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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.
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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. 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.
With a blend of fine art, live music and stunning views, this weekend-long festival in the Yarra Valley, only an hour from Melbourne, features intimate concerts directed by Richard Tognetti. Limited to 200 guests, the Festival experience includes a masterclass, guided tours of the Museum’s exquisite collection and, of course, music from the ACO. SATURDAY 25 FEBRUARY 12.30pm Music by Bach and Beethoven 6pm Music by Pēteris Vasks, Joe Chindamo, Shostakovich SUNDAY 26 FEBRUARY 2.30pm Music by Brahms and Bach
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Maserati is honoured to be the National Tour Sponsor of the ACO and to be able to play a small part in enabling the ACO to bring to life Beethoven’s String Quartet Op.131, a musical tour de force on which Schubert remarked, upon hearing a performance, ‘After this, what is left for us to write?’ There can be little doubt that the ACO, led by Lorenza Borrani, will reveal the power and presence of Beethoven’s own favourite of his late quartets that so beguiled Schubert. Beethoven’s masterpiece will be preceded by Schubert’s Five Minuets with Six Trios, and Alfred Schnittke’s Sonata for Violin and Chamber Orchestra. Maserati’s ongoing support of the ACO is a reflection of the fact that its home city, Modena in the heart of Italy, is not just the source of unique, exclusive cars that make a very special sound of their own, but also that it has its own unique and supreme musical heritage, with musical Modenesi including operatic tenor Luciano Pavarotti and soprano Mirella Freni while its Teatro Comunale Modena – now renamed to celebrate Pavarotti – has provided the musical heartbeat of Modena for more than 150 years, from presenting all the works of Donizetti, Bellini and Rossini, through to modern performances of all the great operas. Dare I say, it is passion for the finest things in life that is also represented in Maserati products. It is also a passion for excellence that is shared with the ACO and Maserati is proud of our association with Australia’s finest Chamber Orchestra and the contribution it has made with its performances that have produced its justifiable worldwide reputation.
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Glen Sealey Chief Operating Officer Maserati Australasia & South Africa 7
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.
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“Life is no brief candle to me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.� GEORGE BERNARD SHAW Please consider supporting the ACO with a gift in your will and make sure the ACO plays on for future generations. Your bequest will make a difference. For more information on our Continuo Circle please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au ACO.COM.AU
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With Beethoven’s Favourite, Italian violin firebrand Lorenza Borrani and the musicians of the ACO bring the 2016 season for Canberra, Sydney and Wollongong to a close. Throughout this year we have presented a feast of the late Beethoven Quartets, so it seems only fitting that this last concert features Beethoven’s own favourite quartet – the C-sharp minor, Op.131. It has been an immensely rewarding year for the ACO. In addition to a thrilling National Subscription Season, the Orchestra won the hearts of audiences across the United States and Europe. Our European tour was a particularly special experience, with Australian icon Barry Humphries and cabaret superstar Meow Meow performing Weimar Cabaret in London’s Cadogan Hall, and at the prestigious Edinburgh and Tanglewood Festivals. We are looking forward to more musical adventures in 2017. But the Orchestra’s year is not quite yet over, with one more musical treat before the New Year – the annual Vasse Felix Festival amongst the vines in Western Australia’s picturesque Margaret River region. This wonderful event is already sold out, so if you’d like to experience this magical weekend of superb food and music, get in early for 2017! With Christmas fast approaching, now is the time to investigate all that is available from the ACO’s shop. CDs, DVDs and our 40th Anniversary book. A subscription and a book make wonderful presents, allowing you to share a whole year of music with your family and friends. There is plenty to choose from . . . The ACO is fortunate to enjoy partnerships with some of our country’s leading companies. This tour is proudly supported by our National Tour Partner, Maserati, and I gratefully acknowledge the support that they have given us since 2010. Concerts are nothing without an audience and we think we have the best in the business. Richard Tognetti and the musicians of the ACO value nothing more than the chance to perform for you in concerts around the country throughout the year. Your warm-hearted and generous response to the Orchestra’s performances is our lifeblood. Thank you for your support this year. I wish you a wonderful festive season and looking forward to welcoming you back in 2017.
Richard Evans 11
“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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BEE T HOV EN’S FAVOUR I T E Lorenza Borrani Guest Director & Violin SCHNITTKE Sonata for Violin and Chamber Orchestra I. Andante II. Allegretto III. Largo IV. Allegretto SCHUBERT Five Minuets with Six Trios, D.89 (arranged for string orchestra) Minuet I – Trio I – Trio II Minuet II Minuet III – Trio I – Trio II Minuet IV Minuet V – Trio I – Trio II Interval BEETHOVEN String Quartet in C-sharp minor, Op.131 (arranged for string orchestra) I. Adagio ma non troppo e molto espressivo II. Allegro molto vivace III. Allegro moderato IV. Andante ma non troppo e molto cantabile V. Presto VI. Adagio quasi un poco andante VII. Allegro Approximate durations (minutes): 17 – 15 – INTERVAL – 39 The concert will last approximately one hour and 45 minutes, including a 20-minute interval.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 13
WHAT YOU ARE ABOUT TO HE AR When I received the invitation to play with the ACO, I didn’t focus so much on where I was going to be, but rather with whom I’d be working. The ACO is an orchestra I have always followed and admired over the years. They have a way of working and thinking that is close to several groups I love to play with in Europe. I am one of the founding members of Spira Mirabilis, a laboratory for the intense preparation and performance of orchestra and chamber music repertoire of all periods, all performed without a conductor. I feel like the ACO and I are really close cousins. Feeling close is the best way of approaching the enlarged chamber music program that the ACO and I have planned for our ‘first date’. All the composers in this program – Schnittke, Schubert, Beethoven – have been a big part of my life from very early days. I started playing in string quartets when I was nine years old – with my teacher Piero Farulli reminding me, daily, how lucky I should feel, and that there is nothing more important than Schubert and Beethoven string quartets. Working on Beethoven Opus 131 as a bigger string ensemble could feel, from my perspective, like a betrayal against the pure string quartet original version. But what I have learned over the years is that nothing is to be avoided. From different perspectives, you can discover new viewpoints, find more depth in the score, and by working in a humble way, with a larger group of people on this towering masterpiece, it can only result in something that enriches all of us. I expect to learn a lot from the piece, from the process of rehearsing and playing with a bigger group of extremely committed musicians at the ACO. I am hoping to create some magical moments with the audience
PICTURED: Alfred Schnittke. 14
PICTURED: Franz Schubert.
