PRINCIPAL PARTNER
NATIONAL TOUR PARTNER
T HI S I S A WOR LD WHERE S OUND TOUCHES T HE SOUL AND S I G HT P L AYS S ECO ND FI D DLE TO T HE S YMPHO NY.
As the proud 2016 official tailor of the ACO, we hope we can take the pressure off looking good, and let the music speak for itself.
T H E O F F I C I A L 2 01 6 TA I L O R O F T H E A C O
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.
Satu Vänskä, Principal Violin
MURAL: MAYA HAYUK PHOTO: CAITLIN WORTHINGTON DESIGN: BRONWYNROGERS.COM WESF1341
N AT ION A L T OUR PA R T NER
On behalf of BNP Paribas, I am delighted to present the ACO Baroque tour by the Australian Chamber Orchestra. Our support of the ACO over the last ten years has been a natural fit because we share many common goals: to lead our respective fields by being innovative, energetic and committed. The BNP Paribas Foundation has been engaged in major philanthropic initiatives for over 30 years, focussing our activities across three main fields: the Arts, Social Inclusion and the Environment. We approach our philanthropic partnerships in the same way we approach business: we nurture close collaboration to fully understand our partners’ needs and provide long-term support. Commitment is something we hold in great esteem at BNP Paribas and we are very proud of our 135-year history supporting the local Australian economy and the aspirations of our clients. We trust that you will enjoy this world-class performance by the Australian Chamber Orchestra – recognised as one of the best chamber orchestras in the world.
James Gibson Chief Executive Officer BNP Paribas Australia & New Zealand
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ME S S AGE F ROM T HE M A N A GING DIR E C T OR
The Australian Chamber Orchestra is, as has been pointed out on many occasions, a very fine ensemble of musicians who are each soloists in their own right. In this series of concerts, under the banner ACO Baroque, we feature not only our own soloists – Richard, Satu, Ilya, Maja, Nikki, Tipi and Max, but also some guests – the incomparable recorder maven Genevieve Lacey, and young soprano superstar Julia Lezhneva. Lezhneva, performing with us for Baroque Brilliance, is a veteran performer, despite being just 26. With an impressive list of performances and recordings already under her belt, it is easy to forget that she is only just at the very beginning of an extraordinarily brilliant career. The Perth and Sydney performances of this program were originally going to feature a newly commissioned work by Elena Kats-Chernin, Singing Trees. However, one of our key soloists, Principal Double Bass Maxime Bibeau and his partner have just had twin boys. Max is now otherwise fully engaged at home! So, we will have to wait until Melbourne in December to hear Elena’s exquisite new work, by which time Max will have returned to work, although he may be somewhat sleep-deprived . . . We thank our National Tour Partner, BNP Paribas, for their support of the ACO and celebrate with them our ten-year anniversary. With only a few concerts left this year, don’t forget to renew your subscription for 2017. Or, if you are not yet a subscriber, why don’t you try it with a friend? We look forward to welcoming you to what promises to be a terrific year of music making around Australia.
Richard Evans 9
“Life is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.� GEORGE BERNARD SHAW
Give the gift of music and make sure that the ACO plays on for future generations. For more information on our Continuo Circle and remembering the ACO in your will, please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au aco.com.au
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INTERMEZZO RISTORANTE
JULIA LEZHNE VA BAROQUE BRILLIANCE BRISBANE Mon 10 Oct 7pm MELBOURNE Sat 15 Oct 7.30pm SYDNEY Sat 8 Oct, 7pm; Wed 12 Oct, 7pm; Tue 18 Oct, 8pm
Richard Tognetti Director & Violin Julia Lezhneva Soprano PORPORA In caelo stelle clare fulgescant I. In caelo stelle clare fulgescant II. Exulta, exulta o cor! III. Care Deus cordis amantis IV. Alleluia BACH Orchestral Suite No.1 in C major, BWV1066 I. Ouverture II. Courante III. Gavotte I & II IV. Forlane V. Menuet I & II VI. Bourrée I & II VII. Passepied I & II HANDEL Salve Regina, HWV241 I. Salve Regina II. Ad te clamamus III. Eia ergo avvocata nostra IV. O clemens, o pia Interval VIVALDI Ottone in Villa, RV729 Sinfonia Leggi almeno, tiranna infedele (from Act II, Scene 6) HANDEL Alla sua gabbia d’oro from Alessandro (Act II), HWV21 HANDEL Sonata No.5 in B-flat major, HWV288 I. Andante II. Adagio III. Allegro HANDEL Alessandro, HWV21 Solitudini amate (from Act II) Aure, fonti, ombre gradite (from Act II) Brilla nell’alma (from Act III) Approximate durations (minutes): 14 – 25– 13 – INTERVAL – 10 – 7 – 9 – 12
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
This concert will last approximately one hour and 50 minutes, including a 20-minute interval.
