass Courtesy of Sydney Symphony Orchestra
Josef Bisits Double Bass Andrew Nicholson Flute Courtesy of West Australian Symphony Orchestra
Carolyn Harris Flute Courtesy of Sydney Symphony Orchestra
Courtesy of Jerusalem Symphony Orchestra
Olli Leppäniemi Clarinet Courtesy of Turku Philharmonic Orchestra
Christopher Tingay Clarinet
Daniel Yeadon Cello
Timothy Jones Horn Courtesy of London Symphony Orchestra
Lauren Manuel Horn Courtesy of Queensland Symphony Orchestra
Courtesy of West Australian Symphony Orchestra
Brian Nixon Timpani Chair sponsored by Robert Albert ao & Libby Albert
Julie Raines Harp
Courtesy of Sydney Symphony Orchestra
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 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 5 Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly donated to the ACO by Peter Weiss ao.
Players dressed by Willow and SABA
6 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 33
18–2 8 NOV EMBER CANBERRA, MELBOURNE, SYDNEY, WOLLONGONG SCHNITTKE SONATA FOR VIOLIN AND CHAMBER ORCHESTRA SCHUBERT 5 MINUETS AND 6 TRIOS, D.89 BEETHOVEN (ARR. STRINGS) STRING QUARTET IN C-SHARP MINOR, OP.131 The season finale of the ACO’s celebration of Beethoven quartets concludes on a grand scale, featuring fiery Italian violinist Lorenza Borrani.
BOOK NOW ACO.COM.AU 1800 444 444 (MON–FRI, 9AM–5PM)
NATIONAL TOUR PARTNER
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ACO BEHIND T HE S CENE S BOARD Guido Belgiorno-Nettis am Chairman Liz Lewin Deputy Bill Best John Borghetti Anthony Lee James Ostroburski 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 Aaron Curran Acting Marketing Manager Natasha Bowron Acting Communications Manager Hilary Shrubb Publications Editor Leo Messias Marketing Coordinator
Vicki Norton Education Manager
Cristina Maldonado Communications Coordinator
Caitlin Gilmour Education Assistant
Chris Griffith Box Office Manager
FINANCE
Dean Watson Customer Relations & Access Manager
Steve Davidson Corporate Services Manager Fiona McLeod Chief Financial Officer
Evan Lawson Box Office Assistant Christina Holland Office Administrator
EXECUTIVE OFFICE
Yvonne Morton Accountant
Richard Evans Managing Director
Shyleja Paul Assistant Accountant
Jessica Block Deputy General Manager
Nancy Chan Assistant Accountant
Ken McSwain Systems & Technology Manager
Alexandra Cameron-Fraser Chief Operating Officer
DEVELOPMENT
Emmanuel Espinas Network Infrastructure Engineer
Katie Henebery Executive Assistant to Mr Evans & Mr Tognetti ao
ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Anna Melville Artistic Administrator Lisa Mullineux Tour Manager Ross Chapman Touring & Production Coordinator Danielle Asciak Travel Coordinator Bernard Rofe Librarian
Robin Hall Subscriptions Coordinator
INFORMATION SYSTEMS
Anna McPherson Director of Development Yeehwan Yeoh Investor Relations Manager
AUSTRALIAN CHAMBER ORCHESTRA
Jill Colvin Philanthropy Manager
ABN 45 001 335 182
Lillian Armitage Capital Campaign Executive Tom Tansey Events Manager Tom Carrig Senior Development Executive Sally Crawford Patrons Manager Alice Currie Development Coordinator Belinda Partyga Researcher
Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW. In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail PO Box R21, Royal Exchange NSW 1225 Telephone (02) 8274 3800 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au
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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 Mark Goldstone 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
AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music
Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager
Claire Spencer 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.
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SL AVA , RODR IGO & BEE T HOV EN V II TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY
Pre-concert talks take place 45 minutes before the start of every concert. Sun 30 Oct, 1.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by John Weretka Mon 31 Oct, 6.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by John Weretka
Wed 2 Nov, 6.45pm Perth Concert Hall Pre-concert talk by Marilyn Philips
Sun 6 Nov, 1.15pm Sydney Opera House Pre-concert talk by Ken Healey am
Sat 5 Nov, 7.15pm Canberra – Llewellyn Hall Pre-concert talk by Ken Healey am
Mon 7 Nov, 6.15pm Brisbane – QPAC Concert Hall Pre-concert talk by Gillian Wills
Tue 1 Nov, 6.45pm Adelaide Town Hall Pre-concert talk by Vincent Plush Pre-concert speakers are subject to change.
