Bach Violin Concertos

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Bach Violin Concertos will be broadcast live on ABC Classic FM on Sunday 9 April at 2pm.

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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.

N AT ION A L T OUR PA R T NER

For almost three decades, Commonwealth Bank has been a proud partner of the Australian Chamber Orchestra.

During this time the ACO has gone from strength to strength, growing into an innovative and world-leading organisation.

Richard Tognetti is renowned for his interpretations of Bach’s music, earning him three consecutive ARIA Awards.

His fresh approach and the ACO’s willingness to push boundaries brings a new perspective to a centuries-old art form.

At almost the exact time that Haydn was composing his Symphony No.27, master violin maker Giovanni Battista Guadagnini was crafting the violin we purchased in 2006 for the ACO’s use. We are delighted to be able to share this special instrument with audiences across Australia, played

by Helena Rathbone, the ACO’s Principal Violin.

On behalf of the Commonwealth Bank, I hope you enjoy this special performance of Bach Violin Concertos.

NATIONAL TOUR PARTNER

Ian Narev Chief Executive Officer Commonwealth Bank

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ACO W H AT ’S ON A C O V IR T U A L 2 APRIL–27 MAY HAMILTON, BALLARAT, BENDIGO Join our virtual orchestra on a tour of regional Victoria. Direct members of the ACO as they perform in your very own musical journey. aco.com.au/acovirtual

A C O S OL OI S T S 5–19 MAY ADELAIDE, BRISBANE, MELBOURNE, PERTH, SYDNEY, WOLLONGONG Directed by Principal Violin Satu Vänskä, this program showcases the world-class musicians. extraordinary talents of the ACO’s world class musicians. aco.com.au/acosoloists

P E NR I T H S T R ING S & T HE A C O E N S E MBL E 21 MAY PENRITH ACO Musicians join the Penrith Strings for their first public concert of 2017, featuring music by Mozart, Grieg and Geminiani. aco.com.au/penrith

A C O UL URU F E S T I VA L 2–4 JUNE ULURU We return to the spiritual heart of Australia. Featuring Australian soprano Greta Bradman and members of the Gondwana Indigenous Children’s Choir. aco.com.au/uluru

MOUN TA IN 12 JUNE, JUNE–20 3–20AUGUST AUGUSTADELAIDE, ADELAIDE,BRISBANE, BRISBANE,CANBERRA, CANBERRA, MELBOURNE, NEWCASTLE, PERTH, SYDNEY A unique musical journey through vistas few have visited, this is a visceral experience by film director Jennifer Peedom, Richard Tognetti and the ACO. aco.com.au/mountain

DE AT H & T HE M A IDE N 14–23 JUNE HEALESVILLE, BALLARAT, BENDIGO, HORSHAM, HAMILTON, WARRNAMBOOL Swedish violist Malin Broman directs ACO Collective in an inventive program of emotive music by Schubert, Dowland and Britten. aco.com.au/deathmaiden 8

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

Last October Richard Tognetti commenced as the inaugural Artist In Residence at the Barbican Centre’s new Milton Court Concert Hall, in London. Richard’s residency included a solo recital and workshop performance with electronic music students of the Guildhall. In March, we returned with the three programs and the full Orchestra to much acclaim, including a five-star review in The Guardian, which described our playing as ‘radiantly expansive’, and reconfirming that ‘[what] can never be doubted with this band is the commitment and panache of every morsel of the playing’.

Now home, Bach Violin Concertos sees the Orchestra return to chamber orchestra heartland repertoire. Richard has developed a shorthand for this series, referring to it as ‘Bach 1, 2, 3’, with the Bach concertos for one, two and three violins respectively, together with a solo work played by Timo-Veikko Valve (Tipi) on the luxurious Guarnerius filius Andreæ cello, generously donated by our patron Peter Weiss. Richard’s interpretation of Bach has become a touchstone for us over the years, and at this performance he is joined by Helena Rathbone and Satu Vänskä in its further exploration.

Corporate and philanthropic support is an essential part of our orchestra.

Our National Tour Partner for this program, the Commonwealth Bank, have generously been a significant supporter and partner in our business for nearly 30 years. Their longstanding commitment and investment in the very heart of our organisation, not least through the extraordinary Guadagnini violin played at this performance by Helena, has enabled us to develop and invest in our artists and audiences across Australia, and the world. We thank them for all that they have done and continue to do.

I look forward to seeing you all in the concert hall, wherever that may be, and I hope you enjoy every morsel of this very special program.

Richard Evans

Managing Director 9

“A HEART-WARMING TRIUMPH” THE AGE

Richard Tognetti Director and Violin | Choir of London | Nicholas Mulroy Evangelist

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B ACH V IOL IN CONCERTOS Richard Tognetti Director & Violin Helena Rathbone Violin Satu Vänskä Violin Timo-Veikko Valve Cello BACH (arr. Tognetti) Violin Partita No.3 in E major, BWV1006: Preludio BACH Violin Concerto No.2 in E major, BWV1042 I. Allegro II. Adagio III. Allegro assai HAYDN Symphony No.27 in G major I. Allegro molto II. Andante: siciliano III. Finale: Presto BACH Concerto for 2 Violins in D minor, BWV1043 I. Vivace – II. Largo ma non tanto – III. Allegro Interval BACH Concerto for 3 Violins in D major, BWV1064R I. Allegro II. Adagio III. Allegro BACH Cello Suite No.4 in E-flat major, BWV 1010: Sarabande This program will be broadcast live and live streamed on ABC Classic FM radio and website on Sunday 9 April at 2pm. It will also be available from the same day for on-demand listening through the ABC Classic FM website.

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

HAYDN Symphony No.22 in E-flat major The Philosopher I. Adagio II. Presto III. Menuet & Trio IV. Finale: Presto Approximate durations (minutes): 3 – 17 – 14 – 14 – INTERVAL – 16 – 4 – 16 The concert will last approximately two hours, including a 20-minute interval.

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WHAT YOU ARE ABOUT TO HE AR When I was a kid, I gave my mum a recording of Bach’s Brandenburg Concertos with Karl Richter and the Münchener Bach Orchestra (very old fashioned and stodgy) as a birthday present. This was the first recording I heard of Bach’s Brandenburgs – incidentally, Nick Drake was listening to the Brandenburgs the night before he died! Around the same time, my father took me to see Tarkovsky’s Solaris which features the Chorale Prelude ‘Ich ruf zu dir, Herr Jesu Christ’. Its sense of other worldliness has never left me.

PICTURED: This is the cover of the remastered edition of the Richter recording of Bach’s Brandenburg Concertos.

PICTURED RIGHT: A poster advertising Tarkovsky’s cinematic masterpiece Solaris.

‘Most contemporary music is about love between two people.

What makes Bach’s music particularly striking is that it’s about the love of God. This should present a hurdle to someone who, like me, doesn’t believe in God – but it doesn’t. What I appreciate in Bach is his ability to suggest to me what a belief in God feels like. His music seems to me to be about devotion to a perfect ideal – something purer, better, higher...’, says Alain de Botton PICTURED: Herbert von Karajan at the keyboard, playing Bach’s Brandenburg Concerto No.3.

There is no question that Bach is a plant from the good Lord above. We listen to Bach, and it’s like listening to the beating heart of God and we need to remind ourselves that Bach is one of us. But who or what else on this planet, or any other, can move an alexithymic to weep, and inspire an atheist into a state of exalted numinosity?

His own son, CPE said of his father’s music, ‘[his music] has higher intentions; it’s not supposed to fill the ear but to make your heart move’.

Glenn Gould said, ‘I really can’t think of any other music which is so all-encompassing, which moves me so deeply and so consistently, and which, to use a rather imprecise word, is

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valuable beyond all of its skill and brilliance for something more meaningful than that – its humanity.’