PICTURED: Ludwig van Beethoven.
becoming almost a player through their listening. It’s an exciting way to enter a Beethoven score. Schubert’s Minuets and Trios are also originally written for string quartet. There is something simple and poetical in the Schubert. Some people still need to know and some even need to learn to love these pieces. And when it happens, they will be luckier people, as I felt when I discovered these pieces for the first time. Opening the program will be a Sonata from Schnittke, a composer I adore. I also had the most wonderful opportunity to play with his wife, Irina, and with cellist, writer, academic and conductor, Alexander Ivaskin. We did a kind of ‘Schnittkiade’ with the Sonata, Piano Trio, Piano Quartet and Piano Quintet. The amazing surprise was to see how the audience loved it. It made us realise how much Schnittke really is a composer of our time. It’s interesting not only how quite different the orchestral version of the Sonata is, but how the feeling of a sonata can remain, even with an orchestra playing the piano part. I hope you will come out of this concert without the memory of an orchestra, but rather with the feeling of having taken part in a chamber music night with wonderful pieces of music and poetry.
Lorenza Borrani 15
ABOUT THE MUSIC ALFRED SCHNITTKE Born Engels, 1934. Died Hamburg, 1998. SONATA FOR VIOLIN AND CHAMBER ORCHESTRA Composed 1963/68. I. Andante II. Allegretto III. Largo IV. Allegretto Alfred Schnittke came from a background in which German, Austrian, Jewish and Russian cultures all played a part. And although this upbringing, his bilinguality and several moves between the USSR and the West and back again throughout his childhood made him later describe himself as ‘homeless’, he acknowledged that it also gave him a precious sense of individuality and originality. His natural bent towards eclecticism no doubt gained strength from the film scores which were an integral part of his working life – and not, like Shostakovich’s soundtracks, artistically separate. Schnittke wrote about his open-minded approach in 1990: PICTURED: Alfred Schnittke.
‘One has only to switch on the radio and wander over the airwaves to embrace a vast world of sound. I’ve come to feel that one shouldn’t resist this but should relate to it as a fact of modern life. The problem is how to hang onto one’s individuality within this vast world of polystylism.’ Polystylism is the kind of word that brings a wrinkle to the brow of most music lovers, but really it’s just a quick way of saying that all sorts of music exists around us. Schnittke pulled off a neat compositional trick: his personal style was created by knitting many different types of music together. Naturally, anyone else who tries to do this risks being accused of trying to sound like Schnittke. Just as in a film the soundtrack might follow the setting and move from a pop song to a snatch of television news, to a symphony orchestra and then flash back to a Renaissance lute, so Schnittke’s concert music often contains references to historical and contemporary musical forms, to archaic instruments or to hightech wizardry. He began his musical education in 1946 in Vienna where his father, a journalist and translator, had been posted. In 1948 the family moved to Moscow, where Schnittke studied piano
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‘I decided to get off the already overcrowded train. Since then I have tried to proceed on foot.’ SCHNITTKE and received a diploma in choral conducting. From 1953 to 1958 he studied counterpoint and composition at the Moscow Conservatory. Schnittke completed the postgraduate course in composition there in 1961 and joined the Union of Composers the same year. In 1962, he was appointed instructor in instrumentation at the Moscow Conservatory, a post which he held until 1972. Thereafter he supported himself chiefly as a composer of film scores; by 1984 he had scored more than 60 films. He composed nine symphonies, six concerti grossi, four violin concertos, two cello concertos, concertos for piano and a triple concerto for violin, viola and cello, as well as four string quartets and much other chamber music, ballet scores, choral and vocal works. His first opera, Life with an Idiot, was premiered in Amsterdam (April 1992). His two last operas, Gesualdo and Historia von D. Johann Fausten were unveiled in Vienna (May 1995) and Hamburg (June 1995) respectively. Schnittke was the recipient of numerous awards and honours; his music has been celebrated with retrospectives and major festivals worldwide. More than 50 compact discs devoted exclusively to his music have been released in the last ten years. Beginning in 1990, Schnittke resided in Hamburg, maintaining dual GermanRussian citizenship. He died, after suffering another stroke, on 3 August 1998 in Hamburg. The Sonata for Violin and Orchestra was transcribed by the composer in 1968, after his First Violin Sonata which he composed in 1963. Alex Ross in his excellent book ‘The Rest is Noise’ remarked on the work: ‘Schnittke kept a low profile through the disarray of the 1960’s. His ventures into twelve-tone or ‘serial’ composition resemble many works written in that manner, at least on the surface. The final movement of his [Sonata for Violin and Chamber Orchestra] is unobjectionable from the academic point of view, but at the same time it is rhythmically wry and engaging in a way that is alien to the whole Schoenberg/Boulez sensibility. It’s positively danceable, in fact . . . In his own words: “My musical development took a course similar to that of some friends and colleagues, across piano concerto romanticism, neoclassic academicism, and attempts at eclectic synthesis . . ., and took cognisance also of the unavoidable proofs of masculinity in serial self-denial. Having arrived at the final station, I decided to get off the already overcrowded train. Since then I have tried to proceed on foot.” ’ 17
FRANZ SCHUBERT Born Vienna 1797. Died Vienna 1828. FIVE MINUETS WITH SIX TRIOS, D. 89 Composed 1813. Arranged for string orchestra Minuet I – Trio I – Trio II Minuet II Minuet III – Trio I – Trio II Minuet IV Minuet V – Trio I – Trio II Schubert was born, bred, lived, and died in Vienna. As an infant, he took piano lessons from his brother Ignaz, but young Franz quickly outstripped his elder brother and proceeded to instruct himself. When Schubert was seven, he was engaged to sing at the Imperial Chapel, and at the age of eight he took up the violin and organ, and began elementary lessons in the techniques of composition. Schubert’s earliest surviving music dates from when he was a young teenager, but it is clear that he had been composing for as long as he had known what music was (from the outset he was transfixed by the music of Haydn and Mozart).
