Murder & Redemption - Pekka Kuusisto & Sam Amidon

PRINCIPAL PARTNER

NATIONAL TOUR PARTNER

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.

Music that takes you places

As an ACO Subscriber, enjoy discounts on selected domestic and international routes* when you fly with Virgin Australia. It’s just our little way of thanking you for supporting the Australian Chamber Orchestra too.

For more information visit aco.com.au/vadiscount or call the ACO on 1800 444 444.

Principal Partner of the Australian Chamber Orchestra

*Terms and Conditions: Offer is available to ACO Subscribers only. Offer is available on selected Virgin Australia domestic and international operated services in Economy and Business class for travel until 14 September 2017. 20 day advance purchases applies. You may be required to provide verification of your ACO subscription. Fares are subject to availability. Phone booking fee applies for bookings made by phone. A card payment fee will apply if payment is made via credit card or debit card. Additional fees will be charged for baggage in excess of any published allowances. Conditions and travel restrictions apply for all fares. Flights are subject to VA condition of carriage which are available at www.virginaustralia.com

ENG AGE W I T H US SOCIALLY

We’d love to hear from you – join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don’t forget the hashtag #ACO17. @a_c_o facebook.com/AustralianChamberOrchestra @AustChamberOrchestra

ACO BLOG

Visit the ACO Blog for up-to-date Orchestra news, interviews and insights. aco.com.au/blog

LOOK

Watch us Live in the Studio, go behind-the-scenes and watch ACO concert footage on YouTube. youtube.com/AustralianCO

LISTEN

Join us for a Spotify Session, hear concert tasters and playlists, and revisit past concerts on Spotify. aco.com.au/Spotify

YOUR SAY

Did you enjoy the concert? What was your favourite piece? Is this your first ACO experience?

We love to hear what you think about our concerts and recordings or anything else you’d like to tell us. aco@aco.com.au

R ADIO

ACO concerts are regularly broadcast on ABC Classic FM. Murder & Redemption will be broadcast on Tuesday 7 February. Check program listing for broadcast time.

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.

2017 SOLD OUT

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

EVENT PARTNER

5

N AT I O N A L TO U R PA RT N E R

P re c i s e performance at the highest level is critical in the b o a rd ro o m a n d the concert hall.

We a re dedicated supporters of both.

We a re a l s o v e r y p ro u d t o b e t h e legal partner of t h e ACO a n d t h e N a t i o n a l To u r Pa r t n e r o f t h e ACO ’s ‘ M u rd e r & Redemption’ t o u r.

jws.com.au

N AT ION A L T OUR PA R T NER

On behalf of Johnson Winter & Slattery (JWS) I welcome you to the opening concert of the ACO’s 2017 season. We are proud to be the ACO’s legal advisors and supporters of its national season as a National Tour Partner.

JWS is delighted to be the presenting partner of Murder & Redemption, an innovative program created by Pekka Kuusisto and folk musician Sam Amidon. These performances will be Sam’s first with the ACO, whereas Pekka is an old friend and now Artistic Director of ACO Collective.

As with every ACO performance, I look forward to learning something new about the role of classical music in contemporary times. While the topic of murder does not feature in our corporate and commercial law practice, redemption is a common theme in resolving civil disputes and criminal regulatory matters for corporate clients.

Therefore, I expect we will be incorporating ‘musical redemption’ into future submissions.

Enjoy the performance.

NATIONAL TOUR PARTNER

John Kench Johnson Winter & Slattery 7

Hear the timeless genius of Bach in Richard Tognetti’s triple ARIA-award winning vision of the composer’s violin works, including the beloved Concerto for Two Violins in D minor.

2-12 APRIL ADELAIDE, BRISBANE, MELBOURNE, PERTH, SYDNEY BOOK NOW ACO.COM.AU BOOK AS A FLEXI-PACK & SAVE ACO.COM.AU/CYO 1800 444 444 (Mon-Fri, 9am-5pm AEDT) *PERCENTAGE SAVINGS VARY ACCORDING TO VENUE, CONCERT AND SEATING RESERVE SELECTED.

PRINCIPAL PARTNER

NATIONAL TOUR PARTNER

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

And so it is with some Murder & Redemption that we welcome you to the ACO’s 2017 National Concert Season! We are delighted to welcome two very special guests to our first concert tour: the Guest Director is our long-time friend and Artistic Director of ACO Collective, Pekka Kuusisto, and for the first time on the ACO stage, folk music superstar Sam Amidon.

You will find this year’s concert offerings full of redemptive joy and optimism: with Bach violin concertos, Haydn symphonies, Mozart in both orchestral and chamber settings, an awe inspiring film meets an equally invigorating live music experience in Mountain, the world’s greatest living flautist Emmanuel Pahud, and the year concludes with Bach’s soaring Christmas Oratorio.

In addition to our eight mainstage tours, the Orchestra will undertake a residency comprising three concerts at London’s Barbican Centre in March, as well as another visit to Australia’s ‘red centre’ for concerts at Uluru in June, and a return to European concert venues in November.

As ever, this ambitious and wide-ranging season is only possible because of the unstinting generosity of our supporters. For this tour in particular we acknowledge our National Tour Partner and legal advisors, Johnson Winter & Slattery. The legal services that the ACO requires are as diverse as the musical programs we present, and the team at JWS are essential friends and partners in our business of music.

Each year, those of us who have been fans of the ACO for many years feel like we’re hearing the music afresh, as if for the first time.

If, in fact, you are hearing the ACO in this performance led by Pekka and Sam for the first time, I suspect you will want more. Fortunately, you can still subscribe to the rest of our 2017 season by visiting aco.com.au/buy/subscriptions I look forward to seeing you at concerts throughout 2017, wherever you may be joining us around Australia and the world.

Richard Evans 9

Create your own musical adventure with concerts

by Richard Tognetti, the ACO and international guests.

CHOOSE 3 OR MORE CONCERTS IN ANY VENUE AND SAVE AT LEAST 20% 3 CONCERTS FROM $162* 4 CONCERTS FROM $216* 5 CONCERTS FROM $270* BOOK FLEXI-PACKS & SAVE ACO.COM. AU/CYO 1800 444 444 (Mon-Fri, 9am-5pm AEDT) PRINCIPAL PARTNER

*Based on the purchase of 3 Adult C-Reserve tickets at select venues.

Prices vary in Sydney and Melbourne. Savings vary according to venue, concert and seating reserve selected.

A booking fee of $7.50 per transaction applies. Tickets subject to availability.

MUR DER & R EDEMP T ION Pekka Kuusisto Director & Violin Sam Amidon Voice, Banjo, Acoustic Guitar TRAD/AMIDON (arr. Nico Muhly) Kedron JANÁČEK (arr. strings) Adagio con moto from String Quartet No.1 ‘Kreutzer Sonata’ TRAD/AMIDON (arr. Nico Muhly) Way Go Lily JANÁČEK (arr. strings) Con moto from String Quartet No.1 ‘Kreutzer Sonata’ TRAD/AMIDON (arr. Nico Muhly) Wild Bill Jones JANÁČEK (arr. strings) Con moto – Vivace – Andante – Tempo I from String Quartet No.1 ‘Kreutzer Sonata’ TRAD/AMIDON (arr. Nico Muhly) How Come That Blood JANÁČEK (arr. strings) Con moto from String Quartet No.1 ‘Kreutzer Sonata’ Interval TRAD/AMIDON The Redemption Set (songs will be announced from stage) JOHN ADAMS I. Shaking and trembling from Shaker Loops BRACKETT (arr. Pekka Kuusisto) Simple Gifts JOHN ADAMS Shaker Loops II. Hymning slews III. Loops and verses IV. A final shaking

The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

Approximate durations (minutes): 2 – 4 – 4 – 4 – 5 – 4 – 3 – 6 – INTERVAL – 15 – 9 – 4 – 17 The concert will last approximately two hours, including a 20-minute interval.

11

WHAT YOU ARE ABOUT TO HE AR What do you do when you see your spouse in the arms of another?

If you’re the jealous husband Pozdnyshev in Leo Tolstoy’s novella The Kreutzer Sonata, you take a ‘curved Damascus dagger’ and kill your wife.

Or if you’re the protagonist of a murder-ballad from the folk tradition, you pull a revolver or use some other unspecified weapon that leaves you somewhat incriminated by the blood all over your shirt.

And after the murder? What then?

PICTURED: Leo Tolstoy, author of the novella, The Kreutzer Sonata.

Short of finding a sympathetic jury, like the one Pozdnyshev encountered, emigration is probably your best option, offering the prospect of rebirth in a New World.

But, if you follow the line of the United Society of Believers (aka the ‘Shakers’), the best way to avoid these inconvenient consequences of Murder & Redemption is to abstain from marriage and sexual relations altogether. Tolstoy agreed.