As a teenager, I grew up listening to the pioneers of the early music movement at a time when Karajan was the Emperor.

These innovators and radical misfits often made ambit claims of knowing what the ‘composer’ intended, whereas the attraction was a new and vibrant way of playing this great and lesserexplored music from the Baroque.

PICTURED: The great Dutch cellist Anner Bylsma.

PICTURED: One of the ACO’s most ardent supporters and creative artistic forces, the great Christopher Hogwood.

I listened to performances by Dutch, English and Austro-German pioneers: Anner Bylsma, the first cellist to convincingly record the Bach Suites on a period instrument; the great Frans Brüggen, who conducted Mozart’s last symphonies with the ACO for the Adelaide Festival 1990; and Christopher Hogwood with whom the ACO worked a great deal.

So although much of the early music movement was based on dogma (spurious at that), there was also something liberating about it: we had the gate open to an earlier age, whilst forging a new and exciting path. Bach wanted his art to evolve and not be set in stone. There is a certain irony to Bach now being the most travelled of any composer on the planet, metaphysically speaking. He is in a spaceship as we play this concert, powering across the galaxy, through the time/space continuum. But in his own lifetime, he never went anywhere really. Bach was possibly quite content being parochial; he didn’t seem to have a need to seek broader fame.

Arguably, more than just about any other composer, you can adapt, transform and really experiment with Bach’s music. And that’s because, as Alex Ross so faultlessly explains ‘Bach became an absolute master of his art by never ceasing to be a student of it’.

PICTURED: Voyager 1 is currently exploring space, filled with an array of objects from earth, hoping to make first contact with other life forms. It carries with it the very recording Richard Tognetti gave his mum of Karl Richter conducting the Münchener Bach Orchestra playing Bach’s Brandenburg Concertos.

Interpretations aren’t just about brushing off the patina of ‘bad habits’ or dabbing antiseptic and Dettol on the music or setting it in aspic. It’s about evolution and how the music resonates today.

And that’s the great challenge in performing Bach.

And then we have the ‘Father of the Symphony’, Franz Joseph Haydn, who wrote more than one hundred of them. Haydn never ceases to be extraordinary and imaginative and each symphony is a world unto its own.

Richard Tognetti 13

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ABOUT THE MUSIC JOHANN SEBASTIAN BACH Born Eisenach, 1685.

Died Leipzig, 1750.

BACH (arr. Tognetti)

Johann Sebastian Bach is one of the greatest, if not the single greatest, of all composers.

A working musician his entire life, his composition ranges from the deeply spiritual to the flamboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.

Composed 1720.

PRELUDIO FROM VIOLIN PARTITA NO.3 IN E MAJOR, BWV1006

Bach was content in Cöthen. He was in his 30s; he found love again with his second wife Anna Magdalena, after the death of his first wife, Maria Barbara; his career was going well; he had established a reputation as an organist of considerable skill; and felt incredibly blessed that his employer, Prince Leopold of Anhalt-Cöthen was ‘a gracious prince who both loved and knew music’.

During his tenure at Cöthen, from 1717 to 1723, he concentrated on secular works. The Well-Tempered Clavier, the Two- and Three-Part Inventions, the French Suites, the Cello Suites, the completion of the Brandenburg Concertos and the Six Sonatas and Partitas for Solo Violin are among just some of the works completed at Cöthen.

It is possible that he began work on the sonatas and partitas while he was still in Weimar. The autograph copy is dated 1720, midway through his time at Cöthen. They were almost certainly performed at the prince’s palace during one (or maybe more) of the regular musical soirées. Bach himself may have been the violinist, although it could also have been the ‘premier cammer musicus’ (concertmaster) at the Cöthen Court, Joseph Spiess.

PICTURED: Johann Sebastian Bach, 1720.

PICTURED: A map of Cöthen, where Bach lived and worked.

Bach’s son, Carl Philipp Emanuel, had no doubt that his father could most certainly have played the sonatas and partitas himself. In 1774, in a letter to Johann Nikolaus Forkel, German musicologist and JS Bach biographer, CPE wrote: ‘In his youth, and until the approach of old age, he played the violin cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with the harpsichord. He understood to perfection the possibilities of all stringed instruments. This is evidenced by his solos for the violin and for the violoncello without [accompanying] bass. One of the greatest violinists told me once that he had seen nothing more perfect for learning to be a good violinist, and could suggest nothing better to anyone eager to learn, than the said violin solos without bass.’

Whereas the three solo Sonatas are in the tradition of the Italian church sonata, the Partitas owe much to the French dance suite, Italian movement titles notwithstanding. The Preludio from the E major Partita is joyful and exuberant. Bach clearly loved this 15

‘In his youth, and until the approach of old age, he played the violin cleanly and penetratingly . . .’

CPE BACH movement, as he not only arranged it for lute, he also composed a version for full orchestra with solo organ to herald the beginning of Cantata 29, Wir danken dir, Gott, wir danken dir.

And it was not only Bach who loved the buoyant and highspirited Preludio – violinist, composer and great friend of Johannes Brahms, Joseph Joachim, reimagined it for the Berlin Philharmonic with him playing solo and full orchestral accompaniment; Schumann wrote a version with piano accompaniment; and, in its original solo form, the Preludio was one of the first solo violin works to be recorded by the great violinist/composer Pablo de Sarasate in about 1904. © Australian Chamber Orchestra

BACH VIOLIN CONCERTO NO.2 IN E MAJOR, BWV1042 Composed 1708–1717?

I. Allegro II. Adagio III. Allegro assai Since no autograph copy of Bach’s Violin Concerto in E Major exists, determining an exact date of composition is next to impossible. Scholars suspect that it was written during Bach’s tenure at Cöthen along with the D minor Double Violin Concerto and the A minor Violin Concerto and more probably lost works.

The surviving solo violin concertos bear the fingerprints of Italian composers such as Corelli and, above all, Vivaldi, who was one of Bach’s favourites. There is much of Vivaldi’s drama and exuberance in both concertos (though tempered with Teutonic common sense, of course), especially in the attentiongrabbing gestures with which they begin. The homage to Italy is incorporated into the formal structure of the E major concerto in its fast movement-slow movement-fast movement plan (since nearly every concerto since Bach’s day plays out this way it seems natural to us now, but it was a new invention in the 18th century). The first movement is an adaptation of another Italian form: the da capo aria. Familiar from the operas of Italianate composers such as Handel, a da capo (literally, ‘from the head’ or, as we’d say today, ‘from the top’) aria falls into three parts – a self-contained opening verse (A) which ends with a sense of ‘closure’, a contrasting section (B), usually in a different key, 16

and a return of the opening verse (A) ,with the same lyrics as before also, perhaps embellished with extempore ornaments this time.

PICTURED: Johann Sebastian Bach wrote some of his finest works during his tenure at Cöthen.

The first movement begins with a pert outline of the triad of E major – Do, Mi, Soh – immediately establishing the key centre of the work. Three important motives are presented: the rising triad, then a miniature fanfare-figure, then a motif with high repeated notes and a swooping flourish. As the movement unfolds, Bach expertly shuffles and recombines this apparently slight material, creating an expansive dialogue for soloist and orchestra. And dialogue is the best word to describe it: while there are moments of soloistic display, this is not a virtuoso showpiece in the style of, say, Vivaldi’s Four Seasons. Rather, the soloist surfs on the surface of the ripieno group, rising above and dipping into the onward flow of music. The middle, contrasting B section is cast in the relative minor key of C-sharp minor. And here the soloist takes on a more individual role, with elaborate figure work featuring double stopping and string crossing, the orchestra playing an accompanying role. The return to the ‘head’ is effected by a series of stealthy approaches to the home key of E major and sudden deflections away from it so when the triad motif suddenly bounds out we have a sense of relieved arrival.