PICTURED: Franz Schubert.
As a schoolboy, Schubert was a high achiever across the board, and it would be easy to assume that the talented youngster was rather full of himself. On the contrary, Schubert found it uncomfortable to receive compliments, and he described flattery as ‘downright nauseating’. His friend Anselm Hüttenbrenner reported: ‘Schubert’s outward appearance was anything but striking or prepossessing. He was short of stature, with a full, round face, and was rather stout. His forehead was very beautifully domed. Because of his short-sightedness he always wore spectacles, which he did not take off even during sleep. Dress was a thing in which he took no interest whatsoever.’ By 1820 Schubert had written music of the highest quality for church and stage, as well as symphonies (six of them, in fact), chamber music, and hundreds of lieder (songs). So it is safe to say that Schubert remains one of the most intriguing characters in the history of composition. His was a life which often seemed dedicated to having a good time with his
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Just five days before his death, Schubert asked to hear Beethoven’s String Quartet in C-sharp minor . . . friends whenever possible, but still he worked very hard, turning out symphonies, chamber music, piano music, ten resoundingly unsuccessful operas and 600 of the best lieder ever written. Standing five feet one inch tall (in shoes), balding, bespectacled and with the unprepossessing nicknames ‘Mushroom’ or ‘Fatso’, he yet had a passionate soul and was unafraid to reveal it in his music. He even has his own type of party named after him, and how many of us can make that claim? Sadly, the rollicking young man of the Schubertiad parties was rarely to be seen in 1828. The Bohemian life had caught up with him, and although he declared himself ‘perfectly well’, his friends wrote to one another of their mild concerns for his health. He had previously contracted syphilis. Painful and embarrassing in itself, its wider ramifications were staring the young composer in the face in 1828 as he watched most of his circle of friends settle into marriage and domesticity. PICTURED: Schubertiade – detail from a painting by Julius Schmid, 1897.
Perhaps searching for a different kind of stability, one where infection wouldn’t be a consideration, Schubert seemed to be thinking about becoming a Kapellmeister or senior church musician. Once a good choirboy himself (a member of what later became the Vienna Boys’ Choir), he had already written several masses and numerous smaller religious works when, in October 1828, he booked himself into a course in counterpoint with the current court organist, Simon Sechter. Sechter later taught Bruckner and Liszt too – but Schubert was only to have one lesson before his health declined. Within the space of a fortnight he was dead, aged only 31. Just five days before his death, Schubert asked to hear Beethoven’s String Quartet in C-sharp minor – the very quartet on this program! Karl Holz, who was second violinist in the string quartet led by Ignaz Schuppanzigh that would perform Beethoven’s quartet for the dying Schubert, wrote ‘the King of Harmony has sent the King of Song a friendly bidding to the crossing’.
PICTURED: Part of Page 1 of the score of Schubert’s Five Minuets with Six Trios.
These Five Minuets with Six Trios are beautiful yet arcane. We do not know why they were written, or if they were commissioned for a particular occasion. Upon hearing the graceful and salonlike opening minuet, it’s unlikely that they were meant expressly as ‘dance music’. The first, third and fifth minuets, in C, F, and C respectively, each have two trios, while the second and fourth, in F and G have none, hence the uneven number of five minuets and six trios. 19
LUDWIG VAN BEETHOVEN Born Bonn 1770. Died Vienna 1827. STRING QUARTET IN C-SHARP MINOR, OP.131 Composed 1826. Arranged for string orchestra I. Adagio ma non troppo e molto espressivo II. Allegro molto vivace III. Allegro moderato IV. Andante ma non troppo e molto cantabile V. Presto VI. Adagio quasi un poco andante VII. Allegro There exists an anecdote of the noted philosopher Wittgenstein’s response to a first hearing of Op.131 in the 1930s. John King reported how: ‘I once put on the second, third and fourth movements of Beethoven’s Quartet in C-sharp minor, Op.131 . . . [Wittgenstein] was rapt in his attention and most excited at the end of the playing. He jumped up as if something had suddenly struck him and said, ‘How easy it is to think you understand what Beethoven is saying’ (and here he seized a pencil and a piece of paper) ‘how you think you have understood the projection’ (and he drew two thirds of a circle, thus): “and then suddenly” (and here he added a bulge): “you realise that you haven’t understood anything at all”.’ PICTURED: Ludwig van Beethoven.