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AC O 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 Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman ao
Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson Dr John Harvey ao
Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao
AC O BEQ UE S T PAT RONS The ACO would like to thank the following people, who remembered the Orchestra in their wills. 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 The late Kerstin Lillemor Andersen The late Mrs Sybil Baer Dave Beswick The Estate of Prof. Janet Carr The late Mrs Moya Crane 38
The late Colin Enderby The late John Nigel Holman The late Dr S W Jeffrey am The Estate of Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller
The late Josephine Paech The late Richard Ponder The late Mr Geoffrey Francis Scharer The Estate of Scott Spencer Margaret & Ron Wright
AC O CON T INUO CIRCL E The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Philanthropy Manager, on 02 8274 3835 for more information. Every gift makes a difference. Steven Bardy
Suzanne Gleeson
Ian & Joan Scott
Ruth Bell
Lachie Hill
Cheri Stevenson
Sandra Cassell
David & Sue Hobbs
Leslie C Thiess
Mrs Sandra Dent
Penelope Hughes
G.C. & R. Weir
Peter Evans
Mrs Judy Lee
Mark Young
Carol Farlow
Selwyn M Owen
Anonymous (13)
AC O 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. K Chisholm Dr Jane Cook
Michael Horsburgh am & Beverley Horsburgh
Gina Olayiwola
Paul & Roslyn Espie
Mike & Stephanie Hutchinson
Douglas & Elisabeth Scott
M Generowicz
Geoff & Denise Illing
J Skinner
Dr Roy & Gail Geronemus
Professor Anne Kelso ao
Christina Scala & David Studdy
The Hadfield Family
Macquarie Group Foundation
Anonymous (4)
Baillieu Myer ac
Kevin & Deidre McCann
AC O 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 & Daniela Gavshon
Louise & Andrew Sharpe
Este Darin-Cooper & Chris Burgess
Royston Lim
Emile & Caroline Sherman
Amy Denmeade
Gabriel Lopata
Michael Southwell
Catherine & Sean Denney
Rachael McVean
Helen Telfer
Jenni Deslandes & Hugh Morrow
Carina Martin
Karen & Peter Tompkins
Anthony Frith & Amanda Lucas-Frith
Barry Mowzsowski
Joanna Walton
Anita George
Paris Neilson & Todd Buncombe
Nina Walton & Zeb Rice
Alexandra Gill
James Ostroburski
Peter Wilson & James Emmett
Rebecca Gilsenan & Grant Marjoribanks
Nicole Pedler & Henry Durack
John Winning Jr.
Adrian Giuffre & Monica Ion
Michael Radovnikovic 39
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 the 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
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AC O SPECI A L COMMIS SIONS & SPECI A L PRO JE C T S SPECIAL COMMISSIONS PATRONS
MOUNTAIN PRODUCERS’ SYNDICATE
Peter & Cathy Aird
Major Producers
Gerard Byrne & Donna O’Sullivan
Janet Holmes à Court
Mirek Generowicz
Warwick & Ann Johnson
Peter & Valerie Gerrand
Producers
Corporate Partner
G Graham
Warren & Linda Coli
Lexington Partners
Anthony & Conny Harris
Anna Dudek & Brad Banducci
Manikay Partners
Rohan Haslam
Richard Caldwell
Corporate Supporter
John Griffiths & Beth Jackson
Wendy Edwards
UBS
Lionel & Judy King
David Friedlander
David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson Alison Reeve Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi Anonymous (1)
Tony & Camilla Gill John & Lisa Kench Charlie & Olivia Lanchester Rob & Nancy Pallin Peter & Victoria Shorthouse
Major Partner