11
RICHARD TOGNET TI ACO SOLOISTS VIVALDI & BACH PERTH Wed 19 Oct, 7.30pm SYDNEY Sun 16 Oct, 2pm
Richard Tognetti Director & Violin Genevieve Lacey Recorder Timo-Veikko Valve Cello Satu Vänskä Violin Ilya Isakovich Violin Maja Savnik Violin BACH Orchestral Suite No.1 in C major, BWV1066 I. Ouverture II. Courante III. Gavotte I & II IV. Forlane V. Menuet I & II VI. Bourrée I & II VII. Passepied I & II VIVALDI Concerto for Two Violins and Violoncello in D minor, RV565 I. Allegro – Adagio e spiccato II. Allegro – Adagio III. Largo e spiccato IV. Allegro Interval VIVALDI Cello Concerto in E minor, RV409 I. Adagio – Allegro molto II. Allegro – Adagio III. Allegro VIVALDI Concerto for Four Violins in D major, RV549 I. Allegro II. Largo e spiccato III. Allegro BACH Orchestral Suite No.2 in B minor, BWV1067 I. Ouverture II. Rondeau III. Sarabande IV. Bourrée I & II V. Polonaise & Double VI. Menuet VII. Badinerie
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 12
Approximate durations (minutes): 25 – 8 – INTERVAL – 8 – 8 – 22 This concert will last approximately one hour and 45 minutes, including a 20-minute interval.
RICHARD TOGNET TI ACO SOLOISTS VIVALDI & BACH MELBOURNE Wed 7 Dec, 7.30pm
Richard Tognetti Director & Violin Satu Vänskä Violin Genevieve Lacey Recorder Nicole Divall Viola Timo-Veikko Valve Cello Maxime Bibeau Double Bass Ilya Isakovich Violin Maja Savnik Violin BACH Violin Concerto No.2 in E major, BWV1042 I. Allegro II. Adagio III. Allegro assai VIVALDI Concerto for Two Violins and Violoncello in D minor, RV565 I. Allegro – Adagio e spiccato II. Allegro – Adagio III. Largo e spiccato IV. Allegro Interval ELENA KATS-CHERNIN Singing Trees world premiere I. Maple II. Ebony III. Willow IV. Spruce VIVALDI Concerto for Four Violins and Violoncello in D major, RV549 I. Allegro II. Largo e spiccato III. Allegro BACH Orchestral Suite No.2 in B minor, BWV1067 I. Ouverture II. Rondeau III. Sarabande IV. Bourrée I & II V. Polonaise & Double VI. Menuet VII. Badinerie
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
Approximate durations (minutes): 17 – 8 – INTERVAL – 17 – 8 – 22 This concert will last approximately one hour and 45 minutes, including a 20-minute interval. 13
BAROQUE BRILLIANCE Performance Note For these performances, the Orchestra will play on gut strings. We like the rawness, roughness and soft hue of the sound these strings produce. And the wind players will perform on copies of instruments from the time. The pitch is compromised at 415 vibrations per second, which may have been used by some performers in the 18th century. We have little to no idea what the composers intended their music to sound like, so hereby offer you one notion of how it could sound today.
In addition to teaching Metastasio and Farinelli, Neapolitan composer Nicola Antonio Porpora also taught Haydn! Much like Vivaldi, Porpora was, during his lifetime, a greatly sought after composer, teacher and performer but, despite this success and fame, died in abject poverty. He was one of the key figures in the opera world and his works, written in the galant style, celebrate melody over complexity. Like Vivaldi, Porpora was fascinated by the amazing singers and instrumentalists that resided at Venice’s Ospedale della Pietà – a refuge for abandoned young women that became a hotbed for the most talented musicians of the time. Porpora was ‘Maestro do Coro’ at this Ospedale and two others in Venice, including the Ospedaletto. Here, he wrote the exquisite solo motet In caelo stelle clare fulgescant for Graziola, one of the Ospedaletto’s finest singers. Written in 1744/45, it is a perfect example of the solo motet form, which is akin to a concerto for voice. Julia Lezhneva has said of this work:
PICTURED: Nicola Antonio Porpora
‘In caelo stelle shows us the galant style which I find very interesting to both listen to and to sing. I feel extremely passionate about this particular motet. It’s about full ecstasy, of love to God and, in parallel with nature, it’s about what it is to be a human being, to be in harmony with everything that surrounds you. For example, the first movement talks about nature completely. And then the second movement is about love, passionate love towards God. And of course it finishes with Alleluia which is on the edge of complete ecstasy.’ The Leipzig Collegium Musicum was a pro-am orchestra of up to 40 players founded by Telemann in 1702. From 1729, Johann Sebastian Bach was its music director, but there is evidence he conducted ‘a good many’ of its regular concerts at the coffee house Café Zimmermann from 1725 on – two years after he arrived in the city as the new Cantor of the Thomaskirche. The four Orchestral Suites, or Ouvertüren, potentially date from this time.