Written in 1826, Op.131 was considered by Beethoven to be his favourite quartet (according to Karl Holz). ‘But which was the greatest quartet?’ Beethoven was asked. He responded: ‘Each in its way. Art demands of us that we shall not stand still. . . . The imagination, too, insists upon its privileges.’ Regarding Op.131, Beethoven is supposed to have added: ‘You will find a new manner of voice treatment and thank God there is less lack of invention (Phantasie) than ever before.’ ‘Lack of invention’ – this understatement belies the rich manylayered texture of Op. 131, considered by many to be the greatest work in the string quartet repertory. Its profound unity, integration, heartfelt expressiveness and masterly conjoining of genre and form certainly make it unique. The quartet was composed after the fulfilment of a commission (initiated in 1822)
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‘You will find a new manner of voice treatment and thank God there is less lack of invention . . .’ BEETHOVEN by Prince Nicholas Galitzin, an amateur cellist who was so impressed with Beethoven’s works as to make quartet and quintet arrangements of all of Beethoven’s published piano sonatas. With the Galitzin commission completed in November 1826, Beethoven was inspired to continue with the quartet medium with the result that a new quartet, now known as Op.131, was advertised in Schott’s catalogue in February 1827. The work itself was not actually in print until June, three months after the composer’s death, and did not receive its first complete public performance until 1835.
PICTURED: A portrait of Prince Nikolai Borisovich Galitzine [Prince Nicholas Galitzin] who commissioned three string quartets from Beethoven.
Op.131 is a large-scale fantasia, divided seamlessly into seven ‘movements’, each carefully (and unusually) numbered by Beethoven. Joseph Kerman notes that this numbering almost gives the impression that the movements are ‘a level series of bagatelles’ and indeed Beethoven jokingly wrote to his publisher that this, his most structured quartet, was ‘stolen together out of various bits of this and that’. Leonard Ratner has identified a unifying motif in Op.131 which can also be found in Beethoven’s other late works – it is a traditional pathetic figure which has its origins in the 17th century. The motto consists of two semitones separated by a disjunct interval and is immediately apparent in the opening subject of the first movement. This figure appears almost constantly throughout the piece and so heightens the overall effect of a monumental improvised fantasia; indeed, Beethoven’s careful and masterly transitions between movements prevent any interruption to the continuous flow. Interestingly enough, this opening fugue was played in isolation as early as 1832 and was thought by one listener to be ‘rather incomprehensible’. Richard Wagner thought this movement ‘surely the saddest thing ever said in notes; I would term the awakening on the dawn of a day “that in its whole long course shall ne’er fulfil one wish, not one wish”!’ Wagner, no doubt, was impressed with the piquant chromaticism of Op.131. The unifying pathetic figure occurs in the joyful second movement as a ‘galant changing-note figure’ (Ratner), in complete contrast to the high style of the previous fugal texture. The brief third movement serves as a bridge into the next. Indeed, Wagner said of it ‘’tis now as if the Master, grown conscious of his art, were settling down to work at his magic’. The ‘magic’ is the beautiful set of variations in A major that follow. In fact, the key scheme of Op.131 is a carefully planned 21
PICTURED: Beethoven’s sketches for his String Quartet Op.131.
structure. Set entirely in the sharp region of the harmonic palette, Beethoven vacillates from two sharps (D major and B minor) to five sharps (G-sharp). A major (three sharps) represents a sort of pivot and the overall sweep of Beethoven’s vision is revealed more and more as we approach the fifth movement. These variations once again bring Beethoven’s comment to mind – ‘thank God there is less lack of invention than ever before’ – for here one finds a great profusion of ideas. There are some playful shufflings of ideas in the first variation (Più mosso), and then the ‘seductive’ (lusinghiero) counterpoint of the second; the third variation has some surprising moments utilising pizzicato reminiscent of the cavatina genre. The fourth variation stops time altogether – Ratner notes that ‘this is the most striking example of dealing with pure sound that exists in Beethoven’s quartet music . . .’ The final variation, a 9/4 arioso, slowly develops (with dips into remote keys, parody and fantasy) towards the delightful fifth movement, ‘perhaps the most child-like of all Beethoven scherzos’ (Kerman). All three main melodies have a cantabile aspect – they are hummable. Notes are passed from one section to another, motifs unveiled section by section and always, unity follows disintegration. The coda is given a special fantastical sheen by the use of ponticello, an effect created when the strings are bowed quite close to the bridge. Beethoven now decides to change the mood dramatically with three great unison hammer-strokes. The following movement (in the exotic and unusual key of G-sharp minor) is a small 22
‘I wish I could give you my ticket for the Conservatoire concert. . . . Today they are giving Beethoven’s symphony with choir . . .’ FRÉDÉRIC CHOPIN masterpiece. This profound short movement is given a veiled sound by the absence of open strings. The final movement begins with the pathetic figure again, now in its traditional order – it is a final statement of melodic unity. Smoothness vies with jaggedness as this huge piece approaches its conclusion. Performances of Beethoven quartets by string orchestras is a tradition that dates back to the 1830s. Frédéric Chopin wrote from Paris to a friend in Warsaw in 1832 saying: ‘I wish I could give you my ticket for the Conservatoire concert. That’s something that would exceed your expectations. The orchestra is unsurpassable. Today they are giving Beethoven’s symphony with choir and one of his quartets played by the massed strings of the orchestra – violins, violas and cellos: fifty string players all told. This quartet is being repeated by special request. They did it at the previous concert. You could have imagined that no more than four instruments were playing, yet the tone of the violins could be compared to a Castle, the violas to a Bank, and the cellos to a Lutheran Church.’ The use of the double-bass (doubling the cello line) in Op.131 is strategic and discreet. As Jack Gottlieb notes, referring to the great 1977 Bernstein recording of Op. 131 (arranged by Dmitri Mitropoulos) with the Vienna Philharmonic, ‘Op.131 succeeds in this medium because the inner voices seem to be more audibly delineated when played by a full body of strings’. Some of Beethoven’s favoured orchestral procedures (such as motifs being passed along the parts) are clarified as well as dramatised with the heightened visual effect of 17 players, rather than the customary four. Op.131 is one of Beethoven’s most deeply profound expressions. As a musical entity, such a piece brings to mind Aldous Huxley’s beautiful essay The Rest is Silence: ‘From pure sensation to the intuition of beauty, from pleasure and pain to love and the mystical ecstasy and death – all the things that are fundamental, all the things that, to the human spirit, are most profoundly significant, can only be experienced, not expressed. The rest is always and everywhere silence. After silence that which comes nearest to expressing the inexpressible is music.’ Program notes © Australian Chamber Orchestra 23
LORENZ A BORR ANI VIOLIN
Lorenza Borrani was born in Florence and studied at the Scuola di Musica di Fiesole with Alina Company, Piero Farulli, Zinaida Gilels and Pavel Vernikov. She continued her post-graduate studies with Boris Kuschnir at the University of Music and Performing Arts, Graz. Over the years she has collaborated closely with many great conductors and orchestras including Lorin Maazel with the Orchestra Toscanini and Claudio Abbado. As Leader of the Chamber Orchestra of Europe (COE), Lorenza has toured all over the world with, among many others, Bernard Haitink, Vladimir Ashkenazy, Yannick Nézet-Séguin and Vladimir Jurowski.
