Hilliard Ensemble & ACO Program

2012 NATIONAL CONCERT SEASON THE HILLIARD ENSEMBLE

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JOSEPH TAWADROS RICHARD TOGNETTI AUSTRALIAN CHAMBER ORCHESTRA JAMES TAWADROS CHRISTOPHER MOORE MATT McMAHON

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TOUR TWO THE HILLIARD ENSEMBLE SPEED READ Veni, Creator Spiritus (Come, Creator Spirit), a Christian liturgical hymn from the 9th century, provides the departure point for the works in the central portion of this program involving both the ACO and our guest artists from England, The Hilliard Ensemble. It is a melody that has withstood the test of time, and has inspired writers, artists, and composers across centuries, cultures, denominations, and continents.

Presented in its traditional Gregorian chant form, the Veni, Creator Spiritus will be interwoven with a version dating from Medieval France, along with a work of the same title by the living Australian composer, Ross Edwards.

Presented a capella are works by England’s Sheryngham, who lived in the 1400s, and the living Estonian composer Arvo Pärt. While Ah, Gentle Jesu and Most Holy Mother of God are not direct appropriations of the musical material or text of Veni, Creator Spiritus, one can hear in them the undeniable influence of liturgical vocal tradition. Vocal ensemble and orchestra come together in Obikhod, by living composer Alexander Raskatov, who brings a distinctive viewpoint of Russian liturgical tradition through contemporary musical language.

The program is bookended by two beloved and significant works in the string orchestra repertoire written within two years of each other: Elgar’s Serenade for strings, and Arensky’s Variations on a Theme by Tchaikovsky.

Elgar’s Serenade, written in 1892, evidences the composer’s compositional control, and affection for the string instrument family. After all, Elgar first studied the violin when he was nine years of age.

Anton Arensky, an all-but-unknown Russian composer was, in his time, quite the opposite: student of RimskyKorsakov, teacher of Rachmaninoff and Scriabin, and friend of Tchaikovsky. The Variations were composed in 1894, a year after the death of Arensky’s friend.

And the theme on which the Variations are based come from Tchaikovsky’s song “Legend”, part of his set of Sixteen Songs for Children, Op.54.

DAVID JAMES Countertenor ROGERS COVEY-CRUMP Tenor STEVEN HARROLD Tenor GORDON JONES Baritone HELENA RATHBONE Lead Violin I N T E R VA L

ELGAR Serenade for strings in E minor, Op.20

SHERYNGHAM

GREGORIAN CHANT Veni, Creator Spiritus

Ah, gentle Jesu

ANONYMOUS

RASKATOV

Veni, Creator Spiritus

Obikhod

PÄRT Most Holy Mother of God

EDWARDS Veni Creator Spiritus

ARENSKY Variations on a Theme

by Tchaikovsky, Op.35a

Approximate durations (minutes): 12 – 7 – 24 – 4 – INTERVAL – 27 – 14 The concert will last approximately two hours including a 20-minute interval.

ADELAIDE

SYDNEY

Town Hall Tue 13 Mar 8pm

City Recital Hall Angel Place Sat 17 Mar 7pm Tue 20 Mar 8pm Wed 21 Mar 7pm

BRISBANE QPAC Mon 12 Mar 8pm

SYDNEY

CANBERRA

Opera House Sun 11 Mar 2pm

Llewellyn Hall Sat 10 Mar 8pm

WOLLONGONG

MELBOURNE

Town Hall Thu 22 Mar 7.30pm

Town Hall Sun 18 Mar 2.30pm Mon 19 Mar 8pm

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

Cover photo: Helena Rathbone © Jon Frank

AUSTRALIAN CHAMBER ORCHESTRA 7

MESSAGE FROM THE GENERAL MANAGER

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ACO ON THE RADIO ABC CLASSIC FM: Sat 14 Apr 1pm The Hilliard Ensemble concert broadcast

NEXT TOUR Danielle de Niese

It is a great honour for the Australian Chamber Orchestra to have the opportunity to perform with the legendary vocal quartet – The Hilliard Ensemble. With a fascinatingly eclectic repertoire and an exquisitely blended sound, the Hilliards bring a new dimension to the ACO’s season.

Over the Easter weekend, Helena Rathbone is taking AC O2 to give a series of concerts in the Four Winds Festival in Bermagui, working with recorder virtuoso (and Four Winds Festival Director) Genevieve Lacey and accordionist James Crabb.

Immediately after Easter, Richard Tognetti and the ACO head off to North America for an extensive tour of 11 concerts in 11 cities (including New York, Chicago, Atlanta and Toronto) with soloists Dawn Upshaw and Teddy Tahu Rhodes. At the end of the tour, Richard and the musicians remain in New York for a few days to make a CD of the ravishing new song cycle by Maria Schnieder Winter Morning Walks, with Dawn Upshaw.

Our most creative project of the year gets under way in May when Richard takes a group of musicians, cameramen, surfers and the composer Iain Grandage to the Gnaraloo Reef, on the north coast of Western Australia to create a live-music-meets-oceanic-film project called The Reef. The finished program will be premiered in Darwin in July, then will tour across the north-west of the continent through to Perth and finally to the Sydney Opera House. Audiences in other cities will have the opportunity to catch this wave of creativity in 2013.

TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

7—25 June 2012

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PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue.

AUSTRALIAN CHAMBER ORCHESTRA 9

ELGAR Serenade for strings in E minor, Op.20 (Composed 1892)

I. Allegro piacevole II. Andante (Larghetto) III. Allegretto

Sir Edward ELGAR (b. Broadheath, England, 1857 — d. Worcester, England, 1934) Widely considered the standard-bearer of British classical music tradition of his time, Elgar’s contributions to symphonic literature are significant and enduring.

His Enigma Variations are a staple of orchestral repertoire, and his first Pomp and Circumstance March is familiar to families, especially in the United States, as a requisite, if not defining work performed during high school and university graduations.

It might come as a surprise that Elgar never undertook formal compositional study and was mostly self-taught, drawing upon the musical resources around him and styles abroad. Previously an ambivalent outsider in musical and social circles, it wasn’t until the first performance of his Enigma Variations, in 1899, that Elgar began a rise to national prominence, at the age of 42.

ACO performance history Elgar’s Serenade for strings was played in the ACO’s first ever subscription series, in 1985. It was played again during tours in 1990 and 1997.

Elgar’s first instrument was the violin, which he began learning at the age of nine and rapidly mastered. The son of a music seller and piano tuner father and a mother who was a fine poet and artist, Elgar’s early musical precocity was encouraged, though family finances prevented him studying music abroad. He became very active as a performer and conductor in his native Worcestershire, playing violin in the orchestra for the Three Choirs Festival under Dvořák in 1884, and composing for a number of local ensembles.

Elgar believed passionately in the indivisible nature of a musical idea and its sound, once writing that: A musical idea may be interesting to read without hearing, or it may hold the attention when played on a key instrument or by a combination of instruments; but its inventor must have had some definite medium in his mind…I find it impossible to imagine a composer creating a musical idea without defining inwardly, and simultaneously, the exact means of its presentation.

Throughout his career he maintained a particular love for the string family, culminating in the autumnal Cello Concerto, and among his best loved works are the Introduction and Allegro for String quartet and String orchestra, Op.47, and the Serenade for Strings, Op.20.

Both works show Elgar’s supreme mastery of the textural possibilities of the string ensemble; when the young composer Herbert Howells asked Elgar his secret, the latter replied: ‘Study old Handel. I went to him for help ages ago.’