In this remarkable concert, inspired variously by Shaker music, Russian literature and Anglo-American folk-balladry, the ACO, in partnership with Sam Amidon, performs music exploring these violent passions that rule us, and the social and spiritual philosophies that seek to control them.

PICTURED: Life of the Diligent Shaker Sect.

Whether it’s the ageing Janáček using Tolstoy’s novella as a prism through which to view his infatuation with the young (and married) Kamila Stösslová, or John Adams drawing his inspiration from an almost-lost sect who sought spiritual transcendence through ecstatic and frenzied dancing, Murder & Redemption is a concert that journeys from darkness into light, from hell into heaven, and from guilt into forgiveness.

Or at least it would if that’s how folk music worked, which, sadly, it doesn’t.

For all its simplicity of means, the folk music on which Murder & Redemption is based is filled with moral complexity. Derived from generations of hard-bitten lived experience, folk songs like Wild Bill Jones and How Come That Blood rarely deliver clearcut deliverance at the end. The best they can offer is hope for escape beyond the tragedy and violence of the current situation.

12

These violent delights have violent ends And in their triumph die, like fire and powder, Which as they kiss consume . . .

– Shakespeare’s Romeo and Juliet (Act II, Scene VI) Or the dream for an inversion of society’s power-relations, in the case of Way Go Lily, or the patience just to endure in Kedron.

The Shakers knew how to deal with all this, through turning life’s complexities into simplicities, their pacifism and celibacy removing the very sources of jealous rages while proclaiming in what has become their most famous song, ‘Tis the gift to be simple, tis the gift to be free.’

Janáček loved folk music more than most composers but he was neither simple nor free, although unfortunately for him he did remain celibate in his relationship with the woman less than half his age who he described as the greatest love of his life.

So, unable either to consummate the relationship or, Pozdnyshev-style, to murder Kamila’s husband, he poured out his tortured soul in one of the great string quartets of the 20th century, The Kreutzer Sonata – an odd title, given that Tolstoy, who borrowed it from Beethoven, hated music generally, while Janáček said that Beethoven’s Violin Sonata ‘left him cold.’

PICTURED: Leoš Janáček.

If Janáček’s searing quartet was a cultural transmission that had begun with Beethoven and passed through Tolstoy, then John Adams’ Shaker Loops came at the end of a similar process of aesthetic revival and renewal that began with Aaron Copland’s rediscovery of the Shaker tune Simple Gifts, that he made famous through its inclusion in Appalachian Spring.

Adams’ minimalist masterpiece Shaker Loops is that most precious of cultural artefacts that, like Copland at his best, probes deep into America’s historical past while forging ahead into the artistic expression of the future.

PICTURED: John Adams.

By the time Shaker Loops was composed in the late 1970s, the Shakers themselves had all but disappeared from American society. But, in an astonishing and hugely popular work that established his international reputation, Adams demonstrated that the Shakers may be gone but their profound impact on American culture lingers on.

And that in itself bears compelling testimony to the capacity for redemption to outweigh the violence of murder every time.

13

ABOUT THE PROGR AM THE DARK DAY First, the sky turned yellow and the sun glowed red. Then, the moon too took on an ominous crimson appearance. And finally, as cattle became agitated in the fields, on the morning of 19 May 1780, the sun failed to rise at all, and the world was plunged into utter darkness.

The Baptist Minister, Issachar Bates was there: ‘There were neither clouds nor smoke in the atmosphere, yet the sun did not appear. No work could be done in any house without a candle . . . The darkness covered the whole of the land of New England.’

As birds went to roost and cocks crowed at midday, terrified preachers announced the arrival of the Day of Judgement and quoted verses from Matthew and Revelation foretelling the descent of darkness before the Second Coming, while politicians voted for the suspension of debate in order to prepare for the Apocalypse.

PICTURED: A 19th-century lithograph of shakers practising ‘their mode of worship’ near Lebanon in upstate New York.

14

Meanwhile, up there in Niskayuna, 160 miles north of New York, a party was going on. A group of English immigrants led by a frail 44-year-old woman named Ann Lee seemed, to Issachar Bates, to be going nuts, ‘singing, dancing, speaking in tongues,

‘Put your hands to work, and your heart to God.’ MOTHER ANN LEE

turning, preaching, prophesying, and warning the world to confess their sins and turn to God.’

PICTURED: Shaker women at work in the fields harvesting herbs..

As chance would have it, New England’s soon-to-become-famous ‘Dark Day’ had been chosen by Ann Lee as the very day on which she was to introduce America to her tiny band of followers who, back in her native Manchester, England, had been dubbed ‘Shaking Quakers’. They themselves preferred to use the name the United Society of Believers in Christ’s Second Appearing.

So, no fear had they, on that strange light-less day that scientists still try to explain.

Instead, in amidst the shaking and trembling of believers for whom dervish-like turning and ‘eckstatic Fits’ served as a means of expunging evils from within, Ann Lee bore public testimony to her equality-of-the-sexes creed that called on her followers to confess their sins, give up their worldly goods, and sign up to a life of celibacy.

Hers were Millennial beliefs whose vigorously-proselytised opposition to the religious status quo had seen her jailed on several occasions in England, forcing her expatriation to the New World, where she and her handful of followers had lain low for several years.

Until, that is, that Dark Day in 1780 when established civic leaders were seen running in terror for the exits, while the Shakers made a profound impression with their fearlessness and celebration in the face of apparent Doomsday.

Having been stunned by what he’d witnessed that day, the poet Issachar Bates, and, later, others with formal musical training like the songwriter Joseph Brackett, eventually joined their ranks.

And in time, these American converts’ more structured approach to song and dance, when merged with the original Shakers’ raw spontaneity of speaking and singing in tongues, would create an impact on American music that continues to resonate today.

And that’s quite some achievement for a sectarian community whose population is now down to single digits, and which, even at its height in the so-called Era of Manifestations at any one time probably never exceeded 6,000.

15

MURDER KEDRON WAY GO LILY WILD BILL JONES HOW COME THAT BLOOD (Traditional folksongs, retold by Sam Amidon, arranged by Nico Muhly) The Shakers were just one of myriad religious sects and cults that emerged in Reformation-era England, most of them seeking a more direct communion between worshipper and God without the intervention of oppressive religious or state bureaucracies.

Ann Lee’s initial direct-action policy, where she crashed church meetings to prosecute her case for an alternative religion, saw her hauled off to prison on several occasions. The lessinterventionist Quakers too suffered notoriously for their pacifist beliefs, as did members of other emerging Protestant and Millennialist denominations.

Incarceration, physical abuse, social ostracism all led to a common theme in sermons and hymns of the time – the need for patience.

It’s a sentiment captured in the Shape Note Hymn Kedron, originally published in Charles Wesley’s Short Hymns of 1762, and then being transported along with the religious exiles to the New World, where it first appeared in a South Carolina publication in 1799. From then on Kedron became a frequent entrant in folksong and hymn compilations right through the 19th century, its lyrics so simple, speaking of the inevitability of death and of Christ’s exemplary patience as he died on the Cross.

By contrast, Way Go Lily is essentially a children’s game-song from the slavery-days in the Old South, and, like so much folk music emerging from that brutal environment, its upbeat, playful melody deliberately masks its strident call for resistance and rebellion. Way Go Lily’s survival is thanks in large part to the low-voiced Bessie Jones, who was raised in North Carolina, but married a man from the Georgia Sea Islands and moved there as a young woman. Living to the age of 82, she became a treasured folk-music resource during her later years, singing many hundreds of songs that she had heard growing up, or participating in the children’s singing-game songs on the 16

Bloodshed, expatriation, grief, loss . . . the founding of America expressed in just a few stanzas of simple, repetitive refrains . . .

Islands. Way Go Lily came from the latter source, a game-song superficially but explicit in its intention to turn the tables on the slave-masters, first with a hickory and then with a shotgun.

Of course, the exertion of patience and the enactment of symbolic rebellion through game-playing can only take the outcast so far. At some point, actual weaponry has to enter the equation. That’s where hymns of faith and songs of play give way to one of the defining genres of British and American folk music – the murder ballad. Wild Bill Jones is a classic example, a simple folk version of the sexual jealousy tale depicted in literary form in Tolstoy’s The Kreutzer Sonata. The protagonist is out walking one day when he encounters his girl in the arms of Wild Bill Jones. He asks the suitor to desist, Wild Bill refuses, and so a weapon is drawn, not the ‘curved Damascus dagger’ of Tolstoy, but a revolver, and that’s that, Wild Bill is no more, and the protagonist is now an outlaw.

Some murder ballads seem particularly universal, and none more so than How Come That Blood, that back in Europe, was originally known as Edward. Scottish in origin, Brahms and Schumann both knew it from its inclusion in the Johann Gottfried Herder’s first German folksong anthology Stimmen der Völker in Liedern (Voices of the People in Song, 1778-9), and they both fell under the spell of its dark-deeds narrative in which a mother questions her son about the blood on his sword.