Photo by Werner Kmetisch.
Lorenza is also much in demand as director and soloist, working with such orchestras and ensembles as Orchestra Mozart under Claudio Abbado, COE under Trevor Pinnock and Nikolaus Harnoncourt, Freiburger Barockorchester and Scottish Chamber Orchestra. Next season she will return to London for concerts with the London Chamber Orchestra. As a keen chamber musician, Lorenza has collaborated with Isabelle Faust, Hélène Grimaud, Daniel Hope, András Schiff, Pierre-Laurent Aimard, Janine Jansen, Irina Schnittke and Christian Tetzlaff to name a few. In 2007 Lorenza, with a group of close musical friends, launched Spira Mirabilis as a laboratory for the intense preparation and performance of orchestra and chamber music repertoire of all periods ranging from Beethoven through to Schoenberg, covering many of the most important works by Schumann, Mendelssohn, Brahms, Bartók and Britten, all performed without a conductor. Recent successful additions to their repertoire have included Beethoven’s Symphony No.9 and Mozart’s Così fan tutte. They have performed in London, Frankfurt, Paris and Hamburg, as well as in many cities in Italy. Last year Spira was engaged in a residency at the Aldeburgh Festival where they performed a new work called Spiralling, created for them by Colin Matthews. Lorenza has also engaged herself very intensively with the study and practice of classical performance on period instruments in collaboration with Spira and Lorenzo Coppola. This dedication to a better understanding of style, sonorities and historically relevant precedents have become important preoccupations in her international activities. Lorenza plays a Santo Serafino (Venice 1745) violin provided by Fondazione Pro-Canale di Milano.
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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. 25
MUSICI A NS ON S TAGE
Helena Rathbone 1 Principal Violin
Glenn Christensen Violin
Aiko Goto Violin
Mark Ingwersen Violin
Chair sponsored by Kate & Daryl Dixon
Chair sponsored by Terry Campbell ao & Christine Campbell
Chair sponsored by Anthony & Sharon Lee Foundation
Chair sponsored by Ian Wallace & Kay Freedman
Ilya Isakovich Violin
Liisa Pallandi Violin
Maja Savnik 2 Violin
Ike See Violin
Chair sponsored by The Humanity Foundation
Chair sponsored by The Melbourne Medical Syndicate
Veronique Serret Violin
Alexandru-Mihai Bota Viola
Nicole Divall Viola
Timo-Veikko Valve 3 Principal Cello
Chair sponsored by Philip Bacon am
Chair sponsored by Ian Lansdown
Chair sponsored by Peter Weiss ao
Chair sponsored by Di Jameson
Max Mandel Viola Courtesy of The Knights
Anthony Romaniuk Harpsichord
Melissa Barnard Cello
Julian Thompson 4 Cello
Maxime Bibeau 5 Principal Bass
Chair sponsored by Martin Dickson am & Susie Dickson
Chair sponsored by The Grist & Stewart Families
Chair sponsored by Darin Cooper Foundation
Players dressed by Willow and SABA
1 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 2 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 3 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. 4 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 5 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.