The second movement is a sombre aria in C-sharp minor. The soloist spins a fantasia-like song over a restlessly oscillating bass figure in what could be described as a dark mirror image of the famously serene ‘Air on the G-string’ from the D-major Orchestral Suite. The bass-heavy texture of this movement throws the airy pathos of the solo violin line into relief.

The brief third movement is a brisk and dance-like (though too quick to dance to) gigue in perpetual motion, reminiscent in its headlong joy to the finale of the Third Brandenburg Concerto.

The main motif is an extension of the triadic figure that opens the first movement but leaping enthusiastically up to the octave.

Suddenly we understand that Bach has derived the entire concerto from a series of closely related motifs based on this simple major chord, finding a world in a grain of sand. © Robert Murray

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HAYDN SYMPHONY NO.27 IN G MAJOR Composed 1757?

I. Allegro molto II. Andante: siciliano III. Finale: Presto FRANZ JOSEPH HAYDN Born Rohrau, 1732.

Died Vienna, 1809.

Franz Joseph Haydn was hugely prolific and highly influential. His output encompassed almost every form of music, sometimes to an extreme degree (over 100 symphonies, over 60 string quartets). The link in the chain between Bach and Mozart, the Classical era, would be unimaginable without him.

PICTURED: Portrait of Joseph Haydn by Thomas Hardy.

The classical symphony was still in its formative phase and Joseph Haydn still in his 20s when what we know as his Symphony No.27 was composed for the aristocratic Count Morzin. But already the young composer demonstrated a command of symphonic dialectic, particularly in the opening movement, which would lead him in time, with more than 100 symphonies to his credit, to be considered the ‘father’ (or at least the godfather!) of the symphony.

Symphony No.27 is not to be reckoned alongside the bleak No.26 (‘Lamentatione’) of about 1768, a Sturm und Drang work evoking the passion and grief of Holy Week. While both symphonies share a three-movement structure, the ‘Lamentatione’ with its closing minuet looks forward, whereas No.27 follows the simple fast–slow–fast pattern of the traditional Italian overture, or sinfonia. The misleadingly numbered No.27 actually dates from several years earlier than No.26. It was probably among the last of Haydn’s dozen or more earliest symphonies, composed between about 1757 and 1761, when he directed the fine wind band and small but brilliant orchestra maintained by the Morzin family in Vienna and its summer palace at Lukavec, near Pilsen in Bohemia.

His engagement by Count Morzin liberated the young Haydn.

He had eked out a precarious existence in Vienna, after losing his treble voice and his place in the choir of St Stephen’s Cathedral, by playing the organ and leading the orchestra in church, by busking in nocturnal serenade parties and accompanying singing lessons, and by furnishing music on demand for the politically risky pantomime-musicals of the contemporary Viennese theatre. When recommended to Morzin by his first aristocratic patron, Baron Fürnberg, who had commissioned his first string quartets, Haydn was at last able, as his biographer Griesinger tells us, ‘to enjoy the happiness of a carefree existence.’

Cares are indeed flung aside as the confident opening theme on winds and first violins strides purposefully up the notes of

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PICTURED: Joseph Haydn.

the chord above a bed of busy semiquavers in the second violins.

The strings alone quietly introduce a modest second subject which is soon swept up in the general high spirits as Haydn works out his material – ideas which, both here and in the Finale, are more motivic than melodic in any extended sense.

Melody is the province of the central Andante, based on the fashionably melancholy siciliano dance form, which supposedly originated in Sicily. In the hushed atmosphere of muted violins above a pizzicato bass, and in the lightly swaying rhythms and the pensive minor mode of most of the development, we may imagine a desolate heroine in one of Haydn’s operas. Beneath the surface calm, however, Haydn’s structure is inventively, and characteristically, irregular, the odd 17-bar length of the exposition being phrased as 7+5+5 bars.

Although a hunt may be implied in the finale by its rhythm and the exuberant horns (originally omitted from the score but almost certainly an early, authentic addition), this movement also exudes a whiff of greasepaint, as a virtual ‘all’s-well-thatends-well’ comic opera finale. © Anthony Cane

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BACH CONCERTO IN D MINOR FOR 2 VIOLINS, BWV 1043 Composed c1717-23.

I. Vivace – II. Largo ma non tanto – III. Allegro During Bach’s time as ‘Konzertmeister’ at the Weimar Court (1708–17), he became well acquainted with the Italian concerto in its solo and group forms. He made a number of transcriptions of works not only by Vivaldi, but also by Telemann and the musically talented nephew of his employer Grand-Duke Wilhelm Ernst of Saxe-Weimar, Johann Ernst.

When Johann Sebastian moved to the court of Cöthen in 1717 to take up the post of Kapellmeister, the range of his compositional duties shifted from choral to instrumental music. Because both the court and principality of Cöthen had adopted the Reformed Calvinistic faith, there was little requirement for four-part, Lutheran style choral music, and so instruments consequently held sway. Bach’s patron Prince Leopold had already studied with J.D. Heinichen in Rome as part of his coming-of-age, aristocratic Grand Tour. He was thus a tolerably good bass singer, violinist, gambist and harpsichordist. These enthusiasms spurred a considerable upgrade of the Cöthen orchestra. Of most significance to this expansion was the disbanding of the court orchestra in Berlin in 1713, upon the accession of Friedrich Wilhelm I as King of Prussia. Known as the ‘Soldier King’, he was more interested in military prowess than musical patronage, and instigated this savage cultural cut in much the same way that administrations of all eras have funded political ‘necessities’ at the expense of art and culture.

PICTURED: Leopold, Prince of AnhaltKöthen.

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But Berlin’s loss was Cöthen’s gain. Prince Leopold picked up five players from the dissolved orchestra, and, as two violinists, a cellist, an oboist and bassoonist, they formed the experienced core of a 17-strong band that J.S. Bach encountered on his arrival in December 1717. In addition to Joseph Spiess and Martin Friedrich Marcus, the ‘kapelle’ included four other tutti string players, two trumpeters, two flautists, the eminent gamba player Christian Ferdinand Abel, and a part-time timpanist, Unger: who doubled up as the tenant innkeeper at the local Grosser Gasthof (imagine the demand from his instrumental colleagues for free beer after a concert).

PICTURED: Johan Sebastian Bach with his family. Painting by Toby Rosenthal.

Much of the music from this period in Bach’s life is lost, or its provenance obscured. We know about the ‘Brandenburg’ concertos; but little is known about the circumstances which led to the composition of an equally fine work, the Concerto for Two Violins. Its three-movement fast, slow, fast form is obviously based on the Italian models Bach had studied at Weimar, but its dazzling counterpoint belongs entirely to ‘the master’.

Those inclined to be sentimental might also put some credence in the idea that it was written at the time the widowed Bach was falling in love with Anna Magdalena, soon to become his second wife. One can draw all sorts of romantic ideas from this.

For a start, there is the imagery of two soloists – the musical couple. Their lively interplay in the first movement interacts still further with the ensemble, or the world at large. The second movement, however, is all about intimacy. Elisabeth Söderström once described the kind of gentle, short-long bass ostinato which forms the accompaniment, as being related to heartbeats.

Add to this the lingering, entwined solo lines and you can see why some people get misty-eyed. The Allegro brings us back into the world again, the minor key doing nothing to diminish its impression of looking forward. © Meurig Bowen / K.P. Kemp 21

BACH CONCERTO FOR 3 VIOLINS IN D MAJOR, BWV 1064R Composed c1730.

I. Allegro II. Adagio III. Allegro assai Johann Sebastian Bach was a practical composer, writing whatever music was required of him with little thought to his lasting fame or legacy. Hardly any of his music was published during his lifetime; the majority of his work was preserved in his own manuscripts and the handwritten copies of others. There are probably hundreds of compositions by Bach that were written down once for a specific occasion, never needed again, and subsequently lost.