Despite his lower middle-class social status and Catholic religion, Elgar had married Alice Roberts against the wishes of her aristocratic family in 1889, and the couple had moved to London in the hope of securing Elgar’s career as a composer. Sadly, this proved unsuccessful, so in 1891 Elgar and his wife returned to Worcestershire where Elgar eked out a living from teaching, performing and sporadic publications until his reputation took off with the appearance of the ‘Enigma’ Variations at the end of the decade.

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The Serenade dates from 1892, and seems to have received its premiere with the Ladies’ Orchestral Class of Worcester which Elgar trained. It may, however, be a reworking of his Three Pieces for String Orchestra, first performed in 1888 by the Worcestershire Musical Union. Elgar said of the Three Pieces, ‘I like ’em (the first thing I ever did).’ Unfortunately, the score of the earlier work has not survived, but its movement titles (Spring Song, Elegy and Finale) correspond roughly to those of the present work, which Elgar often said was his favourite.

GORDON KERRY © SYMPHONY AUSTRALIA

SHERYNGHAM (lived England, ca. 15th/16th century)

SHERYNGHAM Ah, Gentle Jesu (Composed ca. 1500) From The Hilliard Ensemble’s Gordon Jones:

Jesus as Good Shepherd

Little is known about the composer Sheryngham (fl. c. 1500) and only two of his works remain, but his carol, Ah, Gentle Jesu! is a remarkable and extended work.

Its form is that of Verse and Refrain and is a dialogue between a penitent sinner, represented by the upper two voices, and the crucified Christ, the lower two voices.

The verses have been attributed to John Lydgate (ca. 1370 – ca. 1451), an English poet who lived at the turn of the 15th century.

(Stained glass at St John’s Ashfield, New South Wales)

AUSTRALIAN CHAMBER ORCHESTRA 11

RASKATOV Obikhod (Composed 2002-2003)

The composer writes:

Alexander RASKATOV (b. Moscow, Russia, 1953) Raskatov graduated from the Moscow Conservatory in 1978.

In 1979 he became a member of the noted Soviet Composers’ Union, subsequently joining the post-Soviet Association for Contemporary Music at its inception in 1990. That same year he was appointed composer-in-residence at Stetson University in Florida.

His current work draws upon folk and ritual traditions, belying his early influence under Russian avant-garde composers including Edison Denisov and Sofia Gubaidulina.

A number of eminent artists, including Gidon Kremer, the Schoenberg Ensemble, and The Hilliard Ensemble, have commissioned works from him.

Glossary mode: a term used to define musical scale type and melody type psalmody: practice of singing psalms in various religious traditions

The name ‘obikhod’ refers to one of the liturgical chant books of the Russian Orthodox Church. The obikhod was compiled in the 15th century on the basis of characteristic melodic turns of the oktoechos, the system of the Old Russian chant. This kind of chant is based on the so-called obikhod mode.

I have used this mode several times in my works, and it is used the same way in this score.

It is known that Russian church music is of a purely vocal nature.

The function of the four voices in Obikhod is the restoration of the sound of a Russian church choir with its two important signs: a) psalmody on one note b) the so-called ‘raspev’ [rhythm in chant], i.e. continuous melodic structures based on the turn of the oktoechos.

The string orchestra serves to restore the temple acoustics with its characteristic echo effects and its imaginary Russian church bells. These bells are the only instrument permitted in Russian Orthodox services.

The work consists of five parts and is performed in the old Slovenian language. The texts have been taken from the Orthodox requiem mass; so one may speak, to a certain extent, of a ‘chamber requiem’. Obikhod was commissioned by The Hilliard Ensemble and the Stuttgart Chamber Orchestra and was given its first prformance on 11 November 2003. © ALEXANDER RASKATOV

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Obikhod Text I What earthly sweetness remains unmixed with grief?

What glory stands immutable on the earth? All things are but feeble shadows, all things are most deluding dreams, yet one moment only, and death shall supplant them all.

But in the light of Your countenance, O Christ, and in the sweetness of Your beauty, give rest to him whom You have chosen, for as much as You love mankind.

II The choir of Saints has found the source of life and the door of Paradise; may I too find the way through repentance; I am the lost sheep, call me back, O Saviour, and save me.

Blessed are you, O Lord.

All you who trod in life the hard and narrow way; all you who took the Cross as a yoke, and followed me in faith, come, enjoy that heavenly rewards and crowns which I have prepared for you.

Blessed are you, O Lord.

I am an image of your ineffable glory, though I bear the marks of offences; take pity on your creature, Master, and with compassion cleanse me; and give me the longed-for fatherland, making me once again a citizen of Paradise.

Blessed are you, O Lord.

III Now, O my Lord, your servant shall depart in peace, according to thy word; For my eyes have seen your mercy.

IV Blessed are the poor in spirit, for theirs is the Kingdom of heaven.

Blessed are they who mourn, for they will be comforted.

Blessed are the meek, for they will inherit the earth.

Blessed are those who hunger and thirst for justice, for they will be filled.

Blessed are the merciful, for they will obtain mercy.

Blessed are the pure in heart, for they will see God. Blessed are the peace-makers, for they shall be called the children of God. Blessed are those who are persecuted for the sake of justice…

V Blessed are you, always, now and for ever, and to the ages of ages.

Holy God, Holy Strong, Holy Immortal, have mercy on us.

AUSTRALIAN CHAMBER ORCHESTRA 13

PÄRT Most Holy Mother of God (Composed 2003)

Arvo Pärt (b. Paide, Estonia, 1935) 1963 graduate of the Tallinn Conservatory in Estonia, Arvo Pärt’s early works include experimentation in neoclassical and serial style. His self-labelled “tintinnabula” (little bells) tonal technique was first evidenced in his piano work Für Alina, and was his response to a personal musical crisis from which he emerged in the late 1970s.

Pärt’s biography describes this principle as “an extreme reduction of sound materials and a limitation to the essential.” Among the most celebrated living composers today, Arvo Pärt has had a significant number of his vocal works premiered by The Hilliard Ensemble.

While no other living composer is so famously associated with minimalist musical ‘spiritualism’ and ‘mysticism’ as Arvo Pärt, it may come as a surprise that his compositions from the early 1960s showed a young composer interested in serial techniques. It wasn’t until 1968, when Pärt’s musically violent and unabashedly Christian Credo (scored for orchestra and chorus) left no doubt as to the composer’s religious values. The work was banned by the Soviet regime in Estonia, and the composer entered a period of intense study as a result of not only his subsequent professional predicament, but also an artistic mental block.

Pärt turned to Gregorian chant and early music for inspiration, and emerged from creative gestation in the mid-1970s armed with a compositional technique he calls tintinnabula (bells), in which, very briefly speaking, an entire work’s musical DNA revolves and develops around a pitch. Despite this theoretical underpinning, Pärt’s works are uncomplicated, serene in orchestration, spiritual, with a pristine beauty.

As the American music critic Alex Ross has penned, Pärt “… has put his finger on something that is almost impossible to put into words – something to do with the power of music to obliterate the rigidities of space and time. One after the other, his chords silence the noise of the self, binding the mind to an eternal present.”

In today’s program, one can hear in Most Holy Mother of God the undeniable influence of Gregorian chant.

As The Hilliard Ensemble’s Gordon Jones states, “The piece has the feel of a litany in which spare, solo vocal lines are interspersed with hypnotic, repeating chordal passages for all four voices.”