In a series of questions and answers between them, it emerges that it is the blood of the father, in whose murder they are both implicated. Brahms set it in two different works, but the song exists in multiple other versions, including among the Child Ballads, and in collections from Sweden, Denmark and Finland.

In its various American incarnations, it’s best-known as How Come That Blood, where the killer is not named ‘Edward’ and the victim is not his father but his brother. But the catechismstyle remains the same, the mother quizzing her son about the source of the blood on his shirt. First, he says it’s the blood of a hawk, then a greyhound, then a mare, but eventually the truth of the fratricide is revealed. From there, it’s down to practical matters. The murderer will emigrate with his wife, leaving their three children behind with their grandmother.

Bloodshed, expatriation, grief, loss, and the New World beckoning – the history of the founding of America expressed in just a few stanzas of simple, repetitive refrains!

17

ANN LEE, LEO TOLSTOY, AND THE KREUTZER SONATA Even without the religious prompting, the entirely uneducated Ann Lee had reason enough to advocate celibacy as a lifestyle.

Having grown up with a personal abhorrence of sexual relations, she was eventually persuaded by her impoverished father to enter into a marriage, which resulted in four difficult pregnancies and the death of all four children in infancy. Soon after her arrival in America, her husband then dumped her and disappeared.

So, marriage had no role to play in self-dubbed ‘Mother Ann’s’ religion, and that had significant practical consequences, because it meant that membership of the United Society of Believers could only grow through conversion and adoption – a challenge given the difficulty of convincing prospective members to give away the physical pleasures that most other religions not only allowed, but relied on for their expansion.

Ann Lee only lived another three years after the Dark Day – the physical toll of her malnourished childhood, brutal pregnancies, and repeated imprisonments contributing to the breakdown of her constitution and her death at 47. But she’d lived long enough to start a movement that reached its height in the early part of the 19th century, when others too began to share her ecstatic visions at the onset of what became known as the Era of Manifestations, the period from 1820–1860 when the United Society of Believers made innovations in music, handicrafts and furniture-making that still form an integral part of American culture today.

PICTURED: Janáček’s composition was inspired by Leo Tolstoy’s novella, The Kreutzer Sonata. Pictured is the title page of the 1901 Geneve edition in Russian.

Not that the advocacy of celibacy was unique to the Shakers.

Over in Russia, just at the time when the Shakers were expanding beyond New England, down into Kentucky and out into the mid-West, a young man with a hint of destiny about him was born near the town of Tula, 200 kilometres south of Moscow. With his masterpieces War and Peace and Anna Karenina, Leo Tolstoy would become known as one of the world’s truly great literary figures, whose social philosophies ended up influencing 20th-century leaders like Mahatma Gandhi and Martin Luther King.

But it was a brief novella by Tolstoy, called The Kreutzer Sonata, that would align this most erudite of world thinkers with the humble, unschooled Ann Lee. For it was in Tolstoy’s searing account of a husband driven by a loveless, yet maniacal jealousy to murder his wife, that he made his famous and reluctant

18

A Christian will never, therefore, desire marriage, but will always avoid it.

LEO TOLSTOY condemnation of the ‘unnatural’ act of marriage, and in its place advocated a life of celibacy. And not just within the story itself, but in his article ‘Lesson of The Kreutzer Sonata’ which served as its appendix: ‘. . . whatever truly deserves to be held up as a worthy object of man’s striving and working, whether it be the service of humanity, of one’s country, of science, of art, not to speak of the service of God, is far above and beyond the sphere of personal enjoyment. Hence, it follows that not only to form a liaison, but even to contract marriage, is, from a Christian point of view, not a progress, but a fall . . . A Christian will never, therefore, desire marriage, but will always avoid it.’

PICTURED: René François Xavier Prinet’s oil painting, The Kreutzer Sonata (1901).

This kiss does not actually take place in the novel – it is part of Pozdnyshev’s delusion. Prinet’s painting became rose to notoriety in 1941 when it was chosen by the Dana perfume company to market a new perfume, ‘Tabu’. It was used in their campaign for several decades, thus earning the title ‘the longest kiss in advertising history’.

Passionately demonstrated throughout the gripping tale of Pozdnyshev who hates his pianist-wife, but who loses control when he sees her accompanying charismatic violinist Troukhatchevsky in a performance of Beethoven’s ‘Kreutzer’ Sonata, Tolstoy’s diatribe about the destructiveness of marriage could have been written by Ann Lee herself, had she been literate.

Both Lee and Tolstoy, from their radically opposed perspectives, agreed that sexual relations lead to unhappy marriages at best, outright hatred and murder at worst, and that as a result, carnal desires needed to be channelled into creative practice and spiritual uplift.

And in Brno, Moravia, there lived a composer who placed these notions of marital torment and transcendence through denial at the very centre of his creative inspiration.

His name was Leoš Janáček, and through his indulgence in a fantasy-world of sexual desire and frustration, with Tolstoy’s The Kreutzer Sonata at its epicentre, he created some of the most compelling music-dramas of the early 20th century.

19

JANÁČEK’S FIRST STRING QUARTET LEOŠ JANÁČEK 1854–1928 STRING QUARTET NO.1 ‘THE KREUTZER SONATA’ (arr. strings) I. Adagio con moto II. Con moto III. Con moto – Vivace – Andante – Tempo I IV. Con moto Janáček first met Kamila Stösslová during the summer of 1917 when they both found themselves holidaying together with their respective spouses at the spa town of Luhacovice in Moravia, about 100 kilometres east of Brno. Kamila was in her mid-20s at the time; Janáček 63. And while she was actually Jewish, her flashing dark eyes, swarthy complexion, black hair and shapely figure gave her the appearance of those fateful gipsy women who carve a swathe of romantic destruction across the pages of 19th-century fiction.

PICTURED: Leoš Janáček. He wrote more than a thousand letters to Kamila, without whom he said he couldn’t exist.

Her husband, and the father of their two small children, was David Stössl, an antiques dealer from the Ukraine currently serving in the military, and just as in Tolstoy’s novella The Kreutzer Sonata, the relationship actually began with the two men making the overtures and proving useful to one another.

At the time, Stössl was based at the strategically important Czech town of Prerov and, impressed at having met the composer of the celebrated opera Jenůfa, was able to use his connections to supply the Janáčeks with provisions that weren’t generally available during wartime rationing.

But in turn, the great composer was able to use his influence to prevent Stössl from being deported as an enemy alien, and in fact assisted him in becoming a permanent Czech resident.

But it wasn’t David Stössl who interested Janáček. It was his wife.

Just a couple of days after their first meeting, Janáček was already jotting down Kamila’s speech patterns in his notebook, and soon afterwards began a passionate correspondence with her that would continue almost daily for the 11 years that remained of his life. And so too began the astonishing series of musical masterpieces, all of which had a connection with Janáček’s passion for the ‘most wonderful lady . . . that [he] had perpetually in mind’, a love he said that was greater than any

20

PICTURED: String Quartet No.1 Kreutzer Sonata.

he had ever experienced. It was not a situation that Madame Janáček welcomed, and Kamila herself seemed somewhat perplexed. But its musical consequences were undeniable.

First there came the song cycle The Diary of One who Disappeared, based on anonymous poems about a young law student seduced by a gipsy girl and disappearing from society in order to be with her and their child, Janáček telling Kamila: ‘And the black gipsy girl in my Diary of One who Disappeared – that was you. That’s why there’s so much emotional fire in the work. So much fire that if we both caught on it, we’d be turned into ashes.’

Then the masterful opera Káťa Kabanová followed, the tale of an unhappily-married women who succumbs to the passion of another man, with fatal consequences (‘My Káťa grows in her, in Kamila!’). This theme of loveless women seeking to control their apparent romantic destiny was then replicated to varying degrees in the operas The Cunning Little Vixen and The Makropoulos Case, Janáček again aligning their heroines with Kamila.

But it was in the two string quartets of the 1920s that Janáček expressed his most intimate feelings about Kamila. The second 21

PICTURED: Sixty-three-year-old Leoš Janáček fell passionately in love with 25-year-old Kamila Stosslova in 1917.

His obsession with Kamila, while not reciprocated, resulted in the composer becoming the most remarkable latedeveloping genius in the history of music, Kamila becoming the pivotal figure in most of the composer’s most treasured works, including his first string quartet, ‘The Kreutzer Sonata’.

quartet, in fact, was initially called Love Letters, a reference to the daily correspondence that he sent her, and that she replied to occasionally, but only on the proviso that he burnt the letters immediately. She’d play along, in other words, but she never loved him, and never pretended to. As Janáček wrote to her, ‘It is fortunate that only I am infatuated.’ And on another occasion, ‘Between you and me there is a world of beauty, but all is nothing but fantasy . . . Even so, this world of fantasy is as necessary to my life as air and water.’