26
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
FINANCE
Dean Watson Customer Relations & Access Manager
Steve Davidson Corporate Services Manager Fiona McLeod Chief Financial Officer
Jessica Block Deputy General Manager
Nancy Chan Assistant Accountant
Alexandra Cameron-Fraser Chief Operating Officer
DEVELOPMENT
Lisa Mullineux Tour Manager Ross Chapman Touring & Production Coordinator Danielle Asciak Travel Coordinator Bernard Rofe Librarian
Leo Messias Marketing Coordinator
Chris Griffith Box Office Manager
Shyleja Paul Assistant Accountant
Anna Melville Artistic Administrator
Hilary Shrubb Publications Editor
Caitlin Gilmour Education Assistant
Richard Evans Managing Director
Luke Shaw Head of Operations & Artistic Planning
Natasha Bowron Acting Communications Manager
Cristina Maldonado Communications Coordinator
Yvonne Morton Accountant
ARTISTIC & OPERATIONS
Aaron Curran Acting Marketing Manager
Vicki Norton Education Manager
EXECUTIVE OFFICE
Katie Henebery Executive Assistant to Mr Evans & Mr Tognetti ao
MARKETING
Anna McPherson Director of Development Yeehwan Yeoh Investor Relations Manager Jill Colvin Philanthropy Manager Lillian Armitage Capital Campaign Executive Tom Tansey Events Manager Tom Carrig Senior Development Executive
Evan Lawson Box Office Assistant Christina Holland Office Administrator Robin Hall Subscriptions Coordinator
INFORMATION SYSTEMS Emmanuel Espinas Network Infrastructure Engineer
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
Sally Crawford Patrons Manager
By Mail PO Box R21, Royal Exchange NSW 1225
Alice Currie Development Coordinator
Telephone (02) 8274 3800 Box Office 1800 444 444
Belinda Partyga Researcher
Email aco@aco.com.au Web aco.com.au
27
V ENUE SUPP OR T Australian National University AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music William Herbert Place (off Childers Street), Acton, Canberra VENUE HIRE INFORMATION Telephone (02) 6125 2527 Email music.venues@anu.edu.au
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
ARTS CENTRE MELBOURNE PO Box 7585, St Kilda Road, Melbourne VIC 8004 Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au
CITY RECITAL HALL LIMITED Chair, Board of Directors Renata Kaldor AO CEO Elaine Chia 2–12 Angel Place Sydney NSW 2000
Tom Harley President Victorian Arts Centre Trust
Administration 02 9231 9000
Claire Spencer Chief Executive Officer
Website www.cityrecitalhall.com
Box Office 02 8256 2222
WOLLONGONG TOWN HALL Wollongong Town Hall is managed by Merrigong Theatre Company Crown & Kembla Streets, Wollongong NSW 2500 PO Box 786, Wollongong NSW 2520 Telephone (02) 4224 5959 Email info@merrigong.com.au Web wollongongtownhall.com.au
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.
28
BEE T HOV EN’S FAVOUR I T E TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY
Pre-concert talks take place 45 minutes before the start of every concert. Fri 18 Nov, 12.45pm Sydney – City Recital Hall Pre-concert talk by Francis Merson
Wed 23 Nov, 6.15pm Sydney – City Recital Hall Pre-concert talk by Francis Merson
Sat 19 Nov, 6.15pm Sydney – City Recital Hall Pre-concert talk by Francis Merson
Thu 24 Nov, 6.45pm Wollongong Town Hall Pre-concert talk by Francis Merson Sat 26 Nov, 7.15pm Canberra Llewellyn Hall Pre-concert talk by Robyn Holmes
Sun 20 Nov, 1.15pm Sydney Opera House Pre-concert talk by Francis Merson Tue 22 Nov, 7.15pm Sydney – City Recital Hall Pre-concert talk by Francis Merson
Sun 27 Nov, 1.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by Lucy Rash Mon 28 Nov, 6.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by Lucy Rash
Pre-concert speakers are subject to change.
This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.
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Chairman & Advertising Director Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music Alan Ziegler
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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 The late 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 30
The late Colin Enderby The late Neil Patrick Gillies 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
Lachie Hill
Cheri Stevenson
Ruth Bell
David & Sue Hobbs
Leslie C Thiess
Sandra Cassell
Penelope Hughes
G.C. & R. Weir
Mrs Sandra Dent
Toni Kilsby & Mark McDonald
Mark Young
Peter Evans
Mrs Judy Lee
Anonymous (13)
Carol Farlow
Selwyn M Owen
Suzanne Gleeson
Ian & Joan Scott
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
Mike & Stephanie Hutchinson
Douglas & Elisabeth Scott
Dr Jane Cook
Geoff & Denise Illing
David Shannon
Paul & Roslyn Espie
Professor Anne Kelso ao
J Skinner
M Generowicz
Macquarie Group Foundation
Christina Scala & David Studdy
Dr Roy & Gail Geronemus
Kevin & Deidre McCann
Anonymous (5)
The Hadfield Family
Baillieu Myer ac
Michael Horsburgh am & Beverley Horsburgh
Gina Olayiwola
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 31
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 Maja Savnik. For more information, please call Yeehwan Yeoh, 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
Genevieve Lansell
Edward Gilmartin
Bronwyn & Andrew Lumsden
Tom & Julie Goudkamp
Patricia McGregor
Philip Hartog
OCTET $100,000 – $199,999
Trevor Parkin
Brendan Hopkins
John Taberner
Elizabeth Pender