Since their first meeting, at a BBC recording in the autumn of 1985, The Hilliard Ensemble and the Estonian composer Arvo Pärt have had a close and fruitful relationship. October of that year saw the first performance of Stabat Mater and the following year they gave the first London performance of Passio. In October 2003 The Hilliard Ensemble gave the first performance of Most Holy Mother of God at a concert in Durham Cathedral to celebrate the conferment of an Honorary Doctorate on Arvo Pärt by the University of Durham. © ALAN JAY BENSON

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The Gregorian chant and French Medieval settings of Veni, Creator Spiritus will be interleaved with the Ross Edwards’ work and presented as a single performance piece.

The order will run as follows:

GREGORIAN CHANT Veni, Creator Spiritus – verse 1 ANON. FRENCH MEDIEVAL Veni, Creator Spiritus GREGORIAN CHANT Veni, Creator Spiritus – verses 2 and 3 EDWARDS Veni Creator Spiritus – movement 1 A dove representing the Holy Spirit sitting on Pope Gregory I’s shoulder symbolises Divine Inspiration.

GREGORIAN CHANT Veni, Creator Spiritus – verses 4 and 5 EDWARDS Veni Creator Spiritus – movement 2 GREGORIAN CHANT Veni, Creator Spiritus – verses 6 and 7 The Christian hymn Veni, Creator Spiritus has its origins in the 9th century. In its traditional latin plainchant form, it has been sung as part of the Christian celebration of Pentecost, and has come into its own as part of a number of celebratory religious occasions ranging from consecration of bishops, royal coronations, to individual confirmations in the Catholic church, as well as a number of other religious ceremonies in various denominations.

In western music, composers from the time of Gregorian chant through to modern times have derived inspiration from its musical material, ranging from Dufay, Palestrina, Mahler and Penderecki, to Maxwell Davies. This program’s settings are based upon Gregorian chant, as well as the time of the French Middle Ages.

While dozens of English translations of the Veni, Creator Spiritus exist, the poem by famed 17th Century English literary figure John Dryden remains an elegant and enduring interpretation.

AUSTRALIAN CHAMBER ORCHESTRA 15

Veni, Creator Spiritus Veni, creator Spiritus mentes tuorum visita, imple superna gratia, quae tu creasti pectora.

Qui diceris Paraclitus, altissimi donum Dei, fons vivus, ignis, caritas et spiritalis unctio.

Tu septiformis munere, digitus paternae dexterae tu rite promissum Patris sermone ditans guttura.

Accende lumen sensibus, infunde amorem cordibus, inďŹ rma nostri corporis, virtute ďŹ rmans perpeti.

Hostem repellas longius pacemque dones protinus; ductore sic te praevio vitemus omne noxium.

Per te sciamus da Patrem noscamus atque Filium, te utriusque Spiritum credamus omni tempore.

Deo Patri sit gloria, et Filio qui a mortuis Surrexit, ac Paraclito, in saeculorum saecula.

First verse of Veni, Creator Spiritus

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Veni, Creator Spiritus Poem by John Dryden (b. 1631 – d. 1700) Creator Spirit, by whose aid The world’s foundations first were laid, Come, visit ev’ry pious mind; Come, pour thy joys on human kind; From sin, and sorrow set us free; And make thy temples worthy Thee.

O, Source of uncreated Light, The Father’s promis’d Paraclete!

Thrice Holy Fount, thrice Holy Fire, Our hearts with heav’nly love inspire; Come, and thy Sacred Unction bring To sanctify us, while we sing!

Plenteous of grace, descend from high, Rich in thy sev’n-fold energy!

Thou strength of his Almighty Hand, Whose pow’r does heav’n and earth command: Proceeding Spirit, our Defence, Who do’st the gift of tongues dispence, And crown’st thy gift with eloquence!

Refine and purge our earthly parts; But, oh, inflame and fire our hearts!

Our frailties help, our vice control; Submit the senses to the soul; And when rebellious they are grown, Then, lay thy hand, and hold ’em down.

Chase from our minds th’ Infernal Foe; And peace, the fruit of love, bestow; And, lest our feet should step astray, Protect, and guide us in the way.

Make us Eternal Truths receive, And practise, all that we believe: Give us thy self, that we may see The Father and the Son, by thee.

Immortal honour, endless fame, Attend th’ Almighty Father’s name: The Saviour Son be glorified, Who for lost Man’s redemption died: And equal adoration be, Eternal Paraclete, to thee.

AUSTRALIAN CHAMBER ORCHESTRA 17

EDWARDS Veni Creator Spiritus (Composed 2003)

I. Puro e tranquillo II. Ritmico The composer writes:

Ross EDWARDS (b. Sydney, 1943) Based in Sydney and the Blue Mountains, Ross Edwards counts among his composition teachers Richard Meale, Peter Sculthorpe, and Peter Maxwell Davies. He initially produced works that were representative of the serial, atonal style in vogue in late 60s Europe.

However, Edwards soon forged his own, independent musical identity, one that draws upon and is inspired by aesthetics of the natural environment and the universality of human experience. Ross Edwards’ works have been heard around the globe, and he is one of Australia’s most celebrated composers, having received numerous APRA-AMC and ARIA awards.

My string octet in two movements on the Latin hymn Veni Creator Spiritus attempts to reconcile two divergent trends in my work throughout the 1980s: the intense, inward focus of my Symphony No.1 ‘Da Pacem Domine’ and the optimistic extroversion of my violin concerto, Maninyas.

In the first movement (Puro e tranquillo), the hymn melody is heard first as a violin solo and then treated as a cantus firmus in long values to form the basis of an austere polyphonic motet. Remote and archaic, this movement sounds like an echo from the age of Palestrina (with a tinge of Japanese pentatonicism) whilst preserving my own musical voice. The Amen of the hymn is protracted, elaborated and interfused with drones and patterns recalling the world of insects and symbolising eternity.

The second movement (Ritmico), a lively, obsessive dance which explores and exploits connections between the Veni Creator melody and music from a variety of non-Western cultures, is concerned with the idea of creating unity out of diversity. It concludes with a modified re-statement of the Amen.

cantus firmus: term used in Medieval and Renaissance music to describe a base melody line, upon which other musical lines are built

Veni Creator Spiritus was completed in January 1993 and is dedicated to my wife, Helen. It was commissioned

by Musica Viva and the Australia Council for the Academy of St Martin in the Fields Octet, who gave its first performance in the Perth Concert Hall in November 1993.

polyphonic: used to describe music that is comprised of more than one part or line

© ROSS EDWARDS

Glossary

motet: a short vocal piece, usually unaccompanied

Multimedia Edwards’ official website can be found at rossedwards.com 18 AUSTRALIAN CHAMBER ORCHESTRA

ARENSKY Variations on a Theme by Tchaikovsky, Op.35a (Composed 1894)

Anton ARENSKY (b. Novgorod, Russia, 1861 — d. Terioki, Finland, 1906) Composer, pianist, and conductor Arensky was born to a father who was a doctor and amateur cellist, and a mother who was a pianist and also gave him his first piano lessons. Among Arensky’s most successful works in his time was the opera Son na Volge (A Dream on the Volga).

Despite studying under RimskyKorsakov, Arensky was very much influenced by his friend Tchaikovsky. His appointments included prestigious posts in Moscow and St. Petersburg, but despite the recognition enjoyed in his day, RimskyKorsakov presciently predicted he would be “soon forgotten.”