PICTURED: The Zimmermann Coffee House in Leipzig, where the Collegium Musicum performed.

This concerto very nearly joined the ranks of the missing.

There is no surviving manuscript of the original; what we have instead is the music for a Concerto in C major for three harpsichords. This was written sometime in the early 1730s, probably for performance by Bach and two of his sons with the Leipzig Collegium Musicum. In the early 20th century, Arnold Schering, a German musicologist, pointed out that many of the figurations in the solo harpsichord parts looked like they were originally intended for violin. After further research, it is now almost unanimously accepted that this concerto started out as a triple violin concerto in D major. By analysing other arrangements Bach made of his own works, it has been possible to reconstruct the triple violin concerto from the harpsichord version.

The first movement is strongly reminiscent of the Vivaldi concerto style that Bach so admired. The soloists play in unison at the beginning, announcing the sturdy ritornello phrase that returns faithfully throughout the movement. This opening theme is functional rather than melodic, but with so many strands of music interweaving in the same register (two orchestral violin parts as well as the three soloists), simple building blocks are ideal. Listeners can easily feel disoriented by such thickly woven counterpoint; the writer Percy M. Young suggests listening ‘from within – as though one were taking part in the performance.’

The musical strands are more distinct in the Adagio, where the three soloists work in tandem to create long, singing phrases

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. . . the three soloists work in tandem to create long, singing phrases over the orchestra’s forlorn tread.

over the orchestra’s forlorn tread. Bach uses a basso quasi ostinato – a single-bar bass pattern that is repeated over and over at different pitches. Increasingly anguished harmonies almost bring the languid plodding to a standstill several times, but with a sigh the orchestra carries on to complete the movement.

The final movement returns to the bright character of the first.

This time the ritornello is more complicated, made up of three themes layered together. In between this recurring refrain, the three soloists are each given an extended run on their own, and they make the most of it. It’s almost like a chase – the orchestra sprints to keep up with the speedy virtuosity of the first two solos, and then is almost tripped over by the mischievous harmonies of the third. Eventually the ritornello finds its feet and we reach the end. © David John Lang

BACH SARABANDE FROM CELLO SUITE NO.4 IN E-FLAT MAJOR, BWV1010 Composed c1720.

Bach’s six suites have been dated to the early 1720s, while Bach was Kapellmeister at the court of Prince Leopold in Cöthen, near Leipzig. Their core contents correspond closely to the layout of harpsichord dance-suite sets also compiled during the Cöthen years (1717-23), the six ‘French Suites’, six ‘English Suites’, and six ‘Partitas’. Each cello suite has six movements, beginning with a substantial Prelude, followed by an immutable sequence of dance-types: Allemande, Courante and Sarabande and, in final position, a Gigue. For the fifth movements, there is some variation: Bach selects Menuets for Suites I and II, Bourrees for Suites III and IV, and Gavottes for the remaining two.

PICTURED: Title page of Anna Magdalena Bach’s copy of the cello suites.

Though the composition sketches are lost, the earliest surviving copy of the suites was certainly ‘authorised’. It is in the clear and meticulous handwriting of Bach’s second wife, Anna Magdalena, and must have originated either soon after, or at least not much before their wedding, late in 1721. Whether all six works were new at the time is open to question. The last two suites differ sufficiently from the others to suggest that they may have been conceived separately.

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There remains, however, the question of who the suites were compiled for and why. As Bach himself is not known to have played or taught the cello, it has been generally assumed that he wrote them for a Cöthen cellist such as Christian Bernhard Linike or the court bass viol player CF Abel. But, by this time, Bach was also assiduously developing closer ties with the musical establishments in the major centres of his region, especially Dresden and Potsdam-Berlin. He compiled his set of six Brandenburg Concertos to impress a potential patron in 1721, and some scholars believe that another set of six unaccompanied works from these years, the six Sonatas and Partitas for solo violin, were likewise partly targeted exercises in self-promotion.

PICTURED: Carl Friedrich Abel for whom Bach’s Cello Suites may have been written.

PICTURED: Sarabande from Bach’s Cello Suite No.4

The cello was only then emerging as a solo instrument of significance, and Bach’s suites are a pioneering work – one which was long misunderstood. So, what the recipients of Bach’s largesse might have done with the six cello suites remains open to speculation. Their usefulness for teaching and practice is self-evident. Small gatherings of connoisseurs may well have been invited to hear them rehearsed, perhaps as many as three or four suites at a time (more would necessarily have required a change of instruments and tunings). Nor is dancing itself out of the question, for some if not all the movements.

It took the skill and determination of Pablo Casals, who discovered the music in a second-hand shop as a child, to convince the world that the suites were musical achievements of the first order, worthy of a place in every cellist’s recitals.

Casals developed a technique for playing them which in some respects went beyond what was available to the 18th-century cellist, particularly because of the longer modern bow, but he revealed how the challenge of the cello’s technique had brought out the best in Bach’s creativity: As in the violin suites, but more so, because the cello’s longer fingerboard mademultiple stopping less available, Bach used a basically melodic instrument to imply a complex polyphony. © Australian Chamber Orchestra

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HAYDN SYMPHONY NO.22 IN E-FLAT MAJOR THE PHILOSOPHER Composed c1764.

I. Adagio II. Presto III. Menuet & Trio V. Finale: Presto A number of subtitles or nicknames for Haydn’s symphonies have come into being as a means of setting at least some of their great number apart, and of distinguishing some of the many in like keys. The great Haydn scholar HC Robbins Landon has even gone so far as to describe these names as ‘marks of desperation’. The marking Le Philosophe (The Philosopher) is not as much desperate as a little mysterious – and, unlike many of its companions, was so named and so known in Haydn’s own lifetime. (It appears on the manuscript parts found in the Bibliotecca Estense, Modena).

PICTURED: Esterházy Palace.

The only possible explanation for the Philosopher’s presence in this symphony comes from some comments Haydn made late in life to his biographer Griesinger. ‘In his symphonies, he often

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This is one of his most sublime and unusual creations from the first years at the Esterházy court.

PICTURED: The opening Adagio movement of Haydn’s Symphony No.22.

described moral character. In one of his oldest, which he could not precisely indicate to me, “the idea predominated of God speaking to an unrepentant sinner, asking him to reform, but the sinner in his rashness heeded not these exhortations”.’ It must have been hard indeed for an old man to recall the individual keys or numbers of symphonies written four decades before; but it does seem quite possible that the musical dialogue – and such symphonic ‘moral character’ – to which Haydn is referring is that of the twenty-second symphony’s first movement. This is one of his most sublime and unusual creations from the first years at the Esterházy court. Its solemnity matches both the proposed dialogue between God and Sinner, and the traditionally sombre nature of an opening Adagio in the four movement Sonata da Chiesa plan (the same prototype used by Telemann in the Trumpet Concerto that follows).

This thoughtful, almost ecclesiastical air is perfectly achieved by way of the pensive, antique walking bass, the Corelli-like suspensions, the muted strings, and by the sternness of the octave and unison intonations by horns and cors anglais.

The plangent timbres of this darker-toned sibling of the oboe were a favourite of Haydn’s in the 1760s and early 1770s; but the instrument’s appearance here is unique in his symphonic output. Such a movement and such a scoring may have been considered too unusual and uncommercial at that time, because in 1773 another version of the symphony was published in Paris with flutes replacing the cors anglais. The first movement was excised, and a new central Andante added instead.

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PICTURED: The opening of the Menuetto movement.

This alternative version, which began with the second movement Presto, must surely have been unsatisfactory. With its lively violins-led melody and ABA structure the movement serves well as a necessary release of tension from the contemplative opening; but it would have been weak as an opener in itself.

The Menuetto’s crotchet-dominated melody is taken mainly by the strings, whereas the Trio brings the horns and cors anglais in paired thirds to the fore – a divertimento style, fusing outdoortype wind writing and Ländler-type string accompaniment.