So, his eternal love, as with the Shakers, had to be expressed through the platonic surrogate of art, and Love Letters eventually became the slightly less explicitly-titled Intimate Letters.

The template for Janáček’s depiction of Kamila in the First String Quartet, however, was provided by Tolstoy’s novella The Kreutzer Sonata, the subtitle by which this nakedly emotional quartet is still known today. It wasn’t the first time that Janáček had set out to compose a work on Tolstoy’s tale of miserable, murderous marriage. An earlier Piano Trio called The Kreutzer 22

Loving the same man or woman all your life, why, that’s like supposing the same candle could last you all your life . . .

– Tolstoy’s The Kreutzer Sonata Sonata was performed in 1909, complete with imitations of the train noises that form part of Tolstoy’s frame-tale, although all but a page of Janáček’s work has been lost. Janáček knew Tolstoy’s novella intimately, having come across it when he was teaching himself Russian, and in his personal copy of the text, he translated passages into Czech, and made marginal notes, particularly in Tolstoy’s ‘Lesson of The Kreutzer Sonata’ appendix where the case against traditional marriage is made most explicitly.

But now, with The Kreutzer Sonata novella serving as the template (ironically, not the original Beethoven sonata itself, which apparently left Janáček ‘cold’), during an astonishing single week of creative frenzy in 1923, Janáček poured all his pent-up emotions into a quartet which never attempts a programmatic musical rendering of Tolstoy’s story, but which is infused with the same intensity and tortured passion.

‘What I had in mind was the suffering of a woman, beaten and tortured to death, about whom the Russian author Tolstoy writes in his Kreutzer Sonata,’ Janáček confided in Kamila, as always the imaginary heroine of the piece. But Janáček’s fascination with his heroine’s violent end wasn’t ghoulish or prurient.

As he demonstrated in all his stage works from that period, Janáček, like Tolstoy and Ann Lee, was appalled by the subjugation to men which women experienced in so-called civil society, both within and outside of marriage, and he empathised not with the male characters in Tolstoy’s work but with the heroine (in the same way that Flaubert once said of his most famous character, ‘Madame Bovary, c’est moi.’). The composer Josef Suk, who played second violin in the work’s premiere, said that Janáček stressed to the performers that the quartet was to be a moral protest against men’s despotic attitude toward women.

Janáček’s approach to the Quartet was ruthless and unrelenting, from the ‘once-upon-a-time’ opening two-bar figure to the immediate answer in the cello of the clattering-of-therails reminiscence of the movement of the train that serves as the backdrop to Tolstoy’s story. Indeed, all four movements, through all their different moods and tempi, nevertheless share the same ‘con moto’ marking, all of them propelling the momentum forward as the passion of the music becomes, like events in the novella itself, ever-more unstoppable.

23

What is music? What does it do to us? . . . it has a terrible effect on me, at any rate, but it has nothing to do with any uplifting of the soul . . . it merely irritates me.

– Tolstoy’s The Kreutzer Sonata But there the similarities between book and music end, for this is not a programmatic piece, at least not as explicitly as, say, a Strauss tone poem. Rather, Janáček takes the general parameters of Tolstoy’s story and replicates them in terms of their spirit, the opening movement slowly building in intensity from its Káťa Kabanová-like main theme, becoming more ominous as it proceeds, the constant juxtaposition of jaunty social appearances and turbulent outbursts (marked in the score to be played ‘sharply’) revealing the animal emotions underlying the trappings of civility.

The second movement is a kind of twisted scherzo-cum-polka, the theme of the first movement still discernible, but with its swagger broken down now and transported through spooky tremolo and brittle-toned instrumental effects into a netherworld of flittering shadows and unspoken desires.

By the third movement, introduced by a dialogue in canon between violin and cello, things have become more strained.

It’s a slow movement primarily, to some ears even quoting a passage from Beethoven’s original ‘Kreutzer’ Violin Sonata.

But what’s most noticeable is its unsettled quality, each attempt to create a sense of traditional melodic line being continually punctuated by skittish random voices. Some are sentimental, most manic, threatening to overwhelm any sense of rational thought-processing, for what role can the brain play when the emotions are stirred to this fever pitch?

There is no real resolution in the finale, starting slowly and quietly but waging constant battle in the effort to maintain decorum, typified by a violin solo marking ‘as in tears’. Soon the tempo picks up, and while much of this concluding movement is beautiful in its sound, its return of the quartet’s opening-like Káťa motive is anguished.

The Quartet’s protagonist has acquired the music but not the girl, as if emblematising the argument of Tolstoy’s Pozdnyshev: ‘Music provokes an excitement, but this excitement is not accompanied by the thing that needs properly to be done, and that is why music is so dangerous, and sometimes acts so frightfully.’

24

REDEMPTION THE REDEMPTION SET (Songs will vary from performance to performance but will include Wedding Dress and Saro) After the murder, there comes redemption. Pozdnyshev finds his in part through an official verdict of innocence, and also through seeking the forgiveness of strangers. The folksong protagonists tend to find theirs in dreams of deliverance, although redemption can be a slippery thing in folk lyrics.

The protagonist of the traditional Wedding Dress, for instance, sits there filled with hope and excitement as his beloved sews the gown in which the two of them will be married. But why is she so fixated on sewing when she’s yet to agree to a date for the nuptials? An Appalachian song made famous by Peggy Seeger, Wedding Dress may well have originated in Ireland but its protagonist’s dilemma is universal. The dress is already made, but ‘she wouldn’t say yes, she wouldn’t say no, all she’d do, is sit and sew’.

PICTURED: Sam Amidon.

Saro is a classic example of a trans-Atlantic lament that’s changed significantly over time. Originating around 1700 as Pretty Saro, it told the story of a man reluctantly accepting his fate when it emerges that he doesn’t have the wealth or possessions that his beloved requires. The song then disappeared for centuries but somehow re-emerged in America in the 20th century, transformed now into an immigrant song in the tradition of Danny Boy and Leaving of Liverpool where the exile sings ‘There’s one thing that grieves me and bears on my mind, That’s leaving my darling pretty Saro behind.’

Other folk songs in the Redemption set will be announced from the stage

25

JOHN ADAMS Born 1947.

SHAKER LOOPS As flower-power, pop culture, and the influence of a smattering of celebrity spiritual gurus infiltrated the consciousness of American baby boomers during the 1960s, composers like Terry Riley and Steve Reich began to develop new modes of musical expression based on hypnotic, mantra-like repetitions of musical phrases generated either through tape-looping itself, or in imitation of it. Their obsessive-compulsive fetishisation of, in-themselves, mundane rhythms and arpeggios became known as minimalism, and by the mid-1970s, the former New York cab driver Philip Glass began taking it into the world of opera, with conspicuous commercial and surprising artistic success.

The relief of audiences was palpable, the rage and derision of the former avant-garde incendiary. Now, for the first time in two generations, non-specialist music-lovers were being given an opportunity to hear new music that they might actually like, and young composers spied a career path that could actually factor in the willing participation of an audience.

PICTURED: John Adams.

In 1978, the septuagenarian Aaron Copland watched on as a new generation of young American composers flirted with this minimalism and, in the case of one particular young man out in San Francisco, simultaneously inherited Copland’s legacy by finding inspiration in home-grown American narratives. John Adams would eventually align the minimalism of Riley, Reich and Glass with the Americanism of Copland.

It all began with an experiment when he set out to write a piece called Wavemaker, which tried to emulate in music the ripple effect of waves of water. It had limited success, but he kept working away at the idea of repeating or ‘looping’ oscillations played on string instruments. And eventually, Wavemaker transformed itself into a string quartet called Shaker Loops.

Like Copland before him, the breakthrough for Adams came when the abstract music of Wavemaker exhausted itself just short of the point of musical lift-off. But then Adams, observing how the strings in the piece were made to ‘shake’, recalled his childhood memories of growing up not far from a Shaker colony in New Hampshire. He could still picture the vision of these otherwise pious and industrious souls caught up in their

26

PICTURED: A group of Shaker men and women from upstate New York.

ecstatic frenzy of dancing that culminated in an epiphany of physical and spiritual transcendence. And just as Aaron Copland had done 35 years earlier in Appalachian Spring, John Adams’ incorporation of Shaker cultural traditions into contemporary art-music transformed Wavemaker from a worthy experiment into one of the ground-breaking masterpieces of American music.In Shaker Loops, John Adams had found his calling and his historical niche, creating truly ‘modern’ classical music that both defined and contributed to American cultural identity at the end of the 20th century.