His Variations on a Theme by Tchaikovsky is one of his most enduring works.

Glossary contrapuntal: related to counterpoint, a systemised technique of musical composition in which two or more musical lines exist independently, but are combined to comprehensible affect

ACO performance history The ACO has performed Arensky’s Variations on a theme

by Tchaikovsky in one previous subscription tour, in 2004.

Arensky occupies a sad, significant little corner of Russian musical history. Something of a child prodigy, his career began brilliantly, with a gold medal from the St Petersburg Conservatory, where he studied with Rimsky-Korsakov.

From graduation he went straight to a professorship at the Conservatory’s sister institution in Moscow. Among his students were Rachmaninov, Glière and Scriabin – not an insignificant line-up – and his friends included Tchaikovsky and Taneyev.

The world of Russian composers at the end of the 19th century was claustrophobic and intense. Rivalry and jealousy was counterbalanced by equally strong partisanship and outspoken friendship. A formal overview of Arensky’s career would label it a success: he held prestigious jobs, his works were usually well-received, and he was an acclaimed performer. But underneath it all, he was a drinker and a compulsive gambler whose early death from tuberculosis surprised no one.

Tchaikovsky’s suicide in 1893 affected Arensky deeply.

Some time later he set down an unusual string quartet (for violin, viola and two cellos) in A minor. A genuine work of mourning, it features a theme drawn from the Orthodox funeral service; but at its core is another borrowed tune. Tchaikovsky wrote ‘Legend’ as part of his Songs for Children, Op.54. Arensky used this simple, poignant melody as the basis for a set of variations. It became so popular that he turned the movement into a self-standing work for string orchestra (and rewrote the quartet in a version for the standard two-violin, viola, cello format).

There is an interesting parallel: Tchaikovsky himself wrote a Piano Trio in A minor (Op.50) with a notable set of variations, dedicated to the late Nicolai Rubinstein, in 1881. Surely this is no coincidence.

Arensky’s Variations on a Theme by Tchaikovsky begin with an unadorned statement of the theme in E minor.

The first variation is delicate and contrapuntal, with the opening motif echoing between different instruments.

The second, Allegro non troppo, lets the theme sweep through the violas and upper cello line, while the outer parts tread lightly and rapidly around it. The first violins AUSTRALIAN CHAMBER ORCHESTRA 19

Tchaikovsky, 1888

Glossary pizzicato: a playing technique where strings are plucked, not bowed coda: (literally, ‘tail’) the passage at the end of a movement. It can be very short or extremely drawn-out

regain the melody for an Andantino tranquillo – and we begin to suspect that Arensky has an ulterior motive in his choices of texture and style. The suspicion is confirmed in the fourth variation, a largely pizzicato Vivace section in which the theme is dissected to its most unrecognisable.

In a piece of elegant, subtle musicianship, Arensky puts us in mind of Tchaikovsky’s masterful ballets simply by his use of texture. The fifth variation slows the tempo again, and allows the lower strings to shine. Variation VI is the most dramatic, full of broadly bowed semiquavers and broken chords, and sudden swells and accents. The final variation is in strong contrast, with muted strings, and the theme presented with utmost gentleness in a radiant, major-key inversion. A coda begins with four bars of ghostly harmonics, then drops to a soft passage for low strings, and finally to a restatement of the theme, handed to each part in turn. © K.P. KEMP

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Four Winds festival 2012 music that soars A three-day festival over Easter April 6, 7, 8, 2012 Bermagui nsw Tickets from www.fourwinds.com.au or telephone 02 6493 5686

THE HILLIARD ENSEMBLE

FRIEDRUN REINHOLD

DAVID JAMES COUNTERTENOR ROGERS COVEY-CRUMP TENOR STEVEN HARROLD TENOR GORDON JONES BARITONE

Unrivalled for its formidable reputation in the fields of both early and new music, The Hilliard Ensemble is one of the world’s finest vocal chamber groups. Its distinctive style and highly developed musicianship engage the listener as much in medieval and renaissance repertoire as in works specially written by living composers.

The group’s standing as an early music ensemble dates from the 1980s with its series of successful recordings for EMI (many of which have been re-released on Virgin) and its own mail-order record label Hilliard LIVE, now available on the Coro label; but from the start it has paid equal attention to new music. The 1988 recording of Arvo Pärt’s Passio began a fruitful relationship with both Pärt and the Munich-based record company ECM, and was followed by their recording of Pärt’s Litany. The group has recently commissioned other composers from the Baltic States, including Veljo Tormis and Erkki-Sven Tüür, adding to a rich repertoire of new music from Gavin Bryars, Heinz Holliger, John Casken, James MacMillan, Elena Firsova and many others.

In addition to many a cappella discs, collaborations for ECM include most notably Officium and Mnemosyne with 22 AUSTRALIAN CHAMBER ORCHESTRA

the Norwegian saxophonist Jan Garbarek, a partnership which continues to develop and renew itself, and Morimur with the German Baroque violinist Christoph Poppen and soprano Monika Mauch. Based on the research of Prof. Helga Thoene, this is a unique interweaving of Bach’s Partita in D minor for solo violin with a selection of Chorale verses crowned by the epic Ciaconna, in which instrumentalist and vocalists are united.

The group continues to forge relationships with living composers, often in an orchestral context. In 1999, they premiered Miroirs des Temps by Unsuk Chin with the London Philharmonic Orchestra and Kent Nagano. In the same year, James MacMillan’s Quickening, commissioned jointly by the BBC and the Philadelphia Orchestra, was premiered at the BBC Proms. With Lorin Maazel and the New York Philharmonic, they performed the world premiere of Stephen Hartke’s 3rd Symphony which was subsequently premiered in Europe by the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern and Christoph Poppen. They have also collaborated with the Munich Chamber Orchestra on a new work by Erkki-Sven Tüür.

In 2007 they joined forces with the Dresden Philharmonic Orchestra to premiere Nunc Dimittis by the Russian composer Alexander Raskatov, also recording this for ECM. In 2009 they worked with the Arditti Quartet performing a substantial new work, Et Lux by Wolfgang Rihm.

At the 2008 Edinburgh International Festival the group premiered a music theatre project written by Heiner Goebbels in a production by the Théâtre Vidy, Lausanne: I went to the house but did not enter. This has subsequently been presented throughout Europe and the US. With the release of their third collaboration with Jan Garbarek on the ECM label, Officium Novum, the group continues to tour extensively in Europe. The composer Alexander Raskatov features highly in their planning as does a new work by Nico Muhly which they will tour with the viol group Fretwork.

AUSTRALIAN CHAMBER ORCHESTRA 23

HELENA RATHBONE

Helen White

LEAD VIOLIN

Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s second ensemble AC O2 which sources musicians from the Emerging Artists Program.

Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff, Canada.

Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin in the Fields.

When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, the Christchurch Arts Festival, the Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. The group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008.

Helena performs on a 1759 J.B. Guadagnini violin, kindly made available to her by the Commonwealth Bank Group.

24 AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI AO ARTISTIC DIRECTOR ACO MUSICIANS Richard Tognetti Artistic Director and Lead Violin Helena Rathbone Principal 2nd Violin Satu Vänskä Assistant Leader Madeleine Boud Violin Rebecca Chan Violin Alice Evans Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello

Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality and energy unmatched by other ensembles.

The ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia.

The ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative crossartform projects and a vigorous commissioning program.

Under Richard Tognetti’s inspiring leadership, the ACO has performed as a flexible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective.

In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience.

Several of the ACO’s principal musicians perform with spectacularly fine instruments. Tognetti plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri filius Andreæ cello, on loan from Peter Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments.

Fifty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein. This year, the ACO tours to the USA and Europe.

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

The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

The ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI and Chandos and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop.

Highlights include the three-time ARIA Award-winning Bach recordings and the complete set of Mozart Violin Concertos.

The ACO appears in the television series Classical Destinations II and the award-winning film Musica Surfica, both available on DVD and CD. In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of AC O2, an elite training orchestra which tours regional centres.

AUSTRALIAN CHAMBER ORCHESTRA 25

MUSICIANS ON STAGE

Photos: Paul Henderson-Kelly, Helen White

HELENA RATHBONE*

SATU VÄNSKÄ≈

MADELEINE BOUD

REBECCA CHAN

Lead Violin Chair sponsored by Hunter Hall Investment Management Limited

Assistant Leader Violin Chair sponsored by Robert & Kay Bryan

Violin Chair sponsored by Terry Campbell AO & Christine Campbell

Violin Chair sponsored by Ian Wallace & Kay Freedman

ALICE EVANS

AIKO GOTO

MARK INGWERSEN

ILYA ISAKOVICH

Violin Chair sponsored by Jan Bowen, The Davies and The Sandgropers

Violin Chair sponsored by Andrew & Hiroko Gwinnett

Violin Chair sponsored by Runge

Violin Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

CHRISTOPHER MOORE

NICOLE DIVALL

CAROLINE HENBEST

TIMOVEIKKO VALVE+

Principal Viola Chair sponsored by Tony Shepherd

Viola Chair sponsored by Ian Lansdown

Viola

Principal Cello Chair sponsored by Mr Peter Weiss AM

ZOË BLACK Violin

BRIELLE CLAPSON** Violin ** Appears courtesy of Sydney Symphony

Players dressed by

AKIRA ISOGAWA MELISSA BARNARD

JULIAN THOMPSON#

MAXIME BIBEAU

Cello Chair sponsored by The Bruce & Joy Reid Foundation

Cello Chair sponsored by the Clayton Family

Principal Bass Chair sponsored by John Taberner & Grant Lang

* Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. ≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. + Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andræ cello kindly on loan from Peter Weiss AM. # Julian Thompson plays a 1721 Giuseppe Guarneri filius Andræ cello kindly on loan from the Australia Council.

26 AUSTRALIAN CHAMBER ORCHESTRA

BEHIND THE SCENES BOARD Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman [leave of absence January–March 2012] Bill Best Liz Cacciottolo Chris Froggatt

Janet Holmes à Court AC John Taberner Andrew Stevens Peter Yates AM

Richard Tognetti AO Artistic Director

ADMINISTRATION STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager and Development Manager Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO ARTISTIC & OPERATIONS Luke Shaw Head of Operations and Artistic Planning Alan J. Benson Artistic Administrator Erin McNamara Tour Manager Elissa Seed Travel Coordinator Jennifer Powell Librarian EDUCATION Vicki Stanley Education and Emerging Artists Manager Sarah Conolan Education Assistant

FINANCE Steve Davidson Chief Financial Officer Cathy Davey Senior Accountant Shyleja Paul Assistant Accountant DEVELOPMENT Alexandra Cameron-Fraser Corporate Relations and Public Affairs Manager Sarah Vick Events Manager Tom Carrig Senior Development Executive Lillian Armitage Philanthropy Manager Sally-Anne Biggins Patrons Manager Stephanie Ings Investor Relations Manager Julia Glass Development Coordinator

AUSTRALIAN CHAMBER ORCHESTRA

MARKETING Georgia Rivers Marketing & Digital Projects Manager Rosie Rothery Marketing Executive Chris Griffith Box Office Manager Mary Stielow Publicist Dean Watson Customer Relations Manager David Sheridan Office Administrator & Marketing Assistant INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist

ABN 45 001 335 182

Australian Chamber Orchestra Pty Ltd is a not for profit company registered in NSW.

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Office: 1800 444 444 Email: aco@aco.com.au Website: aco.com.au

AUSTRALIAN CHAMBER ORCHESTRA 27

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

VENUE SUPPORT We are also indebted to the following organisations for their support:

LLEWELLYN HALL School of Music Australian National University William Herbert Place (off Childers Street) Acton, Canberra

PO Box 3567, South Bank, Queensland 4101 Telephone: 07 3840 7444 Chair Henry Smerdon AM Deputy Chair Rachel Hunter

VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: music.venues@anu.edu.au

Trustees Simon Gallaher Helene George Bill Grant Sophie Mitchell Paul Piticco Mick Power AM Susan Street Rhonda White

AEG OGDEN (PERTH) PTY LTD

EXECUTIVE STAFF Chief Executive John Kotzas Director – Presenter Services Ross Cunningham Director – Corporate Services Kieron Roost Acting Director – Patron Services Deborah Murphy Executive Manager – Human Resources Alicia Dodds Executive Manager – Production Services Bill Jessop Acting Executive Manager – Marketing Stefan Treyvaud

PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briffa Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.

AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

28 AUSTRALIAN CHAMBER ORCHESTRA

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government The Honourable Anna Bligh MP Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet Ken Smith Deputy Director-General, Arts Queensland Leigh Tabrett Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

ACKNOWLEDGEMENTS VENUE SUPPORT

SYDNEY OPERA HOUSE TRUST

A City of Sydney Venue

Mr Kim Williams AM (Chair)

Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Bronwyn Edinger General Manager CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Office 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com

Ms Catherine Brenner Rev Dr Arthur Bridge AM Mr Wesley Enoch Ms Renata Kaldor AO Mr Robert Leece AM RFD Ms Sue Nattrass AO Dr Thomas (Tom) Parry AM Mr Leo Schofield AM Mr Evan Williams AM EXECUTIVE MANAGEMENT Chief Executive Officer Richard Evans Chief Operating Officer David Antaw Chief Financial Officer Claire Spencer Director, Building Development & Maintenance Greg McTaggart Director, Marketing, Communications & Customer Services Victoria Doidge Director, Venue Partners & Safety Julia Pucci Executive Producer, SOH Presents Jonathan Bielski SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Office: 02 9250 7777 Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

This is a PLAYBILL / SHOWBILL publication.

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ACO—122 — 16713 — 1/100312

AUSTRALIAN CHAMBER ORCHESTRA 29

MEDICI PROGRAM 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 MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti AO

Helena Rathbone

Satu Vänskä

Lead Violin

Principal 2nd Violin

Assistant Leader

Michael Ball AM & Daria Ball Joan Clemenger Wendy Edwards Prudence MacLeod

Robert & Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

Tony Shepherd

Peter Weiss AM

John Taberner & Grant Lang

Ilya Isakovich Violin Australian Communities Foundation – Connie & Craig Kimberley Fund

Nicole Divall Viola Ian Lansdown

CORE CHAIRS Aiko Goto Violin Andrew & Hiroko Gwinnett Mark Ingwersen Violin

Madeleine Boud Violin Terry Campbell AO & Christine Campbell Alice Evans Violin Jan Bowen The Davies The Sandgropers

Rebecca Chan Violin Ian Wallace & Kay Freedman

Viola Chair Philip Bacon AM Melissa Barnard Cello The Bruce & Joy Reid Foundation Julian Thompson Cello The Clayton Family

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon Principal Timpani Mr Robert Albert AO & Mrs Libby Albert

Mr R. Bruce Corlett AM & Mrs Ann Corlett

AUSTRALIAN CHAMBER ORCHESTRA 31

ACO INSTRUMENT FUND 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, Assistant Leader of the Orchestra.