An outdoors feel is sustained in the concluding Presto, where, within the typical finale 6/8 meter, Haydn introduces the calls of the hunting-horn. This was something he would pursue again, more famously, in his Finales of symphonies 65 and 73 (this one, previously the overture to the opera La fedelta premiata dubbed

PICTURED: Haydn and companions perform a string quartet at the Esterházy Palace.

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‘ . . . the sound of the horn had the power to excite deep feelings . . .’

HORACE FITZPATRICK

La Chasse) and in the Hunting Chorus of his late oratorio The Seasons. Here, in this early work, the horn calls burst forth from the tense, vital opening; and, needless to say, the ‘English Horns’ have their say, in reply, with this motif too. Horace Fitzpatrick, writing about the Austro-Hungarian Horn Playing tradition, noted: The hunt stood for all that was desirable in worldly virtue, representing a new embodiment of the old chivalrous-courtly ideals that were at the centre of aristocratic thought. As the ceremonial and signal instrument of the hunt, the horn in turn became a symbol of these values. To a nobleman of the time the sound of the horn had the power to excite deep feelings, for it called forth those ideals and aspirations which lay at the very heart of the courtly country life.

Haydn’s esteemed employer, Prince Nicolaus of Esterházy, would surely have been well pleased with this finale, when he heard it for the first time sometime in 1764, at one of the Tuesday or Thursday afternoon concerts at the court of Eisenstadt. © Australian Chamber Orchestra

ONE GREAT PERFORMANCE DESERVES ANOTHER

With 99% coverage of the Australian population, the Telstra Mobile Network performs for the ACO in more places than any other. telstra.com 28

R ICH A R D T OGNE T T I ARTISTIC DIREC TOR & VIOLIN

‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’

THE DAILY TELEGRAPH (UK) Australian violinist, conductor and composer Richard Tognetti was born in Canberra and raised in Wollongong. He has established an international reputation for his compelling performances and artistic individualism.

Photo by Paul Henderson Kelly

SELECT DISCOGRAPHY AS SOLOIST: BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679 BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three Bach releases available as a 5CD Box set: ABC Classics 476 6168) VIVALDI The Four Seasons BIS SACD-2103 Musica Surfica (DVD) Best Feature, New York Surf Film Festival AS DIRECTOR: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop

He began his studies in his home town with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director. He was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015.

Richard performs on period, modern and electric instruments and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, he has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovenian Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras, most recently as soloist and director with the MSO and TSO. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutosławski’s Partita. In November last year, he became London’s Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall.

Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd.

Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999.

He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

Chair sponsored by the late Michael Ball am and Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew and Andrea Roberts 29

HELENA R ATHBONE VIOLIN

Helena Rathbone started the violin at the age of five with the London Suzuki group. She then went on to study at the RCM Junior department with Dona Lee Croft, and subsequently at the GSMD with David Takeno.

Before her appointment as Principal Second Violin of the ACO in 1994, she was Principal Second Violin with the European Community Chamber Orchestra and played regularly with ensembles such as the Academy of St Martin in the Fields.

Photo by Mick Bruzzese

In 2006, Helena was appointed Director of the ACO Collective.

The Collective comprises musicians from the ACO’s Emerging Artists Program for which Helena is the orchestra representative and mentor. In her role as Principal Violin of the ACO, she also continues to perform regularly with the orchestra as a soloist and guest leader.

When not performing with the ACO, Helena has been a tutor and chamber orchestra director for the AYO at National Music Camps. She has also appeared at the Australian Festival of Chamber Music, Four Winds Bermagui, Christchurch Arts Festival, Sangat Chamber Music Festival (Mumbai) and at the Peasmarsh Festival (Sussex).

As a member of the International Musicians Seminar at Prussia Cove, Helena played in the IMS tour of the UK (led by Pekka Kuusisto) which was awarded the Royal Philharmonic Society Award for Chamber Music in 2008.

Helena has been Guest Concertmaster of many orchestras, most recently on a European tour with the Mahler Chamber Orchestra. The recordings of Beethoven’s 2nd and 4th piano concertos that the MCO made with Leif Ove Andsnes during this tour won the Concerto award and Recording of the Year award with BBC Music Magazine in 2015.

Helena lives in Sydney with her two sons and husband.

She plays on a 1759 JB Guadagnini violin on loan from the Commonwealth Bank of Australia.

Chair sponsored by Kate and Daryl Dixon

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SATU VÄNSK Ä VIOLIN

Satu Vänskä was appointed Assistant Leader of the Australian Chamber Orchestra in 2004. She performs regularly as lead violin and soloist with the Orchestra. She is also curator, vocalist and front woman of the critically acclaimed electro-acoustic ensemble ACO Underground. As a singer and violinist she has collaborated with such distinguished artists as Barry Humphries, Meow Meow, Jonny Greenwood, The Presets, Jim Moginie, Brian Ritchie and Katie Noonan. Satu features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor. She was presented in recital in July 2012 by the Sydney Opera House as part of their Utzon Room Music Series.

Photo by Mick Bruzzese

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

From 1997 Satu was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich where she finished her diploma in 2001. This led to performances with the Munich Philharmonic, the Bavarian Radio Symphony Orchestra, at the Tuusulanjärvi Festival, and at Festivo Aschau.

In 1998 Sinfonia Lahti named her ‘young soloist of the year’.

In 2000 she was a prize-winner of the ‘Deutsche Stiftung Musikleben’ and from 2001 she played under the auspices of the Live Music Now Foundation founded by Lord Yehudi Menuhin which gave her the opportunity to perform with such musicians as Radu Lupu and Heinrich Schiff. In 2011, she became the custodian of the only Stradivarius violin in Australia – the magnificent 1728/29 violin on loan from the ACO’s Instrument Fund.

Chair sponsored by Kay Bryan

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TIMO-VEIKKO VALVE CELLO

Timo-Veikko ‘Tipi’ Valve is one of the most versatile musicians of his generation performing as a soloist, chamber musician and orchestral leader on both modern and period instruments.

Tipi studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden, focusing on solo performance and chamber music in both institutions.

Photo by Jack Saltmiras

Tipi has performed as a soloist with all major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. Most recently Tipi has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. ACO’s 2015 season included the world premiere of an arrangement of Olli Mustonen’s Sonata for cello and chamber orchestra, commissioned by Tipi and the ACO. In 2006 Tipi was appointed Principal Cello of the Australian Chamber Orchestra with whom he frequently appears as soloist.

He also curates the ACO’s chamber music series in Sydney.

Tipi is a founding member of Jousia Ensemble and Jousia Quartet.

Tipi’s instrument is attributed to both Giuseppe Guarneri (filius Andreæ) and Bartolomeo Giuseppe Guarneri (del Gesù) from 1729, kindly donated by Peter Weiss ao.

Chair sponsored by Peter Weiss ao

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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.