The ‘shaking’ of the title is an explicit reference to the United Society of Believers, but so too it refers to the tremolo bow technique of the strings, rapidly moving from one note to the next and back again. The word ‘loops’ references the ‘presampling’ era when pre-recorded (‘dubbed’) magnetic tape was cut manually and reconstructed so musical figures could be repeated over and over. The piece grew in ensemble numbers as it progressed, starting out in its Wavemaker incarnation as a string quartet, then, in its original appearance as Shaker Loops taking the form of a string sextet, in which form it’s still 27

Although . . . the term “Shaker” itself is derogatory, it nevertheless summons up visions of these otherwise pious and industrious souls caught up in the ecstatic frenzy of a dance that culminated in an epiphany of physical and spiritual transcendence.

JOHN ADAMS

PICTURED: This embroidered ‘Tree of Life’ was originally a painting by Hannah Cohoon, who was a member of the Hancock Shaker Village in Massachusetts in the mid 19th century.

played regularly today. And then in 1983, with the work now an acknowledged hit and in demand the world over, it became a string orchestral piece as well.

The first of its four linked movements is called ‘Shaking and Trembling’, the sense of urgency and excitement evident from the very first bar, the ‘eckstatic’ dance of the Shakers captured in music that turns its insides-out at great speed, shuddering and shimmering, and possessed of the spiritual fervour that lit up the darkness of that original debut-day for the American Shakers back in 1780.

Then without pause it segues into ‘Hymning Slews’, a slow, quieter section built on strange string glissandi against a backdrop of more restrained, but implicitly still-scurrying motor rhythms.

PICTURED: A shaker schoolhouse, New Lebanon, New York.

The third movement, known as ‘Loops and Verses’ becomes more melodic, as the cellos play long, lyrical lines against while muted violins form the backing. The speed and intensity increase, building to the emotional climax of the piece, before a sequence of high string harmonics usher in the fourth and final section, called, what else but ‘A Final Shaking’, the cellos and bass providing a pedal-point underneath the twisted sound-world of the upper strings.

Modern and ancient simultaneously, art-music but popular culture too, Shaker Loops is now regarded as a landmark in American music. Somehow, through all its sophisticated demands on string technique, it forged a musical future while recalling such a vibrant, albeit doomed American past

28

JOSEPH BRACKETT (1797–1882) SIMPLE GIFTS During the Second World War, composer Aaron Copland was visiting a library near the Boston Symphony Orchestra’s summer home of Tanglewood when he chanced upon a copy of Edward Deming Andrews’ book called The Gift to be Simple – Songs, Dances and Rituals of the American Shakers. The song whose opening line gave the collection its title was called Simple Gifts, and Shaker manuscripts described it variously as either a ‘Dancing Song’ or ‘Quick Dance’, its lyrics neatly capturing the minimalist Shaker creed:

PICTURED: Shaker Elder, Joseph Brackett was a songwriter and author, who is best known for Simple Gifts, the most famous Shaker hymn.

‘Tis the gift to be simple, ‘tis the gift to be free, ‘Tis the gift to come down where we ought to be, And when we find ourselves in the place just right, ‘Twill be in the valley of love and delight.

The song had been composed by Shaker Elder James Brackett back in 1848 and never gone beyond the community of Believers. For them, it was not just a dance-tune, but also a practical source of encouragement in a society where nonBelievers visited Shaker communities to watch their rituals as public entertainment, hence the reassuring couplet, ‘When true simplicity is gained/To bow and to bend we won’t be ashamed’.

PICTURED: Simple Gifts manuscript.

29

But it wasn’t the song’s religious sentiment nor it historical significance that appealed to Aaron Copland. It was its melody, so pure, so simple – part children’s song, part hymn – and so amenable for adaptation into different musical genres. And none more so than orchestral music.

In 1945, Copland used it as the climax of his Appalachian Spring, and later redeployed it in a song cycle, and suddenly, this humble little Shaker ditty with its revivalist dance-caller’s refrain of ‘To turn, turn will be our delight,’ had transcended its origins within the small Shaker community in Maine where it originated to become an iconic American cultural artefact, part of a Pulitzer prize-winning orchestral work. Now it’s a staple for folk singers, classical sopranos, and even for commercial entertainment shows like Lord of the Dance, another example, like Shaker furniture and handicrafts, of the enduring legacy of Ann Lee’s brave and unconventional United Society of Believers.

All notes by Martin Buzacott © 2017

FURTHER READING AND LISTENING The most extensive history of the Shakers is by Stephen J. Stein, The Shaker History in America: A History of the United Society of Believers (New Haven: Yale, 1992).

To hear authentically performed Shaker music, a good 2CD collection is Let Zion Move: Music of the Shakers, and the Boston Camerata also worked with local Shaker communities on the recording of their albums Simple Gifts (1995) and The Golden Harvest.

The classic studio recording of Beethoven’s ‘Kreutzer’ Sonata was made more than 30 years ago

by Itzhak Perlman and Vladimir Ashkenazy and released on Decca, and there is a live version as well featuring the same artists.

Music by John Adams plus Aaron Copland’s Appalachian Spring are available on disc on countless different recordings, while the Australian Chamber Orchestra has recorded the string orchestral version of Janáček’s First String Quartet (Sony Masterworks SK48252).

For a colourful account of the appeal of murder as a subject for Romantic creative artists, see Thomas de Quincey’s famous essay ‘On Murder considered as one of the fine arts’, available online from ebooks.adelaide.edu.au Tolstoy’s novella, The Kreutzer Sonata is also available online in a good translation by Benjamin R. Tucker at ebooks.adelaide.edu.au The book that Aaron Copland happened upon that contained Simple Gifts, Edward Deming Andrews’ The Gift to be Simple – Songs, Dances and Rituals of the American Shakers can be found online at https://archive.org/details/gifttobesimpleso027839mbp For a modern pop rendering of murder ballads, see Nick Cave’s album Murder Ballads.

30

SAM AMIDON

VOICE, BANJO, ACOUSTIC GUITAR

Born and raised in Brattleboro, Vermont, by folk-musician parents, Sam Amidon sings and plays fiddle, banjo, and guitar.

He re-imagines traditional songs from the public domain, as well as the occasional contemporary pop song, and rearranges them into his own unique and mesmerising compositions.

As a teenager, Amidon rose to acclaim as a fiddler, releasing five albums with his band Popcorn Behavior. Blending elements of folk, bluegrass, jazz, Americana and more, he self-released Solo Fiddle, an album of traditional Irish instrumentals, solely played by himself on the fiddle.

Photo by Piper Ferguson.

Amidon’s first full-length album, But This Chicken Proved False Hearted (2007), was made with longtime collaborator Thomas Bartlett. His second album, All Is Well (2008), was produced, recorded and mixed in Iceland by Valgeir Sigurðsson at Greenhouse Studios. His third album, I See the Sign – also produced by Valgeir Sigurðsson – was released in 2010.

Amidon’s fourth album, Bright Sunny South, was released in 2013, his first on Nonesuch Records. His most recent album, Lily-O, was released on the same label in September 2014.

Amidon is a member of the Icelandic music collective/record label Bedroom Community. He has also played with several indie-rock bands, including Doveman and Stars Like Fleas.

He currently lives in London. samamidon.com

31

PEK K A K UUSIS T O GUEST DIREC TOR & VIOLIN

‘One-of-a-kind.’

THE GLOBE AND MAIL

Photo by Kaapo Kamu.

Described by one critic as a musician ‘who surely has the most personal sound of any classical violinist now alive’, Pekka Kuusisto is internationally renowned for his fresh approach.

An advocate of new music, Kuusisto will collaborate with the Los Angeles Philharmonic (Gustavo Dudamel) in August this year for the premiere of Daniel Bjarnason’s violin concerto, written especially for him. He regularly works with such composers as Nico Muhly, Anders Hillborg, Thomas Adès and Sebastian Fagerlund. Recent highlights include debuts at the London BBC Proms with BBC Scottish Symphony Orchestra (Thomas Dausgaard), as well as at the Edinburgh International Festival as part of a European tour with the Minnesota Orchestra (Osmo Vänskä). He also returns to the Seattle Symphony Orchestra, toured with Junge Deutsche Philharmonie (Jonathan Nott), and play-directed the Mahler Chamber Orchestra at the Beethovenfest Bonn 2016.

Artistic Director of the award-winning and innovative ‘Our Festival’ in Finland, Kuusisto is a gifted improviser and engages with people across the artistic spectrum, such as neurologist Erik Scherder, jazz-trumpeter Arve Henriksen, juggler Jay Gilligan and photographer Maija Tammi. A keen chamber musician, Kuusisto frequently appears at London’s Wigmore Hall and Amsterdam’s Concertgebouw, and next season makes his Carnegie Hall debut. Regular partners include Nicolas Altstaedt, Anne Sofie von Otter, Simon Crawford-Phillips, Alexander Lonquich and Olli Mustonen.

Kuusisto is widely recognised for his directing work, and in addition to his position as Artistic Director of ACO Collective, he is Artistic Partner with Saint Paul Chamber Orchestra. He also directs ensembles such as The Deutsche Kammerphilharmonie Bremen, Mahler Chamber Orchestra and Britten Sinfonia.