The ACO pays tribute to its Founding Patrons of the Fund, who have made donations or pledges to the Orchestra to assist the Fund in its acquisition of the Stradivarius violin.

PETER WEISS AM, PATRON VISIONARY $1m+

OCTET $100,000 – $199,000

ENSEMBLE $10,000 – $24,999

Peter Weiss AM

Amina Belgiorno-Nettis

Leslie & Ginny Green

LEADER $500,000 – $999,999

QUARTET $50,000 – $99,000

SOLO $5,000 – $9,999

CONCERTO $200,000 – $499,000 Naomi Milgrom AO

John Leece OAM & Anne Leece

SONATA $25,000 – $49,999

PATRONS $500 – $4,999 June & Jim Armitage Angela Roberts

2011 EUROPEAN TOUR PATRONS The ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour.

Graeme & Jing Aarons Samantha Allen John & Philippa Armfield Steven Bardy Isla Baring Linda & Graeme Beveridge BG Group Paul Borrud Ben & Debbie Brady Kay Bryan Massel Group Terry Campbell AO & Christine Campbell Jenny & Stephen Charles The Clayton Family Penny Clive & Bruce Neill John Coles Commonwealth Bank Robin D’Alessandro & Noel Philp Jennifer Dunstan Bridget Faye AM

Ann Gamble Myer Rhyll Gardner Alan & Joanna Gemes Tony Gill Global Switch Limited Andrew & Hiroko Gwinnett Peter Henshaw & Fargana Karimova Peter & Sandra Hofbauer Janet L Holmes à Court AC Catherine Holmes à CourtMather Brendan & Bee Hopkins P J Jopling QC Lady Kleinwort Wayne Kratzmann Prudence MacLeod Bill Merrick P J Miller Jan Minchin Justin Raoul Moffitt Alf Moufarrige

32 AUSTRALIAN CHAMBER ORCHESTRA

Louise & Martyn Myer Foundation Sir Douglas Myers Marianna & Tony O’Sullivan peckvonhartel architects Diana Polkinghorne Rio Tinto Limited Gregory Stoloff & Sue Lloyd David Stone Andrew Strauss Tim & Sandie Summers John Taberner & Grant Lang Patricia Thomas OBE Beverley Trivett Loretta van Merwyk Malcolm Watkins Michael Welch Wesfarmers Limited Gillian Woodhouse Ms Di Yeldham Anonymous (3)

ACO SPECIAL COMMISSIONS The ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2011 and 2012.

CREATIVE MUSIC FUND COMMISSION  Qinoth by Paul Stanhope Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin Austin Bell & Andrew Carter T Cavanagh & J Gardner Chin Moody Family Anne Coombs & Susan Varga Greg Dickson

John Gaden AM Cathy Gray Brian Kelleher Penny Le Couteur Andrew Leece Scott Marinchek & David Wynne Kate Mills

Janne Ryan Barbara Schmidt & Peter Cudlipp Jane Smith Richard Steele Peter Weiss AM Cameron Williams Anonymous (1)

OTHER COMMISSIONS Jan Minchin Robert & Nancy Pallin

NATIONAL EDUCATION PROGRAM PATRONS Janet Holmes à Court AC Marc Besen AO & Eva Besen AO

TRUSTS AND FOUNDATIONS

HOLMES À COURT FAMILY FOUNDATION

THE ROSS TRUST

THE NEILSON FOUNDATION

AUSTRALIAN CHAMBER ORCHESTRA 33

ACO DONATION PROGRAM The ACO pays tribute to all of our generous donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are 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.

EMERGING ARTIST PATRON & EDUCATION PATRONS $10,000+ The Abercrombie Family Foundation Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin John & Janet Calvert-Jones Darin Cooper Family John & Patti David Chris & Tony Froggatt Australian Communities Foundation – Ballandry (Peter Griffin Family) Fund PJ Jopling QC Miss Nancy Kimpton Jeff Mitchell Louise & Martyn Myer Foundation Drs Alex & Pam Reisner John Taberner & Grant Lang Ian Wallace & Kay Freedman Peter Weiss AM Anonymous (1)

DIRETTORE $5,000  $9,999 Geoff Alder The Belalberi Foundation Jenny & Stephen Charles Ross & Rona Clarke Bridget Faye AM Ian & Caroline Frazer Edward C. Gray Annie Hawker Keith Kerridge Wayne N Kratzmann Philip A Levy Lorraine Logan Hon Dr Kemeri Murray AO

Marianna & Tony O’Sullivan John Rickard Roberts Family A J Rogers Ian Wilcox & Mary Kostakidis Anonymous (1)

MAESTRO $2,500  $4,999 Michael Ahrens Jane Allen Will & Dorothy Bailey Bequest Virginia Berger Patricia Blau Cam & Helen Carter Jon Clark & Lynne Springer Caroline & Robert Clemente Leith & Darrel Conybeare M Crittenden John & Gloria Darroch Kate Dixon Professor Dexter Dunphy AM Leigh Emmett Goode Family Maurice & Tina Green Philip Griffiths Architects Nereda Hanlon & Michael Hanlon AM Lindi & John Hopkins Angela James & Phil McMaster David & Megan Laidlaw Alastair Lucas AM Jan McDonald P J Miller Donald Morley Sandra & Michael Paul Endowment S & B Penfold Ralph & Ruth Renard D N Sanders Greg Shalit & Miriam Faine Ms Petrina Slaytor Dr Charles Su & Dr Emily Lo Tom Thawley

34 AUSTRALIAN CHAMBER ORCHESTRA

Dr & Mrs R Tinning Laurie Walker Ralph Ward-Ambler AM & Barbara Ward-Ambler Karen & Geoff Wilson Janie & Neville Wittey Anonymous (6)

VIRTUOSO $1,000  $2,499 Annette Adair Peter & Cathy Aird Rae & David Allen Andrew Andersons Sibilla Baer Doug & Alison Battersby The Beeren Foundation Ruth Bell Victoria Beresin Brains Vicki Brooke In memory of Elizabeth C. Schweig Sally Bufé Neil Burley & Jane Munro G Byrne & D O’Sullivan Elizabeth & Nicholas Callinan J & M Cameron Sandra Cassell Georg & Monika Chmiel Ann Cebon-Glass John & Christine Collingwood Judy Croll Betty Crouchley Diana & Ian Curtis Marie Dalziel June Danks Michael & Wendy Davis Anne & Tom Dowling Jennifer Dowling Anne-Maree Englund Peter Evans Julie Ewington H E Fairfax Elizabeth Finnegan