PICTURED: Johann Sebastian Bach 14
Like the Brandenburg Concertos, the Orchestral Suites are written for a variety of ensembles: the first features a pair of oboes, bassoon, violins, viola and basso continuo, which gives the music a pastoral rather than ceremonial air. As works in the ‘French’ style, each adheres to a standard design of an extended overture followed by a series of stylised courtly dances.
Salve Regina is a shining exemplar of Handel’s ability to create some of the most expressive vocal music ever written.
The French overture typically consists of a stately opening section that precedes a faster, more lightly scored section. Here, the opening is full of common rhetorical devices – dotted rhythms and ornate scale-based passages that flower out of stately chords – and the faster section is a fugal texture that alternates the full body of the ensemble with the trio of reed instruments. This textural contrast pervades much of the rest of the work. After an elegant Courante, there is a more lively Gavotte which, like three of the subsequent movements, is played alternativement, that is, as a pair of dances in which the second features the wind group before the first is repeated. The Forlane is the only example of this vivacious dance, then popular in France, in Bach’s work. It contrasts with a more aristocratic Menuet and a perky Bourrée, before the work closes with the genial swing of the Passepied. On 19 June in 1707, George Frideric Handel’s Marian antiphon Salve Regina was performed in the private chapel of Marquis Ruspoli in Vignanello, just outside of Rome. It is possible that the four-movement work was performed by soprano Margherita Durastanti who sang in many of Handel’s operas in the following years. The sheer beauty of the soaring soprano line makes Salve Regina a shining exemplar of Handel’s ability to create some of the most expressive vocal music ever written. When one thinks of Baroque opera, Antonio Vivaldi doesn’t spring immediately to mind. However, it is believed that he wrote nearly one hundred of them, although about half that number have been confirmed and of those only about 20 are still in existence with scores intact. Vivaldi was one of the principal composers for the great Ospedale della Pietà in Venice. He started out as a violin teacher but his role gradually grew, eventually taking over from Gasparini as ‘Maestro di Coro’. There were a few hiccoughs along the way, but Vivaldi’s connection to the Ospedale lasted for decades and thus some of the finest music ever composed came to pass because of the astonishing abilities of the young women who resided there.
PICTURED: Probable portrait of Vivaldi, c.1723.
Ottone in Villa, premiered in May 1713, is Vivaldi’s earliest known opera. Because it was composed for the young women of the Ospedale, it was severely limited in scope: five singers, no chorus, small orchestra, limited scene changes. The libretto is by Domenico Lalli, with whom Vivaldi collaborated on many more operatic ventures over the years. The gist of the plot is that the Roman Emperor Ottone is in love with Cleonilla. However, Cleonilla likes to flirt and does so with two young men – Ostilio and Caio. However, Ostilio is actually a woman (Tullia) who is in love with Caio. So Ostilio/Tullia resolves to kill Cleonilla. But in a classic case of mistaken intentions, Ottone thinks Ostilio/Tullia and Cleonilla are in love and so orders Ostilio/Tullia’s execution. 15
But in the nick of time all is resolved and everyone lives happily ever after. Leggi almeno, tiranna infedele is a sublime lyrical aria, which is quite remarkable given the viciousness of the words that are being sung over this exquisite melody – the opening line is ‘At the least read it, faithless tyrant’! Handel first visited Italy in the autumn of 1706. His initial destination was Florence, in order to take up an invitation from Prince Ferdinando de Medici whom he had met earlier in Hamburg. In particular, Florence provided Handel with valuable first-hand experience of Italian opera, a result of which was his own new opera Rodrigo, produced there in October 1707. In Florence, and later in Venice (home of Vivaldi) and Rome, he also must have heard a great deal of the virtuoso violin music in which Italian composers so excelled. This was to have considerable impact on the instrumental writing in his operas, as evidenced in the exciting and flamboyant solo violin obbligati which he wrote into his first London opera, Rinaldo, a few years later in 1711. PICTURED: George Frideric Handel
PICTURED: Faustina Bordoni, who created the role of Rossane.