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MUSICI A NS ON S TAGE

Richard Tognetti ao 1 Artistic Director & Violin

Helena Rathbone 2 Principal Violin

Satu Vänskä 3 Principal Violin

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

Chair sponsored by Kate & Daryl Dixon

Chair sponsored by Kay Bryan

Glenn Christensen Violin

Aiko Goto Violin

Mark Ingwersen Violin

Chair sponsored by Terry Campbell ao & Christine Campbell

Chair sponsored by Anthony & Sharon Lee Foundation

Chair sponsored by Julie Steiner & Judyth Sachs

Ilya Isakovich Violin

Liisa Pallandi Violin

Maja Savnik 4 Violin

Chair sponsored by The Humanity Foundation

Chair sponsored by The Melbourne Medical Syndicate

Chair sponsored by Alenka Tindale

Ike See Violin

Alexandru-Mihai Bota Viola

Nicole Divall Viola

Chair sponsored by Di Jameson

Chair sponsored by Philip Bacon am

Chair sponsored by Ian Lansdown

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Timo-Veikko Valve 5 Principal Cello

Melissa Barnard Cello

Julian Thompson 6 Cello

Chair sponsored by Peter Weiss ao

Chair sponsored by Martin Dickson am & Susie Dickson

Chair sponsored by The Grist & Stewart Families

Vicki Powell# Viola

Ben Jacks# Horn

Michael Pisani# Oboe

Courtesy of Sydney Symphony Orchestra

Courtesy of Melbourne Symphony Orchestra

Dmitry Malkin Oboe Maxime Bibeau 7 Principal Bass Chair sponsored by Darin Cooper Foundation

Players dressed by Willow and SABA

Courtesy of Jerusalem Symphony Orchestra

Jane Gower# Bassoon

Stéphane Mooser Horn João Rival# Harpsichord # Guest Principal Principal Viola Chair sponsored by peckvonhartel architects

Courtesy of Orchestre Révolutionnaire et Romantique

1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.

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

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

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

5 Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly donated to the ACO by Peter Weiss ao.

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

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

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ACO BEHIND T HE S CENE S BOARD Guido Belgiorno-Nettis am Chairman Liz Lewin Deputy Bill Best John Borghetti Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo

ARTISTIC DIRECTOR Richard Tognetti ao

ADMINISTRATIVE STAFF

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

EDUCATION Phillippa Martin ACO Collective & ACO Virtual Manager

FINANCE

Christina Holland Office Administrator

Fiona McLeod Chief Financial Officer

Anna McPherson Director of Development

Alexandra Cameron-Fraser Chief Operating Officer

Jill Colvin Philanthropy Manager

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

Yeehwan Yeoh Investor Relations Manager

ARTISTIC OPERATIONS

David Herrero Events Manager

Bernard Rofe Librarian

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Robin Hall Archival Administrator

Yvonne Morton Financial Accountant & Analyst

Jessica Block Deputy General Manager

Danielle Asciak Travel Coordinator

Cristina Maldonado Marketing & Communications Executive

Dean Watson Customer Relations & Access Manager

DEVELOPMENT

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

Chris Griffith Box Office Manager

Dinuja Kalpani Transaction Accountant

Anna Melville Artistic Administrator

Antonia Farrugia Director of Marketing

Vicki Norton Education Manager

EXECUTIVE OFFICE

Luke Shaw Director of Artistic Operations

MARKETING

Lillian Armitage Capital Campaign Executive

Tom Carrig Senior Development Executive Sally Crawford Patrons Manager

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW. In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000

Max Stead Development Executive

By Mail PO Box R21, Royal Exchange NSW 1225

Kay-Yin Teoh Development Coordinator

Telephone (02) 8274 3800 Box Office 1800 444 444

Belinda Partyga Researcher

Email aco@aco.com.au Web aco.com.au

B ACH V IOL IN CONCERTOS TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY

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

Sun 2 Apr, 1.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by John Weretka Mon 3 Apr, 6.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by John Weretka Tue 4 Apr, 6.45pm Adelaide Town Hall Pre-concert talk by Jim Koehne

Wed 5 Apr, 6.45pm Perth Concert Hall Pre-concert talk by Fiona Campbell Sat 8 Apr, 6.15pm Sydney – City Recital Hall Pre-concert talk by Toby Chadd Sun 9 Apr, 1.15pm Sydney Opera House Pre-concert talk by Toby Chadd

Mon 10 Apr, 6.15pm Brisbane – QPAC Concert Hall Pre-concert talk by Gordon Hamilton Tue 11 Apr, 7.15pm Sydney – City Recital Hall Pre-concert talk by Toby Chadd Wed 12 Apr, 6.15pm Sydney – City Recital Hall Pre-concert talk by Toby Chadd

Pre-concert speakers are subject to change.

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ACO–172 — 18048 — 1/020417 37

V ENUE SUPP OR T

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

PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000 PO Box 3041, East Perth WA 6892 Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager

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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

Christopher Freeman am Chair John Kotzas Chief Executive

CITY RECITAL HALL LIMITED Chair, Board of Directors Renata Kaldor ao

SYDNEY OPERA HOUSE Bennelong Point

CEO Elaine Chia

GPO Box 4274, Sydney NSW 2001

2–12 Angel Place Sydney NSW 2000

Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com

Administration 02 9231 9000 Box Office 02 8256 2222 Website www.cityrecitalhall.com

Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer

In case of emergencies…

Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.

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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 Julie Steiner & Judyth Sachs 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

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 39

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 Ruth Bell David Beswick Sandra Cassell Mrs Sandra Dent Peter Evans

Carol Farlow Suzanne Gleeson Lachie Hill David & Sue Hobbs Penelope Hughes Toni Kilsby & Mark McDonald

Mrs Judy Lee Selwyn M Owen Michael Ryan & Wendy Mead Ian & Joan Scott Cheri Stevenson Leslie C Thiess

G.C. & R. Weir Margaret & Ron Wright Mark Young Anonymous (13)

ACO R ECONCIL 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

ACO E XCEL L ENCE F UND PAT RONS ACO Excellence Fund Patrons assist with the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

K Chisholm Dr Jane Cook Paul & Roslyn Espie M Generowicz Dr Roy & Gail Geronemus The Hadfield Family

Paul & Gail Harris Doug Hooley Mike & Stephanie Hutchinson Geoff & Denise Illing Professor Anne Kelso ao

Macquarie Group Foundation Kevin & Deidre McCann Baillieu Myer ac Gina Olayiwola Elisabeth & Doug Scott

David Shannon J Skinner Christina Scala & David Studdy Dr Jason Wenderoth Anonymous (5)

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 Lucinda Bradshaw Justine Clarke Este Darin-Cooper & Chris Burgess Amy Denmeade Catherine & Sean Denney Jenni Deslandes & Hugh Morrow Mandy Drury 40

Anthony Frith & Amanda Lucas-Frith Alexandra Gill Rebecca Gilsenan & Grant Marjoribanks Adrian Giuffre & Monica Ion John & Lara James Aaron Levine & Daniela Gavshon Royston Lim

Gabriel Lopata Rachael McVean Carina Martin Barry Mowzsowski Paris Neilson & Todd Buncombe James Ostroburski Nicole Pedler & Henry Durack Michael Radovnikovic Jessica Read

Louise & Andrew Sharpe Emile & Caroline Sherman Michael Southwell Helen Telfer Karen & Peter Tompkins Joanna Walton Nina Walton & Zeb Rice Peter Wilson & James Emmett John Winning Jr.

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

Leslie & 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 F 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

Brendan Hopkins

John Taberner

Trevor Parkin

Angus & Sarah James

QUARTET $50,000 – $99,999

Elizabeth Pender

Daniel & Jacqueline Phillips

John Leece am & Anne Leece

Robyn Tamke

Ryan Cooper Family Foundation

Anonymous

Anonymous (2)

Andrew & Philippa Stevens

Andrew Stevens John Taberner

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

Dr Lesley Treleaven Ian Wallace & Kay Freedman 41

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

Janet Holmes à Court Bruce & Jenny Lane

MELBOURNE HEBREW CONGREGATION PATRONS

Peter & Cathy Aird

Delysia Lawson

LEAD PATRONS

Gerard Byrne & Donna O’Sullivan

John Leece

Marc Besen ac & Eva Besen ao

Mirek Generowicz

Julianne Maxwell

Peter & Valerie Gerrand

Jim & Averill Minto

G Graham

Alf Moufarrige

Anthony & Conny Harris

Angela Roberts

Rohan Haslam

Friends of Jon & Caro Stewart

John Griffiths & Beth Jackson

Mike Thompson

Lionel & Judy King

Peter Weiss ao

Bruce Lane 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)