MELBOURNE HEBREW CONGREGATION PATRONS LEAD PATRONS Marc Besen ac & Eva Besen ao
Alden Toevs & Judi Wolf Supporters The Penn Foundation The Rossi Foundation
SUPPORTER
THE REEF NEW YORK PRODUCERS’ SYNDICATE
Leo & Mina Fink Fund
The ACO would like to pay tribute to the following donors who support our international touring activities in 2016:
Executive Producers
EMANUEL SYNAGOGUE PATRONS
Tony & Michelle Grist
CORPORATE PARTNERS
Lead Producers
Adina Apartment Hotels
Mr Robert Albert ao & Mrs Libby Albert
Jon & Caro Stewart Foundation
Meriton Group
Linda & Graeme Beveridge
Major Producers
LEAD PATRON
Jan Bowen
Danielle & Daniel Besen Foundation
The Narev Family
Kay Bryan
Janet Holmes à Court ac
Stephen & Jenny Charles
Charlie & Olivia Lanchester
Ann Gamble Myer
Producers
Daniel & Helen Gauchat
Richard Caldwell
Yvonne von Hartel am & Robert Peck am peckvonhartel architects
Warren & Linda Coli
Janet Holmes à Court
Steve Duchen & Polly Hemphill
Bruce & Jenny Lane
Wendy Edwards
Delysia Lawson
Doug Elix
John Leece
Gilbert George
Julianne Maxwell
Tony & Camilla Gill
Jim & Averill Minto
Max Gundy (Board member ACO US) & Shelagh Gundy
INTERNATIONAL TOUR PATRONS
Alf Moufarrige Angela Roberts Mike Thompson Peter Weiss ao
Graham & Treffina Dowland
PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
Rebecca John & Daniel Flores Patrick Loftus-Hills (Board member ACO US) & Konnin Tam Sally & Steve Paridis (Board members ACO US) Peter & Victoria Shorthouse John Taberner (Board member ACO US) & Grant Lang Alden Toevs & Judi Wolf 41
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 20 September 2016 PATRONS
Andrew & Andrea Roberts
Dr John Harvey ao & Mrs Yvonne Harvey
Marc Besen ac & Eva Besen ao
Mark & Anne Robertson
Annie Hawker
Janet Holmes à Court ac
Margie Seale & David Hardy
Insurance Group Australia Limited
Rosy Seaton & Seumas Dawes
I Kallinikos
Tony Shepherd ao
John Kench
Mr Robert Albert ao & Mrs Libby Albert
John Taberner & Grant Lang
Key Foundation
Australian Communities Foundation – Ballandry Fund
Leslie C. Thiess
Anthony & Sharon Lee Foundation
David & Julia Turner
Mrs Judy Lee
Steven Bardy & Andrew Patterson
Libby & Nick Wright
Lorraine Logan
The Belalberi Foundation
E Xipell
Macquarie Group Foundation
Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis
Peter Yates am & Susan Yates
David Maloney & Erin Flaherty
Professor Richard Yeo
Julianne Maxwell
Peter Young am & Susan Young
P J Miller
Anonymous (3)
James Ostroburski & Leo Ostroburski
EMERGING ARTISTS & EDUCATION PATRONS $10,000 +
Andre Biet Helen Breekveldt Rod Cameron & Margaret Gibbs
QVB
Stephen & Jenny Charles
DIRETTORE $5,000 – $9,999
Rowena Danziger am & Ken Coles am
The Abercrombie Family Foundation
Mr Bruce Fink
Geoff Ainsworth & Jo Featherstone
Dr Ian Frazer ac & Mrs Caroline Frazer
Geoff Alder
Ann Gamble Myer
Peter Atkinson
Daniel & Helen Gauchat
Will & Dorothy Bailey Charitable Gift
John Grill & Rosie Williams
Veronika & Joseph Butta
Kimberley Holden
Caroline & Robert Clemente
Angus & Sarah James
Darrel & Leith Conybeare
Di Jameson
Mrs Janet Cooke
Miss Nancy Kimpton
Suellen Enestrom
Elmer Funke Kupper
Bridget Faye am
Liz & Walter Lewin
A G Froggatt
Andrew Low
Kay Giorgetta
Anthony & Suzanne Maple-Brown
Colin Golvan qc
Jim & Averill Minto
Louise Gourlay oam
Hamilton Wilson
John & Anne Murphy
Warren Green
Anonymous (5)
Louise & Martyn Myer Foundation
Tony & Michelle Grist
Jennie & Ivor Orchard
Liz Harbison
Bruce & Joy Reid Trust