Kuusisto’s next release features him as director and soloist for Sibelius’ Violin Concerto with the Tapiola Sinfonietta, paired with traditional Finnish rune singing.

Pekka Kuusisto plays a fine Stradivari violin kindly loaned to him through the Beares International Violin Society.

32

AUS TR A LI A N CH A MBER 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.

33

MUSICI A NS ON S TAGE

Pekka Kuusisto Guest Director and Violin

Helena Rathbone 1 Principal Violin

Satu Vänskä 2 Principal Violin

Glenn Christensen Violin

Chair sponsored by Horsey Jameson Bird

Chair sponsored by Kate & Daryl Dixon

Chair sponsored by Kay Bryan

Chair sponsored by Terry Campbell ao & Christine Campbell

Aiko Goto Violin

Ilya Isakovich Violin

Liisa Pallandi Violin

Maja Savnik 3 Violin

Chair sponsored by Anthony & Sharon Lee Foundation

Chair sponsored by The Humanity Foundation

Chair sponsored by The Melbourne Medical Syndicate

Chair sponsored by Alenka Tindale

Ike See Violin

Thibaud Pavlovic-Hobba Violin

Alexandru-Mihai Bota Viola

Caroline Henbest Viola

Chair sponsored by Philip Bacon am

Chair sponsored by Di Jameson

Timo-Veikko Valve 4 Principal Cello

Melissa Barnard Cello

Julian Thompson 5 Cello

Maxime Bibeau 6 Principal Bass

Chair sponsored by Peter Weiss ao

Chair sponsored by Martin Dickson am & Susie Dickson

Chair sponsored by The Grist & Stewart Families

Chair sponsored by Darin Cooper Foundation

Florian Peelman Guest Principal Viola Chair sponsored by peckvonhartel architects

Players dressed by Willow and SABA 34

1 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

2 Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.

3 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund.

4 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.

5 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council.

6 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.

ACO BEHIND T HE S CENE S BOARD 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

Fiona McLeod Chief Financial Officer Yvonne Morton Financial Accountant & Analyst

Jessica Block Deputy General Manager

DEVELOPMENT

Alexandra Cameron-Fraser Chief Operating Officer

Anna McPherson Director of Development

Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

Yeehwan Yeoh Investor Relations Manager

ARTISTIC OPERATIONS

Lillian Armitage Capital Campaign Executive

Danielle Asciak Travel Coordinator Bernard Rofe Librarian

Cristina Maldonado Marketing & Communications Executive

Chris Griffith Box Office Manager

Dinuja Kalpani Transaction Accountant

Ross Chapman Touring & Production Coordinator

Leo Messias Marketing Manager

Caitlin Gilmour Education Coordinator

Richard Evans Managing Director

Lisa Mullineux Tour Manager

Hilary Shrubb Publications Editor

Natasha Bowron Acting Communications Manager

Nancy Chan Transaction Accountant

Anna Melville Artistic Administrator

Antonia Furrugia Director of Marketing

Vicki Norton Education Manager

EXECUTIVE OFFICE

Luke Shaw Director of Artistic Operations

MARKETING

Jill Colvin Philanthropy Manager

Fionn Meikle Acting Events Manager Tom Carrig Senior Development Executive Sally Crawford Patrons Manager

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

Kay-Yin Teoh Development Coordinator

By Mail PO Box R21, Royal Exchange NSW 1225

Belinda Partyga Researcher

Telephone (02) 8274 3800 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au

35

MUR DER & R EDEMP T ION TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY

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

Thu 2 Feb, 6.45pm Newcastle City Hall Pre-concert talk by Anna Melville

Tue 7 Feb, 6.45pm Adelaide Town Hall Pre-concert talk by Anna Melville

Sun 12 Feb, 1.15pm Sydney Opera House Pre-concert talk by Anna Melville

Sat 4 Feb, 7.15pm Canberra – Llewellyn Hall Pre-concert talk by Anna Melville

Wed 8 Feb, 6.15pm Sydney – City Recital Hall Pre-concert talk by Anna Melville

Mon 13 Feb, 6.15pm Brisbane – QPAC Concert Hall Pre-concert talk by Anna Melville

Sun 5 Feb, 1.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by Anna Melville

Fri 10 Feb, 12.45pm Sydney – City Recital Hall Pre-concert talk by Anna Melville

Tue 14 Feb, 7.15pm Sydney – City Recital Hall Pre-concert talk by Anna Melville

Mon 6 Feb, 6.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by Anna Melville

Sat 11 Feb, 6.15pm Sydney – City Recital Hall Pre-concert talk by Anna Melville

Pre-concert speakers are subject to change.

This is a PLAYBILL / SHOWBILL publication.

Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing.

It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

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

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

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details.

ACO–171 — 18010 — 1/020217 36

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

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

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

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

Christopher Freeman am Chair John Kotzas Chief Executive

GRAND VENUES OF NEWCASTLE CITY HALL Owned and operated by the City of Newcastle 290 King Street, Newcastle NSW 2300 Telephone (Venue & Event Coordinators) (02) 4974 2996 Ticketek Box Office (02) 4929 1977 Email grandvenues@ncc.nsw.gov.au

CITY RECITAL HALL LIMITED Chair, Board of Directors Renata Kaldor ao CEO Elaine Chia 2–12 Angel Place Sydney NSW 2000 Administration 02 9231 9000 Box Office 02 8256 2222 Website www.cityrecitalhall.com

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.

37

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

Maja Savnik Alenka Tindale

Kay Bryan

Ike See Di Jameson

Principal Viola peckvonhartel architects Timo-Veikko Valve Principal Cello 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

VIOLA Alexandru-Mihai Bota Philip Bacon am Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Grist & Stewart Families

ACO 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

ACO 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 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

ACO R EC ONCIL I AT ION CIRCL E Contributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Jill Colvin, Philanthropy Manager Manager, on 02 8274 3835.

Colin & Debbie Golvan Peter & Ruth McMullin Sam Ricketson & Rosie Ayton

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.

Michael Horsburgh am & Beverley Horsburgh

Gina Olayiwola

Dr Jane Cook Paul & Roslyn Espie

Mike & Stephanie Hutchinson

David Shannon

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

Dr Jason Wenderoth

Doug Hooley

Kevin & Deidre McCann

Anonymous (6)

K Chisholm

Douglas & Elisabeth Scott

Baillieu Myer ac

39

ACO T RUS T S & F OUNDAT IONS

Holmes à Court Family 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) Jessica Block John Leece am

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

Leslie C. Thiess

Bill Best Benjamin Brady

SOLO $5,000 – $9,999

Sam Burshtein & Galina Kaseko

PATRON $500 – $4,999

Carla Zampatti Foundation

PATRONS

Michael Bennett & Patti Simpson

Sally Collier

Leith & Darrel Conybeare

Michael Cowen & Sharon Nathani

VISIONARY $1m+

Dr Jane Cook

Marco D’Orsogna

Peter Weiss ao

Geoff & Denise Illing

Dr William Downey

LEADER $500,000 – $999,999

Luana & Kelvin King

Garry & Susan Farrell

Jane Kunstler

Gammell Family

John Landers & Linda Sweeny

Edward Gilmartin

Genevieve Lansell

Tom & Julie Goudkamp

Bronwyn & Andrew Lumsden

Philip Hartog

OCTET $100,000 – $199,999

Patricia McGregor

Peter & Helen Hearl

John Taberner

Trevor Parkin

Brendan Hopkins

QUARTET $50,000 – $99,999

Elizabeth Pender

Angus & Sarah James

John Leece am & Anne Leece

Robyn Tamke

Daniel & Jacqueline Phillips

Anonymous

Anonymous (2)

Ryan Cooper Family Foundation

Andrew Stevens John Taberner

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

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

40

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

peckvonhartel architects

Peter & Cathy Aird

Doug Hooley

MELBOURNE HEBREW CONGREGATION PATRONS

Gerard Byrne & Donna O’Sullivan

Janet Holmes à Court

LEAD PATRONS

Mirek Generowicz

Bruce & Jenny Lane

Marc Besen ac & Eva Besen ao

Peter & Valerie Gerrand

Delysia Lawson

G Graham

John Leece

Anthony & Conny Harris

Julianne Maxwell

Rohan Haslam

Jim & Averill Minto

John Griffiths & Beth Jackson

Alf Moufarrige

SUPPORTER

Lionel & Judy King

Angela Roberts

Leo & Mina Fink Fund

Bruce Lane

Friends of Jon & Caro Stewart

David & Sandy Libling

Mike Thompson

EMANUEL SYNAGOGUE PATRONS

Tony Jones & Julian Liga

Peter Weiss ao

CORPORATE PARTNERS

Robert & Nancy Pallin

MOUNTAIN PRODUCERS’ SYNDICATE

Deborah Pearson Alison Reeve

Adina Apartment Hotels Meriton Group

Major Producers

LEAD PATRON

Janet Holmes à Court

The Narev Family

Warwick & Ann Johnson

PATRONS

Producers

David Gonski ac

Richard Caldwell

Lesley & Ginny Green

INTERNATIONAL TOUR PATRONS

Warren & Linda Coli

The Sherman Foundation

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

Anna Dudek & Brad Banducci

Justin Phillips & Louise Thurgood-Phillips

David Friedlander

FRIENDS OF ACOUK

Mr Robert Albert ao & Mrs Libby Albert

Tony & Camilla Gill

Linda & Graeme Beveridge

Ambassadors

John & Lisa Kench

Brendan & Bee Hopkins

Jan Bowen

Charlie & Olivia Lanchester

Kay Bryan

Friends

Rob & Nancy Pallin

Stephen & Jenny Charles

John & Kate Corcoran

Peter & Victoria Shorthouse

Anthony & Sharon Lee Foundation

Hugo & Julia Heath

Alden Toevs & Judi Wolf

John Taberner

Supporters

Patricia Thomas

Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi Anonymous (1)