ACO DONATION PROGRAM Nancy & Graham Fox Anne & Justin Gardener Rhyll Gardner Colin Golvan SC Warren Green Paul Harris Lyndsey Hawkins Patagonian Enterprises Pty Ltd Pete Hollings Peter & Ann Hollingworth Penelope Hughes Wendy Hughes Pam & Bill Hughes Phillip Isaacs OAM Warren & Joan Johns Mrs Caroline Jones D & I Kallinikos Len La Flamme John Landers & Linda Sweeny Mrs Judy Lee Greg Lindsay AO & Jenny Lindsay Joanne Frederiksen & Paul Lindwall Bronwyn & Andrew Lumsden Clive Magowan Anne Male-Perkins Mr & Mrs Greg & Jan Marsh Jennifer Marshall Jane Mathews AO Deidre & Kevin McCann Brian & Helen McFadyen J A McKernan Mrs Helen Meddings Graeme L Morgan Nola Nettheim Jennie & Ivor Orchard Anne & Christopher Page peckvonhartel architects Prof David Penington AC Mark Renehan Dr S M Richards AM & Mrs M R Richards Warwick & Jeanette Richmond in Memory of Andrew Richmond Em Prof A W Roberts AM Julia Champtaloup & Andrew Rothery Diana Snape & Brian Snape AM Maria Sola & Malcolm Douglas

Cisca Spencer Peter & Johanna Stirling Benson John & Jo Strutt Leslie C Thiess Rob Thomas Colin & Joanne Trumble Ngaire Turner Kay Vernon Ellen Waugh M W Wells Sir Robert Woods Nick & Jo Wormald Anna & Mark Yates Don & Mary Ann Yeats Mark Young William Yuille Anonymous (13)

CONCERTINO $500  $999 Antoinette Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Mr L H & Mrs M C Ainsworth Elsa Atkin Banting Electronics Jeremy Ian Barth Baiba Berzins Brian Bothwell Denise Braggett Diana Brookes Jasmine Brunner Morena Buffon & Santo Cilauro Darcey Bussell Stephen Chivers John Clayton Joan Clemenger Angela & John Compton Alan Fraser Cooper Dr Julie Crozier Professor John Daley Lindee Dalziell Mari Davis Martin Dolan In Memory of Raymond Dudley Professor Peter Ebeling & Mr Gary Plover M T & R L Elford Mirek Generowicz Peter & Valerie Gerrand

Paul Gibson & Gabrielle Curtin Brian Goddard Katrina Groshinski Matthew Handbury Liz Harbison Lesley Harland Dr Penny Herbert in memory of Dunstan Herbert M John Higgins & Jodie Maunder Michael Horsburgh AM & Beverley Horsburgh Dr & Mrs Michael Hunter John & Pamela Hutchinson Stephanie & Michael Hutchinson Philip & Sheila Jacobson Deborah James Mrs Angela Karpin Bruce & Natalie Kellett Tony Kynaston & Jenny Fagg Sydney & Airdrie Lloyd Lorraine Lord Peter Lovell & Michael Jan Judy Lynch Alexandra Martin Donald C Maxwell Dr Hamish & Mrs Rosemary McGlashan Kim & Shirley McGrath Patricia McGregor Harold & Bertha Milner Jan Minchin John Mitchell & Carol Farlow Helen & Gerald Moylan Maurice Newman AC J Norman Graham North Robin Offler Allegra & Giselle Overton Josephine Paech Leslie Parsonage Deborah Pearson Kevin Phillips Michael Power Alison Renwick Sophie Rothery Team Schmoopy Manfred & Linda Salamon Robert Savage AM

AUSTRALIAN CHAMBER ORCHESTRA 35

ACO DONATION PROGRAM Garry E Scarf In Memory of H. St. P. Scarlett Jeff Schwartz Vivienne Sharpe Jennifer Sindel Andrew & Pip Stevens Dr Fiona Stewart Master William Taylor Joy Anderson & Neil Thomas David Walsh John & Pat Webb G C & R Weir Anonymous (27)

CONTINUO CIRCLE BEQUEST PROGRAM The late Kerstin Lillemor Andersen Dave Beswick Ruth Bell Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes The late Mr Geoff Lee AM OAM Mrs Judy Lee The late Richard Ponder Margaret & Ron Wright Mark Young Anonymous (10)

LIFE PATRONS IBM Mr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM

CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at Lillian.Armitage@aco.com.au.

ACO CAPITAL CHALLENGE The ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble.

We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:

CONCERTO $250,000 – $499,000

OCTET $100,000 – $249,000

QUARTET $50,000 – $99,000

Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-Nettis Mrs Barbara Blackman

Mr Robert Albert AO & Mrs Libby Albert Mrs Amina Belgiorno-Nettis The Thomas Foundation

The Clayton Family Mr Peter Hall Mr & Mrs Philip & Fiona Latham Mr John Taberner & Mr Grant Lang Mr Peter Yates AM & Mrs Susan Yates

36 AUSTRALIAN CHAMBER ORCHESTRA

ACO INSTRUMENT FUND BOARD MEMBERS Chairman: Bill Best Jessica Block John Leece OAM John Taberner

ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Chair: Bill Best Guido Belgiorno-Nettis AM Chairman ACO & Joint Managing Director Transfield Holdings Liz Cacciottolo Senior Advisor UBS Australia

Ian Davis Managing Director Telstra Television

Tony O’Sullivan Managing Partner O’Sullivan Partners

Chris Froggatt

John Taberner Consultant Freehills

Tony Gill Rhyll Gardner

MELBOURNE DEVELOPMENT COUNCIL Chair: Peter Yates AM Chairman Royal Institution of Australia & Director AIAA Ltd

Stephen Charles

Debbie & Ben Brady

Colin Golvan SC

Paul Cochrane Investment Advisor Bell Potter Securities

Jan Minchin Director Tolarno Galleries Susan Negrau

EVENT COMMITTEES Bowral

Brisbane

Sydney

Elsa Atkin Michael Ball AM (Chairman) Daria Ball Linda Hopkins Karen Mewes Keith Mewes Marianna O’Sullivan Tony O’Sullivan The Hon Michael Yabsley

Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn

Helene Burt Liz Cacciottolo Judy Crawford Dee de Bruyn Judy Anne Edwards Chris Froggatt Elizabeth Harbison Susan Harte Bee Hopkins Sarah Jenkins

Vanessa Jenkins Charlotte Mackenzie Prudence MacLeod Julianne Maxwell Tony O’Sullivan Julia Pincus Amanda Purcell David Stewart Tom Thawley Nicky Tindill

AUSTRALIAN CHAMBER ORCHESTRA 37

ACO PARTNERS 2012 CHAIRMAN’S COUNCIL MEMBERS The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis AM Chairman Australian Chamber Orchestra & Joint Managing Director Transfield Holdings Mr Philip Bacon AM Director Philip Bacon Galleries Mr David Baffsky AO

Mr Richard Freudenstein Chief Executive Officer FOXTEL Mr John Grill Chief Executive Officer WorleyParsons Mr Colin Golvan SC & Dr Deborah Golvan Mrs Janet Holmes à Court AC

Mr Brad Banducci General Manager (acting) Mr & Mrs Simon & Woolworths Liquor Katrina Holmes à Court Observant Pty Limited Mr Jeff Bond General Manager Mr John James Peter Lehmann Wines Managing Director Vanguard Mr Michael & Mrs Helen Carapiet Ms Catherine Livingstone AO Mr Stephen & Chairman Mrs Jenny Charles Telstra Mr & Mrs Robin Crawford Rowena Danziger AM & Kenneth G. Coles AM Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

Mr Steven Lowy AM Chief Executive Officer Westfield Group Mr Didier Mahout CEO Australia & NZ BNP Paribas