Kerry Harmanis
42
Paul Schoff & Stephanie Smee & Friends John Rickard Greg Shalit & Miriam Faine Peter & Victoria Shorthouse Jann Skinner Sky News Australia St George Foundation Jon & Caro Stewart Anthony Strachan Alden Toevs & Judi Wolf Geoff Weir Westpac Group Simon & Amanda Whiston Shemara Wikramanayake Cameron Williams
MAESTRO $2,500 – $4,999
Jane Allen
Michael Horsburgh am & Beverley Horsburgh
Jennifer Aaron
Andrew Andersons
Merilyn & David Howorth
David & Rae Allen
Philip Bacon am
Penelope Hughes
DG & AR Battersby
Lyn Baker & John Bevan
Professor Andrea Hull ao
Beeren Foundation
Dr David & Mrs Anne Bolzonello
Sue Hunt
Mr & Mrs Daniel Besen
In memory of Peter Boros
Launa & Howard Inman
Jenny Bryant
Brian Bothwell
John Griffiths & Beth Jackson
Neil & Jane Burley
Benjamin Brady
Owen James
The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov
Vicki Brooke
Anthony Jones & Julian Liga
Diana Brookes
Brian Jones
Carol & Andrew Crawford
Bronwen L Jones
Heather Douglas
Dr Catherine Brown-Watt psm & Mr Derek Watt
Anne & Tom Dowling
Jasmine Brunner
Josephine Key & Ian Breden
Maggie Drummond
Sally Bufé
Julia Pincus & Ian Learmonth
Michele Duncan
Andrew & Cathy Cameron
Airdrie Lloyd
John Gandel ao & Pauline Gandel
Terry Campbell ao & Christine Campbell
Gabriel Lopata
Robert & Jennifer Gavshon
Ray Carless & Jill Keyte
Colin Loveday
Cass George
Patrick Charles
Robin Lumley
Nereda Hanlon & Michael Hanlon am
Angela & John Compton
Diana Lungren
Peter & Helen Hearl
Brooke & Jim Copland
Simon & Katrina Holmes à Court
R & J Corney
Garth Mansfield oam & Margaret Mansfield oam
Erica Jacobson
Judith Crompton
Mr & Mrs Greg & Jan Marsh
Ros Johnson
John Curotta
David Mathlin
Peter Lovell
Ian Davis & Sandrine Barouh
Janet Matton
Jennifer Senior & Jenny McGee
Michael & Wendy Davis
Jane Tham & Philip Maxwell
Jane Morley
Martin Dolan
Karissa Mayo
Nola Nettheim
Dr William F Downey
Nicholas McDonald
Sandra & Michael Paul Endowment
Daniel Droga
Ian & Pam McGaw
Patricia H Reid Endowment Pty Ltd
Pamela Duncan
Colin McKeith
Ralph & Ruth Renard
Emeritus Professor Dexter Dunphy am
Bruce McWilliam
Mrs Tiffany Rensen
Sharon Ellies
Helen & Phil Meddings
Fe & Don Ross
Dr Linda English
Michelle Mitchell
D N Sanders
Peter Evans
Glenn Murcutt ao
Petrina Slaytor
Julie Ewington
Stuart Nash
Howard & Hilary Stack
Elizabeth Finnegan
Anthony Niardone & Glen Hunter
John & Josephine Strutt
Michael Fogarty
Barry Novy & Susan Selwyn
Ralph Ward-Ambler am & Barbara Ward-Ambler
Don & Marie Forrest
Paul O’Donnell
Justin & Anne Gardener
L Parsonage
Kerry Gardner
Prof David Penington ac
M Generowicz
GV Pincus
Brian Goddard
Lady Primrose Potter ac
In memory of Jose Gutierrez
Mark Renehan
Richard & Suzie White Dr Mark & Mrs Anna Yates William & Anna Yuille Anonymous (4)
Mrs Angela Karpin
VIRTUOSO $1,000 – $2,499
Paul Hannan
Dr S M Richards am & Mrs M R Richards
Annette Adair
Gail Harris
Em Prof A W Roberts am
Linda Addy
Lachie Hill
Julia Champtaloup & Andrew Rothery
Barbara Allan
Christian Holle
J Sanderson
Samantha & Aris Allegos
Christopher Holmes
In Memory of H. St. P. Scarlett 43
Lucille Seale
Annabel Crabb
H and R McGlashan
Mr John Sheahan qc
John & Gay Cruikshank
Rob Mactier
Maria Sola
Marie Dalziel
Dr & Mrs Donald Maxwell
Dr Peter & Mrs Diana Southwell-Keely
Mari Davis
Kathleen McFarlane
Keith Spence
Mrs Sandra Dent
JA McKernan
Mark Stanbridge
In Memory of Raymond Dudley
Peter & Ruth McMullin
Harley Wright & Alida Stanley