Ann Gamble Myer Daniel & Helen Gauchat Yvonne von Hartel am & Robert Peck am

Wendy Edwards

The Penn Foundation The Rossi Foundation

ACO NE X T ACO Next is an exciting philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering unique musical and networking experiences.

For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

MEMBERS Clare Ainsworth Herschell

John & Lara James

Jessica Read

Justine Clarke

Aaron Levine & 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 41

ACO N AT ION A L EDUC AT ION PROGR A M The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au Donor list current as at 3 January 2017.

PATRONS

Jim & Averill Minto

Kay Giorgetta

Marc Besen ac & Eva Besen ao

John & Anne Murphy

Colin Golvan qc

Janet Holmes à Court ac

Louise & Martyn Myer Foundation

Louise Gourlay oam

Jennie & Ivor Orchard

Warren Green

Bruce & Joy Reid Trust

Tony & Michelle Grist

Mr Robert Albert ao & Mrs Libby Albert

Andrew & Andrea Roberts

Liz Harbison

Geoff Alder

Mark & Anne Robertson

Kerry Harmanis

Australian Communities Foundation – Ballandry Fund

Margie Seale & David Hardy

Dr John Harvey ao & Mrs Yvonne Harvey

Rosy Seaton & Seumas Dawes

Annie Hawker

Steven Bardy & Andrew Patterson

Tony Shepherd ao

Insurance Group Australia Limited

The Belalberi Foundation

Anthony Strachan

I Kallinikos

Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis

John Taberner & Grant Lang

Key Foundation

Leslie C. Thiess

Bryce & Jenny Lane

David & Julia Turner

Anthony & Sharon Lee Foundation

Libby & Nick Wright

In memory of Dr Peter Lewin

E Xipell

Lorraine Logan

Peter Yates am & Susan Yates

Macquarie Group Foundation

Professor Richard Yeo

David Maloney & Erin Flaherty

Peter Young am & Susan Young

Julianne Maxwell

Anonymous (3)

P J Miller

Mr Bruce Fink

DIRETTORE $5,000 – $9,999

James Ostroburski & Leo Ostroburski

Dr Ian Frazer ac & Mrs Caroline Frazer

The Abercrombie Family Foundation

QVB

Ann Gamble Myer

Jon & Cheyenne Adgemis

John Rickard

Daniel & Helen Gauchat

Geoff Ainsworth & Jo Featherstone

Paul Schoff & Stephanie Smee & Friends

John Grill & Rosie Williams

Peter Atkinson

Greg Shalit & Miriam Faine

Kimberley Holden

David & Helen Baffsky

Peter & Victoria Shorthouse

Angus & Sarah James

Will & Dorothy Bailey Charitable Gift

Sky News Australia

Di Jameson

Veronika & Joseph Butta

St George Foundation

John & Lisa Kench

Caroline & Robert Clemente

Jon & Caro Stewart

Miss Nancy Kimpton

Darrel & Leith Conybeare

Alenka Tindale

Elmer Funke Kupper

Mrs Janet Cooke

Alden Toevs & Judi Wolf

Liz & Walter Lewin

Suellen Enestrom

Westpac Group

Andrew Low

Bridget Faye am

Ivan Wheen

Anthony & Suzanne Maple-Brown

JoAnna Fisher & Geoff Weir

Simon & Amanda Whiston

EMERGING ARTISTS & EDUCATION PATRONS $10,000 +

Andre Biet Helen Breekveldt Rod Cameron & Margaret Gibbs Michael & Helen Carapiet Stephen & Jenny Charles Rowena Danziger am & Ken Coles am Irina Kuzminsky & Mark Delaney Kate & Daryl Dixon

42

Shemara Wikramanayake

Dr Mark & Mrs Anna Yates

Brian Goddard

Cameron Williams

William & Anna Yuille

Paul Hannan

Hamilton Wilson

Anonymous (5)

Jennifer Hershon

Anonymous (3)

VIRTUOSO $1,000 – $2,499

Lachie Hill Christian Holle

MAESTRO $2,500 – $4,999

Annette Adair

Jennifer Aaron

Barbara Allan

David & Rae Allen

Jane Allen

Brad Banducci & Anna Dudek

Andrew Andersons

DG & AR Battersby

Philip Bacon am

Beeren Foundation

Jessica Block

Mr & Mrs Daniel Besen

Dr David and Mrs Anne Bolzonello

Neil & Jane Burley

In memory of Peter Boros

Sue Hunt

The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov

Brian Bothwell

John Griffiths & Beth Jackson

Vicki Brooke

Owen James

Carol & Andrew Crawford

Diana Brookes

Anthony Jones & Julian Liga

Heather Douglas

Brian Jones

Anne & Tom Dowling

Dr Catherine Brown-Watt psm & Mr Derek Watt

Ari & Lisa Droga

Sally Bufé

Maggie and Lachlan Drummond

Andrew & Cathy Cameron

Michele Duncan

Terry Campbell ao & Christine Campbell

Robert & Jennifer Gavshon

Ray Carless & Jill Keyte

Cass George

Ann Cebon-Glass

John & Jenny Green

Patrick Charles

Nereda Hanlon & Michael Hanlon am

Dr Peter Clifton

Peter & Helen Hearl

Angela & John Compton

Erica Jacobson

Brooke & Jim Copland

Ros Johnson

R & J Corney

Garth Mansfield oam & Margaret Mansfield oam

Peter Lovell

John Curotta

Mr & Mrs Greg & Jan Marsh

Jennifer Senior & Jenny McGee

Peter & Penny Curry

David Mathlin

Jane Morley

Ian Davis & Sandrine Barouh

Jane Tham & Philip Maxwell

Nola Nettheim

Michael & Wendy Davis

Karissa Mayo

Jenny Nicol

Martin Dolan

Nicholas McDonald

OneVentures

Dr William F Downey

Ian & Pam McGaw

Sandra & Michael Paul Endowment

Daniel Droga

Colin McKeith

Patricia H Reid Endowment Pty Ltd

Pamela Duncan

Bruce McWilliam

Ralph & Ruth Renard

Emeritus Professor Dexter Dunphy am

Helen & Phil Meddings

Mrs Tiffany Rensen

Wendy Edwards

Michelle Mitchell

Fe and Don Ross

Sharon Ellies

Glenn Murcutt ao

D N Sanders

Dr Linda English

Stuart Nash

Petrina Slaytor

Peter Evans

Anthony Niardone & Glen Hunter

Howard & Hilary Stack

Julie Ewington

Barry Novy and Susan Selwyn

John & Josephine Strutt

Elizabeth Finnegan

Paul O’Donnell

Nicky Tindill

Michael Fogarty

L Parsonage

Ralph Ward-Ambler am & Barbara Ward-Ambler

Don & Marie Forrest

Prof David Penington AC

Chris & Tony Froggatt

Mark Renehan

Westpac Group

Justin & Anne Gardener

Dr S M Richards AM & Mrs M R Richards

Richard & Suzie White

M Generowicz

Em Prof A W Roberts AM

Christopher Holmes Doug Hooley Michael Horsburgh am & Beverley Horsburgh Merilyn & David Howorth Penelope Hughes Professor Andrea Hull ao

Bronwen L Jones Mrs Angela Karpin Josephine Key & Ian Breden Julia Pincus & Ian Learmonth Airdrie Lloyd Gabriel Lopata Colin Loveday Robin Lumley Diana Lungren