MOUNTAIN PRODUCERS’ SYNDICATE Major Producers Janet Holmes à Court Warwick & Ann Johnson Producers Richard Caldwell Warren & Linda Coli Anna Dudek & Brad Banducci Wendy Edwards

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

David Friedlander Tony & Camilla Gill

SUPPORTER Leo & Mina Fink Fund

EMANUEL SYNAGOGUE PATRONS CORPORATE PARTNERS Adina Apartment Hotels Meriton Group LEAD PATRON The Narev Family PATRONS David Gonski ac Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

John & Lisa Kench

ACO COLLECTIVE QUEENSLAND REGIONAL TOUR

Charlie & Olivia Lanchester

Lead Patrons

Mr Robert Albert ao & Mrs Libby Albert

Rob & Nancy Pallin

Dr Ian Frazer ac & Mrs Caroline Frazer

Linda & Graeme Beveridge

Andrew & Andrea Roberts

Urbane Restaurant Group

Kay Bryan

Peter & Victoria Shorthouse

Stephen & Jenny Charles

Alden Toevs & Judi Wolf

Anthony & Sharon Lee Foundation

Supporters

Cass George

Ann Gamble Myer

The Penn Foundation

Marie-Louise Theile

Daniel & Helen Gauchat

The Rossi Foundation

Yvonne von Hartel am & Robert Peck am peckvonhartel architects Doug Hooley

Patrons Andrew Clouston

ACO UK SUPPORTERS Ambassadors Brendan & Bee Hopkins Friends John & Kate Corcoran Hugo & Julia Heath John Taberner Patricia Thomas Supporter John Coles

42

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 7 February 2017.

PATRONS

Bruce & Joy Reid Trust

Marc Besen ac & Eva Besen

Andrew & Andrea Roberts

Dr John Harvey ao & Mrs Yvonne Harvey

Janet Holmes á Court ac

Mark & Anne Robertson

Annie Hawker

Margie Seale & David Hardy

Insurance Group Australia Limited

Rosy Seaton & Seumas Dawes

I Kallinikos

Mr Robert Albert ao & Mrs Libby Albert

Tony Shepherd ao

Key Foundation

Geoff Alder

Anthony Strachan

Anthony & Sharon Lee Foundation

Australian Communities Foundation – Ballandry Fund

John Taberner & Grant Lang

In memory of Dr Peter Lewin

Leslie C. Thiess

Lorraine Logan

Steven Bardy & Andrew Patterson

David & Julia Turner

Macquarie Group Foundation

The Belalberi Foundation

Libby & Nick Wright

David Maloney & Erin Flaherty

Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis

E Xipell

P J Miller

Peter Yates am & Susan Yates

James Ostroburski & Leo Ostroburski

Peter Young AM & Susan Young

QVB

Anonymous (3)

John Rickard

Michael & Helen Carapiet

DIRETTORE $5,000 – $9,999

Paul Schoff & Stephanie Smee & Friends

Stephen & Jenny Charles

The Abercrombie Family Foundation

Greg Shalit & Miriam Faine

Rowena Danziger am & Ken Coles am

Jon & Cheyenne Adgemis

Peter & Victoria Shorthouse

Irina Kuzminsky & Mark Delaney

Geoff Ainsworth & Jo Featherstone

Sky News Australia

Mr Bruce Fink

Peter Atkinson

St George Foundation

Dr Ian Frazer ac & Mrs Caroline Frazer

David & Helen Baffsky

Jon & Caro Stewart

Ann Gamble Myer

Will & Dorothy Bailey Charitable Gift

Alenka Tindale

Daniel & Helen Gauchat

Veronika & Joseph Butta

Alden Toevs & Judi Wolf

Kimberley Holden

Caroline & Robert Clemente

Ivan Wheen

Di Jameson

Darrel & Leith Conybeare

Simon & Amanda Whiston

John & Lisa Kench

Mrs Janet Cooke

Shemara Wikramanayake

Miss Nancy Kimpton

Suellen Enestrom

Cameron Williams

Liz & Walter Lewin

Bridget Faye AM

Hamilton Wilson

Andrew Low

JoAnna Fisher & Geoff Weir

Anonymous (3)

Anthony & Suzanne Maple-Brown

Kay Giorgetta

Jim & Averill Minto

Louise Gourlay oam

John & Anne Murphy

Warren Green

Louise & Martyn Myer Foundation

Tony & Michelle Grist

Jennie & Ivor Orchard

Liz Harbison

EMERGING ARTISTS & EDUCATION PATRONS $10,000+

Anita & Luca Belgiorno-Nettis Foundation Helen Breekveldt Rod Cameron & Margaret Gibbs

43

MAESTRO $2,500 – $4,999

VIRTUOSO $1,000 – $2,499

Lachie Hill

Jennifer Aaron

Annette Adair

Christian Holle

David & Rae Allen

Barbara Allan

Christopher Holmes

Brad Banducci & Anna Dudek

Jane Allen

Doug Hooley

DG & AR Battersby

Andrew Andersons

Beeren Foundation

Jessica Block

Michael Horsburgh am & Beverley Horsburgh

Mr & Mrs Daniel Besen

Dr David and Mrs Anne Bolzonello

Neil & Jane Burley

In memory of Peter Boros

The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov

Brian Bothwell

Carol & Andrew Crawford Heather Douglas

Vicki Brooke Diana Brookes

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 Cass George John & Jenny Green Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Erica Jacobson Ros Johnson Peter Lovell Jennifer Senior & Jenny McGee Jane Morley Nola Nettheim Jenny Nicol OneVentures Sandra & Michael Paul Endowment Patricia H Reid Endowment Pty Ltd

Ray Carless & Jill Keyte Ann Cebon-Glass Patrick Charles Dr Peter Clifton Angela & John Compton Brooke & Jim Copland R & J Corney John Curotta Peter & Penny Curry Ian Davis & Sandrine Barouh Michael & Wendy Davis Martin Dolan Dr William F Downey Daniel Droga

Merilyn & David Howorth Penelope Hughes Professor Andrea Hull ao Sue Hunt John Griffiths & Beth Jackson Owen James Anthony Jones & Julian Liga Brian Jones Bronwen L Jones Mrs Angela Karpin Josephine Key & Ian Breden Julia Pincus & Ian Learmonth Airdrie Lloyd Gabriel Lopata Colin Loveday Robin Lumley Diana Lungren Garth Mansfield oam & Margaret Mansfield oam Mr & Mrs Greg & Jan Marsh Jane Tham & Philip Maxwell Karissa Mayo Kevin & Deidre McCann Nicholas McDonald Ian & Pam McGaw

Pamela Duncan

Colin McKeith

Emeritus Professor Dexter Dunphy am

In memory of Rosario Razon Garcia

Wendy Edwards

Bruce McWilliam

Sharon Ellies

Helen & Phil Meddings

Dr Linda English

Michelle Mitchell

Peter Evans

Anthony Niardone & Glen Hunter

Julie Ewington

Barry Novy & Susan Selwyn

Elizabeth Finnegan

Paul O’Donnell

Michael Fogarty

L Parsonage

Don & Marie Forrest

Prof David Penington AC

Westpac Group

Chris & Tony Froggatt

Dr S M Richards am & Mrs M R Richards

Richard & Suzie White

Justin & Anne Gardener

Em Prof A W Roberts am

Dr Mark & Mrs Anna Yates

M Generowicz

Julia Champtaloup & Andrew Rothery

Professor Richard Yeo

Brian Goddard

Richard & Sandra Royle

William & Anna Yuille

Paul Hannan

J Sanderson

Anonymous (4)

Kerry Harmanis

In memory of H. St. P. Scarlett

Jennifer Hershon

Lucille Seale

Ralph & Ruth Renard Mrs Tiffany Rensen Fe and Don Ross D N Sanders Petrina Slaytor Howard & Hilary Stack John & Josephine Strutt Nicky Tindill Ralph Ward-Ambler am & Barbara Ward-Ambler