Margaret Dunstan
Louise Miller
Ross Steele am
M T & R L Elford
Marie Morton
In memory of Dr Warwick Steele
Leigh Emmett
G & A Nelson
Caroline Storch
Christine Evans
Graham North
Andrew Strauss
Carol Farlow
Robin Offler
Charles Su & Emily Lo
Penelope & Susan Field
John O’Sullivan
Tamas & Joanna Szabo
Jean Finnegan & Peter Kerr
Willy & Mimi Packer
David & Judy Taylor
Jessica Fletcher
Susan Thacore
Anne & Christopher Page
Peter Fredricson
Rob & Kyrenia Thomas
Robin Pease
Steve Frisken
Matthew Toohey
Elizabeth Pender
Sam Gazal
Angus Trumble
Paul Gibson & Gabrielle Curtin
Ngaire Turner
Marilyn & Max Gosling
Kay Vernon
Jillian Gower
John Wardle M White Don & Mary Ann Yeats Rebecca Zoppetti Laubi Anonymous (19)
Paul Greenfield & Kerin Brown Annette Gross Kevin Gummer & Paul Cummins Hamiltons Commercial Interiors Lesley Harland
Kevin Phillips Michael Power John Prendiville Beverly & Ian Pryer Jennifer Rankin John Riedl Sally Rossi-Ford Robin Rowe Mrs J Royle
CONCERTINO $500 – $999
Sandra Haslam
Elsa Atkin am
Gaye Headlam
Ms Rita Avdiev
Kingsley Herbert
Lyle Banks A & M Barnes
Dr Penny Herbert in memory of Dunstan Herbert
In memory of Hatto Beck
Dr Marian Hill
Mrs Kathrine Becker
Sue & David Hobbs
Florine Simon
Robin Beech
Chloe Hooper
Casimir Skillecorn
Ruth Bell
Bee Hopkins
Fionna Stack
Max & Lynne Booth
Dr & Mrs Michael Hunter
Georgina Summerhayes
Debbie Brady
Margaret & Vernon Ireland
In memory of Dr Aubrey Sweet
Denise Braggett
Robert & Margaret Jackson
Gabrielle Tagg
Mrs Pat Burke
Barry Johnson & Davina Johnson oam
Simon Thornton
Hugh Burton Taylor
Caroline Jones
Peter & Karen Tompkins
Alberto Calderon-Zuleta
Bruce & Natalie Kellett
TWF Slee & Lee Chartered Accountants
Angela & Fred Chaney
Graham Kemp & Heather Nobbs
Dr Ed & Mrs Julie van Beem
Colleen & Michael Chesterman
Jacqueline & Anthony Kerwick
Joy Wearne
Richard & Elizabeth Chisholm
Lionel & Judy King
GC & R Weir
Stephen Chivers
Prof Kerry Landman
Taryn Williams
ClearFresh Water
Genevieve Lansell
Sally Willis
Paul Cochrane
Kwong Lee Dow
Sir Robert Woods cbe
Spire Capital
Dimitra Loupasakis
Brian Zulaikha
P Cornwell & Cecilia Rice
Megan Lowe
Anonymous (37)
44
Christine Salter Garry E Scarf & Morgie Blaxill Carol Schwartz am & Alan Schwartz am Rena Shein The Sherman Foundation
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 Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr John Borghetti Chief Executive Officer, Virgin Australia 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
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 John Grill ao Chairman, WorleyParsons Mr Grant Harrod Chief Executive Officer, LJ Hooker Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant Mr John Kench Johnson Winter & Slattery Mr Andrew Low Mr David Mathlin Ms Julianne Maxwell
Mr & Mrs Robin Crawford
Mr Michael Maxwell
Rowena Danziger am & Kenneth G. Coles am
Ms Naomi Milgrom ao
Mr David Evans Executive Chairman, Evans & Partners Ms Tracey Fellows Chief Executive Officer, REA Group Mr Bruce Fink Executive Chairman, Executive Channel International Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel
Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige ao Chief Executive Officer, Servcorp Mr John P Mullen Chairman, Telstra Mr Ian Narev Chief Executive Officer Commonwealth Bank
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 Senior Partner, Crestone Wealth Management Mr Peter Tonagh Chief Executive Officer, FOXTEL 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