43

Julia Champtaloup & Andrew Rothery

P Cornwell & Cecilia Rice

Kathleen McFarlane

Richard & Sandra Royle

Annabel Crabb

H & R McGlashan

J Sanderson

John & Gay Cruikshank

JA McKernan

In Memory of H. St. P. Scarlett

Sharlene & Steve Dadd

Peter & Ruth McMullin

Lucille Seale

Marie Dalziel

Louise Miller

Mr John Sheahan qc

Mari Davis

Justine Munsie & Rick Kalowski

Maria Sola

Mrs Sandra Dent

G & A Nelson

Dr Peter & Mrs Diana Southwell-Keely

In Memory of Raymond Dudley

Robyn Nicol

Keith Spence

M T & R L Elford

Graham North

Jim & Alice Spigelman

Leigh Emmett

Robin Offler

Mark Stanbridge

Carol Farlow

John O’Sullivan

Harley Wright & Alida Stanley

Penelope & Susan Field

Willy & Mimi Packer

Ross Steele am

Jean Finnegan & Peter Kerr

Anne & Christopher Page

In memory of Dr Warwick Steele

Jessica Fletcher

Robin Pease

Caroline Storch

Peter Fredricson

Elizabeth Pender

Andrew Strauss

Steve Frisken

Kevin Phillips

Charles Su & Emily Lo

Sam Gazal

Michael Power

David & Judy Taylor

Paul Gibson & Gabrielle Curtin

John Prendiville

Susan Thacore

Marilyn & Max Gosling

Beverly & Ian Pryer

Rob & Kyrenia Thomas

Jillian Gower

Mandie & Andrew Purcell

Paul Greenfield & Kerin Brown

Jennifer Rankin

Annette Gross

John Riedl

Kevin Gummer & Paul Cummins

Sally Rossi-Ford

Hamiltons Commercial Interiors

Mrs J Royle

Lesley Harland

Christine Salter

Sandra Haslam

Garry E Scarf & Morgie Blaxill

Ngaire Turner Kay Vernon M White Don & Mary Ann Yeats Rebecca Zoppetti Laubi Anonymous (17)

Gaye Headlam

Carol Schwartz am & Alan Schwartz am

Elsa Atkin am

Kingsley Herbert

Rena Shein

Ms Rita Avdiev

The Sherman Foundation

A & M Barnes

Dr Penny Herbert in memory of Dunstan Herbert

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

Simon Thornton

Debbie Brady

Margaret & Vernon Ireland

Peter & Karen Tompkins

Denise Braggett

Robert & Margaret Jackson

TWF Slee & Lee Chartered Accountants

Mrs Pat Burke

Barry Johnson & Davina Johnson oam

Dr Ed & Mrs Julie van Beem

Hugh Burton Taylor

Caroline Jones

Denise Wadley

Alberto Calderon-Zuleta

Bruce & Natalie Kellett

Joy Wearne

Angela & Fred Chaney

Lionel & Judy King

GC & R Weir

Colleen & Michael Chesterman

Prof Kerry Landman

Taryn Williams

Richard & Elizabeth Chisholm

Genevieve Lansell

Sally Willis

Stephen Chivers

Kwong Lee Dow

Sir Robert Woods cbe

ClearFresh Water

Megan Lowe

Michael Zimmerman

Sally Collier

Rob Mactier

Brian Zulaikha

Spire Capital

Dr & Mrs Donald Maxwell

Anonymous (35)

CONCERTINO $500 – $999

44

Casimir Skillecorn

ACO CH A IR M A N’S COUNCIL The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis am Chairman, Australian Chamber Orchestra

Mr Daniel Gauchat Principal, The Adelante Group

Mr Ian Narev Chief Executive Officer Commonwealth Bank

Mr Philip Bacon am Director, Philip Bacon Galleries

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

Ms Gretel Packer

Mr David Baffsky ao

Mr John Grill ao

Mr Marc Besen ac & Mrs Eva Besen ao

Chairman, WorleyParsons

Mr John Borghetti Chief Executive Officer, Virgin Australia

Mr Grant Harrod Chief Executive Officer, LJ Hooker

Mr Craig Caesar Mrs Nerida Caesar CEO, Veda

Mrs Janet Holmes à Court ac

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

Mr Simon & Mrs Katrina Holmes à Court Observant Mr John Kench Johnson Winter & Slattery Mr Andrew Low

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

Ms Julianne Maxwell

Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd

Mr Michael Maxwell

The Hon Malcolm Turnbull mp

Mr David Mathlin

Mr & Mrs Robin Crawford am

Ms Naomi Milgrom ao

Rowena Danziger am & Kenneth G. Coles am

Ms Jan Minchin Director, Tolarno Galleries

Mr David Evans Executive Chairman, Evans & Partners

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

Mr Jim & Mrs Averill Minto

Mr Bruce Fink Executive Chairman, Executive Channel International

Mr Alf Moufarrige ao

Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel

Mr John P Mullen Chairman, Telstra

Chief Executive Officer, Servcorp

& 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

Ms Ann Gamble Myer

45

AC O GOV ER NMEN T PA R T NER S THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT

The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

The ACO is supported by the NSW Government through Arts NSW.

AC O COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director, Reserve Bank of Australia

Jason Li Chairman, Vantage Group Asia

Mark Stanbridge Partner, Ashurst

Guido Belgiorno-Nettis am Chairman, ACO

Jennie Orchard

Paul Sumner Chief Executive Officer, Mossgreen

Peter Shorthouse Senior Partner, Crestone Wealth Management

Maggie Drummond John Kench Johnson Winter & Slattery

Alden Toevs Group Chief Risk Officer, CBA Nina Walton

MELBOURNE DEVELOPMENT COUNCIL Colin Golvan qc

James Ostroburski Chief Executive, Kooyong Group

Shelley Meagher Director, Do it on the Roof

Paul Sumner Chief Executive Officer, Mossgreen

Ann Gamble-Myer

Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Paul Cochrane Investment Advisor, Bell Potter Securities

Joanna Szabo

DISABILITY ADVISORY COMMITTEE Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts Paul Nunnari Manager, Event Access & Inclusion NSW Government

Alexandra Cameron-Fraser Chief Operating Officer, ACO

Vicki Norton Education Manager, ACO

Sally Crawford Patrons Manager, ACO

Dean Watson Customer Relations & Access Manager, ACO

EVENT COMMITTEES SYDNEY Liz Lewin (Chair) Jane Adams Lillian Armitage Lucinda Cowdroy Sandra Ferman JoAnna Fisher Fay Geddes Julie Goudkamp

Deb Hopper Lisa Kench Jules Maxwell Karissa Mayo Edwina McCann Nicole Sheffield John Taberner Lynne Testoni

BRISBANE Philip Bacon Kay Bryan Andrew Clouston Ian & Caroline Frazer Cass George Edward Gray

Wayne Kratzmann Shay O’Hara-Smith Marie-Lousie Theile Beverley Trivett

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

ACO PA R T NER S WE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT PRINCIPAL PARTNER

PRINCIPAL PARTNER, ACO COLLECTIVE

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

MEDIA PARTNERS

CONCERT AND SERIES PARTNERS

EVENT PARTNERS

47

ACO NE W S CELEBR ATING THE 10TH ANNIVERSARY OF ACO COLLEC TIVE Looking back to our first rehearsal in 2007, I certainly didn’t ever dream that ACO Collective and our Emerging Artists’ Program would achieve so many milestones, giving us plenty of reasons to celebrate the ensemble’s 10th anniversary this year.

ACO Collective is a very different orchestra from the ACO, but one that should be applauded for its performances just as loudly as the ACO itself. It stands very firmly on its own two (or should I say 34) feet!

‘Of all the opportunities I’ve had so far, it’s easily been the single most valuable influence on my development as a violinist.’

Benjamin Adler, 2016 Emerging Artist and member of ACO Collective

I am very proud of the fact that AcO2 evolved from occasionally performing in a few regional venues to performing in so many outstanding regional venues across Australia, to audiences that grow every year, whilst also presenting string workshops and schools’ concerts for students who might not otherwise have access to these opportunities. It’s also wonderful to see ACO Collective as the biannual Orchestra-in-Residence of our Vasse Felix Festival, and on the main stage when they have featured in our national subscription series.

I am also very proud of the chamber music performances that form part of the Emerging Artists’ Program – they are a great achievement to be celebrated as the standard of these concerts is outstanding, and the intensive nature of the rehearsal period is essential for gaining real insight into the music being played and to the world of chamber music.

We have achieved far more than we dreamt of 10 years ago.

Without a doubt, we will be saying the same thing in another 10 years.

Helena Rathbone Principal Violin

48

PICTURED ABOVE: Helena Rathbone directing AcO2 in 2007 at a concert in the Verbrugghen Hall at the Sydney Conservatorium. © Mike Flokis PICTURED RIGHT: AcO2 , off duty in 2012 before heading off on a regional tour. © Jamie Williams

PICTURED BELOW: One of the most valuable aspects of the ACO Collective experience is the ongoing mentor relationships between the Emerging Artists and our ACO core musicians. © Jack Saltmiras

49

INT RODUC I NG THE MASTERS RANG E.

Our multi-award winning range has a new look.

Proud wine partner of

peterlehmannwines.com