44

Mr John Sheahan qc

John & Gay Cruikshank

Peter and Ruth McMullin

Maria Sola

Sharlene & Steve Dadd

Louise Miller

Dr Peter & Mrs Diana Southwell-Keely

Marie Dalziel

Justine Munsie & Rick Kalowski

Keith Spence

Mari Davis

G & A Nelson

Jim & Alice Spigelman

Mrs Sandra Dent

Robyn Nicol

Mark Stanbridge

In Memory of Raymond Dudley

Graham North

Harley Wright & Alida Stanley

M T & R L Elford

Robin Offler

Ross Steele am

Leigh Emmett

John O’Sullivan

In memory of Dr Warwick Steele

Penelope & Susan Field

Willy & Mimi Packer

Caroline Storch

Jean Finnegan & Peter Kerr

Anne & Christopher Page

Andrew Strauss

Jessica Fletcher

Robin Pease

Charles Su & Emily Lo

Peter Fredricson

Elizabeth Pender

David & Judy Taylor

Steve Frisken

Kevin Phillips

Susan Thacore

Sam Gazal

Michael Power

Rob & Kyrenia Thomas

Paul Gibson & Gabrielle Curtin

John Prendiville

Ngaire Turner

Marilyn & Max Gosling

Beverly & Ian Pryer

Kay Vernon

Jillian Gower

Mandie & Andrew Purcell

Jason Wenderoth

Paul Greenfield & Kerin Brown

Jennifer Rankin

M White

Annette Gross

John Riedl

Don & Mary Ann Yeats

Kevin Gummer & Paul Cummins

Sally Rossi-Ford

Rebecca Zoppetti Laubi

Hamiltons Commercial Interiors

Mrs J Royle

Anonymous (17)

Lesley Harland

Christine Salter

Sandra Haslam

Garry E Scarf & Morgie Blaxill

CONCERTINO $500 – $999

Gaye Headlam

Carol Schwartz am & Alan Schwartz am

Elsa Atkin am

Kingsley Herbert

Rena Shein

Ms Rita Avdiev

Dr Penny Herbert in memory of Dunstan Herbert

The Sherman Foundation

Dr Marian Hill

Fionna Stack

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

TWF Slee & Lee Chartered Accountants

Denise Braggett

Robert & Margaret Jackson

Dr Ed & Mrs Julie van Beem

Mrs Pat Burke

Barry Johnson & Davina Johnson oam

Denise Wadley

Hugh Burton Taylor

Caroline Jones

Joy Wearne

Alberto Calderon-Zuleta

Bruce & Natalie Kellett

GC & R Weir

Connie Chaird

Lionel & Judy King

Taryn Williams

Angela & Fred Chaney

Prof Kerry Landman

Sally Willis

Colleen & Michael Chesterman

Genevieve Lansell

Sir Robert Woods cbe

Richard & Elizabeth Chisholm

Kwong Lee Dow

Michael Zimmerman

Stephen Chivers

Megan Lowe

Brian Zulaikha

ClearFresh Water

Rob Mactier

Anonymous (35)

Sally Collier

Dr & Mrs Donald Maxwell

Spire Capital

Kathleen McFarlane

P Cornwell & Cecilia Rice

H and R McGlashan

Annabel Crabb

JA McKernan

A & M Barnes In memory of Hatto Beck Mrs Kathrine Becker

Casimir Skillecorn

45

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 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

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 Michael Maxwell

The Hon Malcolm Turnbull mp

Rowena Danziger am & Kenneth G. Coles am

Ms Jan Minchin Director, Tolarno Galleries 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

46

Mrs Carol Schwartz am

Ms Julianne Maxwell

Ms Naomi Milgrom ao

Ms Ann Gamble Myer

Mr Mark Robertson oam & Mrs Anne Robertson

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

Mr David Mathlin

Mr & Mrs Robin Crawford am

Mr David Evans Executive Chairman, Evans & Partners

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

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

AC O GOV ER NMEN T PA R T NER S THE ACO THANKS OUR 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 Jason Li Chairman, Vantage Group Asia

Heather Ridout ao (Chair) Director, Reserve Bank of Australia Guido Belgiorno-Nettis am Chairman, ACO

Mark Stanbridge Partner, Ashurst Paul Sumner Chief Executive Officer, Mossgreen

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

Ann Gamble-Myer

James Ostroburski

Colin Golvan qc

Paul Sumner Chief Executive Officer, Mossgreen

Peter McMullin Chairman, McMullin Group

DISABILITY ADVISORY COMMITTEE Morwenna Collett CEO, Accessible Arts

Ebru Sumaktas Senior HR Officer, Department of Family and Community Services

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

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 Rany Moran Nicole Sheffield John Taberner Lynne Testoni

BRISBANE Philip Bacon Kay Bryan Andrew Clouston Dr Ian Frazer ac & Mrs Caroline Frazer Cass George

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

PEER R E V IE W PA NEL S EDUCATION PEER REVIEW PANEL Zoe Arthur John Benson

Helen Champion Jane Davidson

Jared Furtado Theo Kotzas

Lyn Williams oam

Marshall McGuire Katie Noonan John Painter

Anthony Peluso Mary Vallentine ao Lyn Williams oam

ARTISTIC PEER REVIEW PANEL Yarmila Alfonzetti Elaine Armstrong Toby Chadd Jane Davidson

Alan Dodge Jim Koehne Siobhan Lenihan

47

AC O PA S S ACO PAR RT NER T NER

WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT

WE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

CONCERT AND SERIES PARTNERS

MEDIA PARTNERS

48

EVENT PARTNERS

Y E A R S OF PRACTICE. REWARDED.

Best Professional Services Firm ($50M - $200M) Best Law Firm ($50M - $200M) Best Value Firm

2018 EUROPE RIVER CRUISES

PRE-RELEASE

Exclusive to Scenic, a once in a lifetime classical music concert in Vienna’s Palais Liechtenstein, which is also home to the second largest private art collection in the world.

On our iconic 15 Day Jewels of Europe river cruise travel through the Europe of your imagination from Amsterdam to Budapest.

Created exclusively for Scenic as part of our Enrich program, enjoy the opulence and luxury of Palais Liechtenstein at a private evening concert, and be transported to another time and place with the ‘Best of the Sound of Music and Salzburg Show’.

Experience the medieval ambience of Marksburg Castle – which has remained virtually unchanged since the Middle Ages.

2018 AT 2017 PRICES – LIMITED TIME OFFER From only $6,995*pp including return flights to Europe Or upgrade to Business Class from $4,995*

138 128 SCENIC.COM.AU Visit scenic.com.au/agents for your nearest Scenic Agent *Conditions apply. Price is based on per person twin share in AUD is strictly limited and subject to availability. Early payment discount applied, full cruise payment due by 31 May 2017. Flights are economy class ex BNE/SYD/MEL/PER/ADL, subject to availability. For new bookings only. Pricing based on STC071118.1, in a category E suite. Pricing correct as of 2 March 2017. For full terms and conditions refer to brochure or scenic.com.au. Scenic ABN 85 002 715 602. SNMA194

BACH THE ART OF FUGUE BEETHOVEN STRING QUARTET OP.130 | GROSSE FUGE ALBUM RELEASED APRIL 2017 ALSO AVAILABLE

THE TRIPLE-ARIA-WINNING BACH ALBUMS

Available from all good record stores, and for digital download and streaming

FEATURING SOPRANO GRETA BRADMAN & MEMBERS OF THE GONDWANA INDIGENOUS CHILDREN'S CHOIR 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.

TICKETS SELLING FAST. BOOK NOW TO AVOID DISAPPOINTMENT. Visit www.ayersrockresort.com.au/ acoulurufestival or call 1300 134 044

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.

EVENT PARTNER