45
ACO 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
ACO COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director, Reserve Bank of Australia Guido Belgiorno-Nettis am Chairman, ACO Maggie Drummond John Kench Johnson Winter & Slattery
Paul Cochrane Investment Advisor, Bell Potter Securities Ann Gamble-Myer Colin Golvan qc Shelley Meagher Director, Do it on the Roof James Ostroburski
Jennie Orchard
Joanna Szabo
Tony O’Sullivan
Simon Thornton Executive General Manager, Toll IPEC
Peter Shorthouse Senior Partner, Crestone Wealth Management Mark Stanbridge Partner, Ashurst Paul Sumner Chief Executive Officer, Mossgreen Alden Toevs Group Chief Risk Officer, CBA Nina Walton
MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Debbie Brady
DISABILITY ADVISORY COMMITTEE Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts
EVENT COMMITTEES SYDNEY
BRISBANE
Liz Lewin (Chair)
Philip Bacon
Jane Adams
Kay Bryan
Lillian Armitage
Andrew Clouston
Lucinda Cowdroy
Ian & Caroline Frazer
Sandra Ferman
Cass George
JoAnna Fisher
Edward Gray
Fay Geddes
Wayne Kratzmann
Julie Goudkamp
Helen McVay
Deb Hopper
Shay O’Hara-Smith
Lisa Kench
Marie-Lousie Theile
Jules Maxwell
Beverley Trivett
Karissa Mayo Edwina McCann Elizabeth McDonald Nicole Sheffield John Taberner Lynne Testoni
Paul Nunnari Manager Event Access & Inclusion NSW Government Alexandra Cameron-Fraser Chief Operating Officer, ACO Sally Crawford Patrons Manager, ACO Vicki Norton Education Manager, ACO Dean Watson Customer Relations & Access Manager, ACO
PEER R E V IE W PA NEL S EDUCATION PEER REVIEW PANEL Lyn Williams oam Jane Davidson
John Benson Helen Champion
Theo Kotzas Zoe Arthur
Siobhan Lenihan Marshall McGuire Jane Davidson Alan Dodge
Lyn Williams oam Yarmila Alfonzetti Toby Chadd Elaine Armstrong
ARTISTIC PEER REVIEW PANEL Jim Koehne Anthony Peluso John Painter Mary Vallentine ao 46
AC O PA S ACO PAR TRNER T NERS
WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT
PRINCIPAL PARTNER
PRINCIPAL PARTNER: ACO COLLECTIVE
NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
EVENT PARTNERS
47
AC O NE W S CELEBR ATING PE TER WEISS a o – OUR MOST GENEROUS PATRON
PICTURED: ACO Principal Cello TimoVeikko ‘Tipi’ Valve and Peter Weiss ao, Medici Patron and the man responsible for the biggest single gift in our 41-year history – the 1729 Guarneri cello on which Tipi plays.
Peter Weiss ao made history earlier this month when he donated his 1729 Guarneri cello to the ACO – the largest gift in the Orchestra’s 41 years. To express our gratitude, Peter was honoured at the Sydney Opera House on Sunday 16 October with a solo Bach performance starring Principal Cello, Timo-Veikko Valve. Richard Tognetti ao and guests of Peter Weiss and the ACO came together to honour Peter, who also launched the ACO’s stunning anniversary book ACO40: The Fortieth Year. Guests included founder of the ACO, John Painter am, photographer Anthony Browell, author Margaret Throsby am, former Governor of NSW, Professor Marie Bashir ad, cvo and philanthropists Ros Packer ac and Jeanne Pratt ac. PICTURED ABOVE: Guido BelgiornoNettis am, Chairman of the ACO Board, himself celebrating 20 years with the Orchestra’s Board, caught up with noted philanthropist Jeanne Pratt ac. PICTURED RIGHT: The Orchestra’s founder, John Painter am, enjoyed talking with Peter Weiss ao, and Richard Tognetti ao.