Angus & Sarah James
Robyn Tamke
Daniel & Jacqueline Phillips
Anonymous (2)
Ryan Cooper Family Foundation
PATRONS
LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 The late Amina Belgiorno-Nettis Naomi Milgrom ao
QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous
Benjamin Brady
Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman
32
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
Richard Caldwell
Lexington Partners
Anthony & Conny Harris
Warren & Linda Coli
Manikay Partners
Rohan Haslam
Anna Dudek & Brad Banducci
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
Anthony & Sharon Lee Foundation
Producers
Ann Gamble Myer
Richard Caldwell
Daniel & Helen Gauchat
Warren & Linda Coli
Yvonne von Hartel am & Robert Peck am peckvonhartel architects
Graham & Treffina Dowland
Janet Holmes à Court
Wendy Edwards
Bruce & Jenny Lane
Doug Elix
Delysia Lawson
Gilbert George
John Leece
Tony & Camilla Gill
Julianne Maxwell
Max Gundy (Board member ACO US) & Shelagh Gundy
INTERNATIONAL TOUR PATRONS
Jim & Averill Minto Alf Moufarrige Angela Roberts Mike Thompson Peter Weiss ao
PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
Steve Duchen & Polly Hemphill
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 33
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
John & Anne Murphy
Kay Giorgetta
Marc Besen ac & Eva Besen ao
Louise & Martyn Myer Foundation
Colin Golvan qc
Janet Holmes à Court ac
Jennie & Ivor Orchard
Louise Gourlay oam
Bruce & Joy Reid Trust
Warren Green
Andrew & Andrea Roberts
Tony & Michelle Grist
Mark & Anne Robertson
Liz Harbison
Margie Seale & David Hardy
Kerry Harmanis
Rosy Seaton & Seumas Dawes
Dr John Harvey ao & Mrs Yvonne Harvey
Ballandry Fund
Tony Shepherd ao
Annie Hawker
Steven Bardy & Andrew Patterson
Anthony Strachan
Insurance Group Australia Limited
The Belalberi Foundation
John Taberner & Grant Lang
I Kallinikos
Anita & Luca Belgiorno-Nettis Foundation
Leslie C. Thiess
John Kench
Andre Biet
David & Julia Turner
Key Foundation
Helen Breekveldt
Libby & Nick Wright
Anthony & Sharon Lee Foundation
Rod Cameron & Margaret Gibbs
E Xipell
Lorraine Logan
Stephen & Jenny Charles
Peter Yates AM & Susan Yates
Macquarie Group Foundation
Rowena Danziger am & Ken Coles am
Professor Richard Yeo
David Maloney & Erin Flaherty
Mr Bruce Fink
Peter Young AM & Susan Young
Julianne Maxwell
Dr Ian Frazer ac & Mrs Caroline Frazer
Anonymous (3)
P J Miller
Ann Gamble Myer
DIRETTORE $5,000 – $9,999
Andrea Govaert & Wik Farweck
The Abercrombie Family Foundation
Daniel & Helen Gauchat
Geoff Ainsworth & Jo Featherstone
John Grill & Rosie Williams
Geoff Alder
& Friends
Kimberley Holden
Peter Atkinson
Greg Shalit & Miriam Faine
Angus & Sarah James
David & Helen Baffsky
Peter & Victoria Shorthouse
Di Jameson
Will & Dorothy Bailey Charitable Gift
Sky News Australia
Miss Nancy Kimpton
Veronika & Joseph Butta
St George Foundation
Elmer Funke Kupper
Caroline & Robert Clemente
Jon & Caro Stewart
Irina Kuzminsky & Mark Delaney
Darrel & Leith Conybeare
Anthony Strachan
Liz & Walter Lewin
Mrs Janet Cooke
Alden Toevs & Judi Wolf
Andrew Low
Suellen Enestrom
Geoff Weir
Anthony & Suzanne Maple-Brown
Bridget Faye am
Westpac Group
Jim & Averill Minto
AG Froggatt
Simon & Amanda Whiston
EMERGING ARTISTS & EDUCATION PATRONS $10,000 + Mr Robert Albert ao & Mrs Libby Albert The late Michael Ball ao & Daria Ball Australian Communities Foundation -
34
James Ostroburski & Leo Ostroburski QVB John Rickard Paul Schoff & Stephanie Smee
Shemara Wikramanayake
VIRTUOSO $1,000 – $2,499
Cameron Williams
Annette Adair
Michael Horsburgh am &
Hamilton Wilson
Linda Addy
Beverley Horsburgh
Anonymous (5)
Barbara Allan
Merilyn & David Howorth
Jane Allen
Penelope Hughes
MAESTRO $2,500 – $4,999
Christopher Holmes
Andrew Andersons
Professor Andrea Hull ao
Philip Bacon am
Sue Hunt
Dr David and Mrs Anne Bolzonello
Launa & Howard Inman
In memory of Peter Boros
John Griffiths & Beth Jackson
Brian Bothwell
Owen James
Benjamin Brady
Anthony Jones & Julian Liga
Vicki Brooke
Brian Jones
Diana Brookes
Bronwen L Jones
Mrs Elizabeth Chernov
Sally Bufé
Mrs Angela Karpin
Carol & Andrew Crawford
Andrew & Cathy Cameron
Josephine Key & Ian Breden
Heather Douglas
Terry Campbell ao & Christine Campbell
Julia Pincus & Ian Learmonth
Anne & Tom Dowling
Ray Carless & Jill Keyte
Airdrie Lloyd
Jennifer Aaron David & Rae Allen DG & AR Battersby Beeren Foundation Mr & Mrs Daniel Besen Jenny Bryant Neil & Jane Burley The Hon Alex Chernov ac qc &
Maggie & Lachlan Drummond Michele Duncan John Gandel ao & Pauline Gandel Robert & Jennifer Gavshon
Dr Catherine Brown-Watt psm &
Gabriel Lopata
Mr Derek Watt
Colin Loveday
Patrick Charles
Robin Lumley
Angela & John Compton
Diana Lungren
Brooke & Jim Copland
Garth Mansfield oam &
R & J Corney
Margaret Mansfield oam
Judith Crompton
Mr & Mrs Greg & Jan Marsh
John Curotta
David Mathlin
Ian Davis & Sandrine Barouh
Janet Matton
Michael & Wendy Davis
Jane Tham & Philip Maxwell
Martin Dolan
Karissa Mayo
Dr William F Downey
Nicholas McDonald
Daniel Droga
Ian & Pam McGaw
Pamela Duncan
Colin McKeith
Emeritus Professor Dexter Dunphy am
Bruce McWilliam
Patricia H Reid Endowment Pty Ltd
Sharon Ellies
Helen & Phil Meddings
Ralph & Ruth Renard
Dr Linda English
Michelle Mitchell
Mrs Tiffany Rensen
Peter Evans