Mr Michael Maxwell & Mrs Julianne Maxwell Mr Geoff McClellan Partner Freehills

Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr & Mrs Clive Smith

Mr Donald McGauchie AO Chairman Nufarm Limited

Mr Andrew Stevens Managing Director IBM Australia & New Zealand

Mr John Meacock Managing Partner NSW Deloitte

Mr Paul Sumner Director Mossgreen Pty Ltd

Ms Naomi Milgrom AO

Mr Michio (Henry) Taki Managing Director & CEO Mitsubishi Australia Ltd

Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Clark Morgan Vice Chairman UBS Wealth Management Australia Mr Alf Moufarrige OAM Chief Executive Officer Servcorp

Mr Alden Toevs Group Chief Risk Officer Commonwealth Bank of Australia Mr Michael Triguboff Managing Director MIR Investment Management Ltd Ms Vanessa Wallace Director Booz & Company

Mr John Marshall & Mr Andrew Michael Apparel Group Limited

Mr Scott Perkins Head of Global Banking Deutsche Bank Australia/New Zealand

Mr Kim Williams AM Chief Executive Officer News Limited

Mr Peter Mason AM Chairman AMP Limited & Mrs Kate Mason

Mr Oliver Roydhouse Managing Director Inlink

Mr Geoff Wilson Chief Executive Officer KPMG Australia

Mr David Mathlin Senior Principal Sinclair Knight Merz

Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Peter Yates AM Chairman, Royal Institution of Australia & Director, AIAA Ltd

38 AUSTRALIAN CHAMBER ORCHESTRA

ACO PARTNERS The ACO would like to thank its partners for their generous support.

FOUNDING PARTNER

ACO2 PRINCIPAL PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES & WA REGIONAL TOUR PARTNER

CONCERT AND SERIES PARTNERS

PREFERRED TRAVEL PARTNER

Daryl Dixon

ACCOMMODATION AND EVENT PARTNERS

AUSTRALIAN CHAMBER ORCHESTRA 39

ACO NEWS • MARCH 2012

news EDUCATION NEWS Our two new primary school programs commenced this term.

We have established a string ensemble at the Matraville Soldiers’ Settlement School (MSSS), in partnership with the Australian Children’s Music Foundation. Eight students have been measured for their instruments and begun lessons.

This new ensemble expands on our current program at MSSS in which we perform three annual in-school concerts and participate in students’ music classes.

At Picton Public School, students from years 2 and 3 had their first Skype lesson with our regular guest violinist, Sharon Roffman. Sharon

conducted this lesson from New York City, with the help of local artist Melissa Wheeler.

These lessons teach students how music is composed and how to represent music in visual ways, allowing those that don’t play an instrument to learn about music.

“Today’s session was amazing. We managed a great introduction and the children will further develop an understanding of these concepts as we progress.

We absolutely loved it and we are all very excited.”

— Di Monds, Picton State School Teacher

ACO2 © Alex Weltlinger

40 AUSTRALIAN CHAMBER ORCHESTRA

Our regional touring orchestra, ACO2, makes its debut at the Four Winds Festival in Bermagui NSW over the Easter weekend.

They also perform Britten and Mendelssohn quartets at the Wollongong City Gallery on 3 April.

PATRON PROFILE Graeme and Linda Beveridge Graeme and Linda Beveridge from Canberra believe that music is a key element of a person’s life. They have been supporters of the ACO since the late 1970s and the ACO was delighted that Graeme and Linda were able to join us at St James’s Palace in December for the special performance and reception hosted by His Royal Highness the Prince of Wales.

Linda and Graeme tell their story: “Being supporters of the ACO has been exciting in a number of ways. We continue to be excited by Richard Tognetti’s talent, not only as a violinist, but also in stimulating the talent and team work in the Orchestra so that the ‘whole is greater than the sum

of its parts’, resulting in superb music.

The rich sounds of their music have been evident in the variety of each year’s programs, including the highly talented guest artists, and the wonderful music they make with the ACO. The ACO’s Education Programs for young players not only fit with our belief that music is intrinsic throughout any person’s life, but also encourage talent and high level expertise for the future of chamber orchestra music in Australia. For similar reasons, we enjoy seeing and hearing the Emerging Artists playing with the ACO. We appreciate the great things that the ACO and its

management have achieved.

We enjoy supporting the ACO so that we contribute in a small way to its continuing role for future fine music by Australians.”

The ACO is enormously grateful for Graeme and Linda’s support over so many years.

AUSTRALIAN CHAMBER ORCHESTRA 41

DI YELDHAM EVENT 2 February 2012 In early February, Di Yeldham hosted an elegant concert and cocktail reception for the ACO in her beautiful home.

Guests were treated to a private performance featuring Polina Leschenko, the ACO’s visiting Russian pianist, and Timo-Veikko Valve, ACO’s Principal Cello, followed by Richard Tognetti leading members of the Orchestra in Mendelssohn’s exquisite Octet.

Peter Weiss encouraged guests to support the ACO’s Mendelssohn Recording Project with Polina Leschenko and all agreed that the event was a rare opportunity to hear these world-class musicians in a perfect, intimate setting.

Diana Yeldham & Robin Crawford

Our warmest thanks go to Di and, as always, to Peter Weiss.

Doris Weiss & Peter Weiss AM

Ian Lansdown, Alexandra Yuille, Richard Tognetti AO, Edmund Capon AM OBE, Andrew Strauss & Joanna Capon OAM

Carla Zampatti AC & John Leece OAM

YOUR SAY Feedback from our February tour with pianist Polina Leschenko: “May I add my sincere compliments on yesterday’s stellar performance at the Opera House. ACO musicians excelled to provide the greatest pleasure, and the young Russian pianist, Polina Leschenko, will long be remembered for her truly amazing performance. This was music in Heavenly spheres. Congratulations to all.”

– Yvonne Liechti, “Last night’s concert in Brisbane was wonderful and amazing.” – Malcolm McIntosh

“Polina Leschenko is one of the most beautiful pianists I have ever heard. An incredible talent, every cell in her body is 100% musician. She has an incredible and beautifully balanced subtlety. A really moving and magical performance of the Chopin 1. Thank you Polina!” – Meredith Baillie “The Chopin and Mendelssohn were marvellous indeed, played with passion and verve by the talented ACO using those lovely, mellow instruments.” – Linda Daboul

Let us know what you thought about this concert at aco@aco.com.au.

42 AUSTRALIAN CHAMBER ORCHESTRA

With our direct access to the City Recital Hall and seamless space graced with an impressive oil painting, we offer a unique venue in which to enjoy a relaxing pre-concert dinner.

Browse our menu at www.barcupola.com.au Concert patrons can enjoy a choice of main and dessert plus a glass of house red or white wine for $38 (GST inclusive).

We advise patrons to book early to guarantee a table.

We open for dinner 2 hours prior to concerts.

The connecting door from Bar Cupola to Level 1 of the City Recital Hall will be opened 1 hour prior to performances.

BOOKINGS T 9221 3377 F 9221 1112 9233 2277 E barcupola@ozemail.com.au

Voted Best Casual Restaurant and Best Café in SMH Sydney Magazine’s Readers’ poll.

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123 Pitt Street Sydney 2000, Gallery Level; On Site Parking, Disabled Access Monday to Friday, enter via 123 Pitt Street (before 6.30pm) or L1 Recital Hall.

Enter via 123 Pittenter Streetvia (Intercom after hours) or use Tower Lifts from Car Park.

For Saturdays, Recital Access Hall only Nearest bus stop: Martin Place (5mins walk). Nearest train station: Wynyard (10mins walk)

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