Photos: Fiora Sacco. 48
PICTURED ABOVE: Richard Tognetti ao, Anthony Browell, designer Harry Willamson, and Margaret Throsby am were happy to meet long-time supporters and to sign the ACO’s anniversary book, ACO40: The Fortieth Year. PICTURED RIGHT: The sparkling Sunday afternoon concert brought out the who’s who of the Australian arts world, both supporters and participants, including John Leece am; Dame Marie Bashir ad cvo; ACO’s Anna McPherson, and Ros Packer ac.
Photos: Fiora Sacco.
PICTURED: Ros Packer ac with two of Australia’s fashion greats, Peter Weiss ao, and Maria Finlay.
PICTURED: It was a lovely opportunity for friends to catch up. Here we see Alden Toevs, Judi Wolf, and John Bell ao obe. 49
Hosted by Deborah Hutton Joined by Margaret Pomeranz Graeme Blundell Leo Schofield Chris Hook
CHANNEL 133
A brand new season of the one-stop guide to Australia’s diverse arts scene produced exclusively by Foxtel Arts. Wednesdays 8PM AEDT, from October 12 foxtelarts.com.au @FoxtelArts
ALBUM SIGNING DURING TONIGHT’S INTERVAL
Slava Grigoryan The first album in the major new Bach recording project, born out of Slava’s life-long love for the baroque genius’ music: the enthralling Cello Suites, performed on the richly resonant baritone guitar. Official release November 2016.
The ground-breaking recording, in a tenth-anniversary deluxe edition including a bonus disc of baroque guitar concertos, and a reflection on the Grigoryans’ performances from Rodrigo’s daughter.
AVAILABLE NOW FROM ABC CLASSICS
EXCLUSIVE TO
SYDNEY’S CLASSICAL MUSIC SPECIALISTS
SYDNEY’S CLASSICAL MUSIC SPECIALISTS
EXCLUSIVE TO
EXCLUSIVE TO
SYDNEY’S CLASSICAL MUSIC SPECIALISTS
SYDNEY’S CLASSICAL MUSIC SPECIALISTS
EXPERIENCE A TRUE HOME AWAY FROM HOME COMO THE TREASURY
When the talented musicians from ACO perform in Perth, we are dedicated to ensuring they have an elegant, contemporary base to rest and recuperate. COMO The Treasury is a sophisticated 48-room hotel in the revitalised historic centre of Perth. With restaurants, bars and the world-renowned COMO Shambhala wellness offerings all within our heritage building, we’re at the very heartbeat of the state capital.
Visit comohotels.com/thetreasury to learn more, or contact our dedicated reservations team by calling 08 6168 7899 or emailing res.thetreasury@comohotels.com.
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.
The ACO trusts its events to Katering - why don’t you? Providing a complete service in hospitality: one call • one contact • one manager to organise the entire event From weddings, birthdays and corporate functions to intimate dinner parties at home ACO Chairman’s Council Cocktail Party
info@katering.com.au (02) 9319 2700 www.katering.com.au
T HI S I S A WOR LD WHERE S OU ND TOUCHES T HE SOUL AND S I G HT P L AYS S ECOND FI DDLE TO T HE S YMPHONY.
As the proud 2016 official tailor of the ACO, we hope we can take the pressure off looking good, and let the music speak for itself.
T H E O F F I C I A L 2 01 6 TA I L O R O F T H E A C O
“A jOyFuL ceLebRATIOn OF cOnTeMpORARy FIne DInIng buILT AROunD (execuTIve cheF) phIL WOOD’S pOWeRFuL TALenT” Terry Dur ack chIeF ReSTAuRAnT cRITIc, SMh
Lunch MOn–FRI FROM 12nOOn DInneR MOn–SAT FROM 6pM 11 bRIDge STReeT, SyDney ROckpOOL.cOM