Glenn Murcutt ao
Fe and Don Ross
Julie Ewington
Stuart Nash
DN Sanders
Elizabeth Finnegan
Anthony Niardone & Glen Hunter
Petrina Slaytor
Michael Fogarty
Barry Novy & Susan Selwyn
Howard & Hilary Stack
Don & Marie Forrest
Paul O’Donnell
John & Josephine Strutt
Justin & Anne Gardener
L Parsonage
Ralph Ward-Ambler am &
M Generowicz
Prof David Penington ac
Barbara Ward-Ambler
Brian Goddard
Lady Primrose Potter ac
Richard & Suzie White
Paul Hannan
Mark Renehan
Dr Mark & Mrs Anna Yates
Jennifer Hershon
Dr S M Richards am & Mrs M R Richards
William & Anna Yuille
Lachie Hill
Em Prof AW Roberts am
Anonymous (4)
Christian Holle
Julia Champtaloup & Andrew Rothery
Cass George Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Simon & Katrina Holmes à Court Erica Jacobson Ros Johnson Peter Lovell Jennifer Senior & Jenny McGee Jane Morley Nola Nettheim Sandra & Michael Paul Endowment
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J Sanderson
Spire Capital
Rob Mactier
In Memory of H. St. P. Scarlett
P Cornwell & Cecilia Rice
Dr & Mrs Donald Maxwell
Lucille Seale
Annabel Crabb
Kathleen McFarlane
Mr John Sheahan qc
John & Gay Cruikshank
H and R McGlashan
Maria Sola
Marie Dalziel
JA McKernan
Dr Peter & Mrs Diana Southwell-Keely
Mari Davis
Peter & Ruth McMullin
Keith Spence
Mrs Sandra Dent
Louise Miller
Mark Stanbridge
In Memory of Raymond Dudley
Justine Munsie & Rick Kalowski
Harley Wright & Alida Stanley
Margaret Dunstan
G & A Nelson
Ross Steele am
MT & RL Elford
Graham North
In memory of Dr Warwick Steele
Leigh Emmett
Robin Offler
Caroline Storch
Carol Farlow
John O’Sullivan
Andrew Strauss
Penelope & Susan Field
Willy & Mimi Packer
Charles Su & Emily Lo
Jean Finnegan & Peter Kerr
Anne & Christopher Page
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Susan Thacore
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Matthew Toohey
Paul Gibson & Gabrielle Curtin
John Prendiville
Ngaire Turner
Marilyn & Max Gosling
Beverly & Ian Pryer
Kay Vernon
Jillian Gower
Jennifer Rankin
John Wardle
Paul Greenfield & Kerin Brown
John Riedl
M White
Annette Gross
Sally Rossi-Ford
Don & Mary Ann Yeats
Kevin Gummer and Paul Cummins
Robin Rowe
Rebecca Zoppetti Laubi
Hamiltons Commercial Interiors
Mrs J Royle
Anonymous (7)
Lesley Harland
Christine Salter
Sandra Haslam
Garry E Scarf & Morgie Blaxill
Gaye Headlam
Carol Schwartz am & Alan Schwartz am
Kingsley Herbert
Rena Shein
CONCERTINO $500 – $999 Elsa Atkin am Ms Rita Avdiev
Dr Penny Herbert
The Sherman Foundation
A & M Barnes
in memory of Dunstan Herbert
Casimir Skillecorn
In memory of Hatto Beck
Dr Marian Hill
Fionna Stack
Mrs Kathrine Becker
Sue & David Hobbs
Georgina Summerhayes
Robin Beech
Chloe Hooper
In memory of Dr Aubrey Sweet
Ruth Bell
Bee Hopkins
Gabrielle Tagg
Max and Lynne Booth
Dr & Mrs Michael Hunter
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Margaret & Vernon Ireland
Peter & Karen Tompkins
Denise Braggett
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Mrs Pat Burke
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Genevieve Lansell
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Kwong Lee Dow
Sir Robert Woods cbe
ClearFresh Water
Megan Lowe
Brian Zulaikha
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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
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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 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 38
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
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AC O NE W S FROM MELBOURNE TO PENRITH In September, our Education Quartet, ACO Inspire worked with students from Worawa Aboriginal College in Healesville. The Quartet worked with students in years 8, 9 and 10, guiding them through concepts of dance rhythms and music composition for dance.
PICTURED: Students at Worawa Aboriginal College perform with ACO Inspire.
Also in September, ACO Inspire worked with students of The Royal Children’s Hospital Education Institute, recording a string quartet accompaniment to two songs written by students during their stay at the hospital. The Quartet then performed the songs in a public concert and visited some of the wards for children receiving treatment for cancer, to play music and talk to the patients and their parents. PICTURED BELOW LEFT: Children participate in the ACO Inspire Quartet performance at RCH. PICTURED BELOW RIGHT: The Penrith Strings perform with ACO musicians at The Joan.
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In October, ACO musicians once again took the Penrith Strings ensemble through their paces in an intensive three-day residency at The Joan Sutherland Performing Arts Centre. The residency culminated in a public concert for a large and appreciative audience featuring our ACO Ensemble and the Penrith Strings.
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EVERY TUESDAY ORCHESTRAL MUSIC ON FOXTEL ARTS Tuesday nights on Foxtel Arts be transported with the best orchestral music, to the most spectacular concert halls from around the world. Check your Foxtel guide for more details. foxtelarts.com.au @FoxtelArts 41
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
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