Curiously, however, Handel seems to have shown little interest at the time in the purely instrumental manifestation of this Italian craze, namely the violin concerto itself. Perhaps the sole exception is the Sonata in B-flat major for solo violin and strings, which he described as a sonata, but which is in essence stylistically indistinguishable from a typical short Italian solo concerto. By the time Handel wrote Alessandro, he had been a leading figure of the London opera scene, following his arrival in England in 1710. Alessandro was premiered on 5 May 1726 at the King’s Theatre, the same theatre that had premiered his first Italian opera for English audiences, Rinaldo, in 1711. Alessandro had a 13-performance season and would potentially have had more had it not been for the lead role of Alexander the Great played by Sensino falling ill. Handel was, however, able to mount a couple of revivals of the opera in 1727 and 1732. He also presented the opera in Hamburg and Braunschweig. The storyline is about Alexander the Great’s journey to India. But rather than focus all of his attention on Alexander’s heroic escapades, the opera contains a fair bit of romantic intrigue, making it a bit like a Babylonian rom-com. The selections of excerpts presented in this concert are arias sung by Rossane, a princess taken captive by Alessandro. There is, however, a romantic foil. Alessandro has another princess with him – Lisaura. Much of the opera involves both women professing their love for the great Alessandro!
PICTURED: Francesca Cuzzoni, who created the role of Lisaura. 16
Alessandro once again demonstrates Handel’s mastery of ‘affect’ in music, with every melody and harmony in his score so perfectly evoking the passion and drama on stage. As Mozart is reputed to have said of Handel, ‘When he chooses, he strikes like a thunder bolt.’
IN CAELO STELLE CLARE FULGESCANT
MAY THE BRIGHT STARS SHINE IN THE HEAVENS
In caelo stelle clare fulgescant et herbe in colle laetae vivescant volent in fronde aves canendo. In rivo in prato flores et ondae murmure grato suavi odore plaudant iucunde mecum gaudendo.
May the bright stars shine in the heavens and the happy grasses flourish on the hillside and the birds fly among the leaves as they sing. In the brook, in the meadow, let flowers and water with their sweet perfume and gentle murmur gladly celebrate as they rejoice with me.
Exulta, exulta o cor! Astra fulgendo flores laeti ridendo animae voto arrident; nec amplius in me spes modo languescit; sed affectum in Deum demuo flarrescit. quid tardas ergo o cor pectus inflamma o sacra Caeli flamma. Arde contenta demum a te fugasta paeana amare in incendio beato anima cara.
Exult, exult, o heart! Stars shining brightly, flowers laughing merrily, spirits smile upon this pledge; no more does hope languish in me, it now abounds in the love of God. Why then, o heart, do you hold my soul in the flames, oh, the sacred flames of Heaven? Burn with joy at last, now that your suffering is over, and find love, dear soul, in that blessed fire.
Care Deus cordis amantis sentio in me paenas placavi iam ardoris mei constantis splendet fax clara et serena.
Dear Lord of loving heart, I feel my torment ease within me, now the bright and serene flame of my constant ardour is gleaming.
In spe beata corsuspirando est divo affetu anima plena.
In blessed hope my yearning heart is made whole by the love of God.
Alleluia. Alleluia.
SALVE REGINA
HAIL QUEEN
Salve Regina, mater misericordiae, vita dulcedo et spes nostra, salve. Ad te clamamus exules filii Evae, ad te suspiramus gementes et flentes in hac lacrimarum valle.
Hail Queen, mother of mercy, our life, our sweetness, and our hope, hail. To you we cry, exiles, sons of Eve, to you we sigh, mourning and weeping, in this valley of tears.
Eia ergo, avvocata nostra illos tuos misericordes oculos ad nos converte, et Jesum benedictum fructum ventris tuis nobis post hoc exilium ostende.
Turn then, our advocate, your eyes of mercy towards us. And after this our exile And after this our exile
O clemens, o pia, o dulcis virgo Maria.
Merciful, holy, sweet virgin Mary.
LEGGI ALMENO, TIRANNA INFEDELE
AT THE LEAST READ IT, FAITHLESS TYRANT
Leggi almeno, tiranna infedele, in un foglio rigato col pianto, la mia fede e la tua crudeltà.
At the least read it, faithless tyrant, this tear-stained scrap of paper, about my faithfulness and about your cruelty.
E se ancor mi sarai pur crudele, di costanza in me resti il gran vanto, e lo scorno in te sol d’empietà.
And though you may yet be cruel towards me, may my constancy be lauded by others, with scorn directed at you for your wickedness. 17
ALLA SUA GABBIA D’ORO
TO HER GILDED CAGE
Alla sua gabbia d’oro suol ritornar talor quell’augellin canoro che rapido fuggì: sai perchè torna ancor donde partì? la sua prigion gli è cara più della libertà.
To her gilded cage will often return that little singing bird that quickly flew away; do you know why she returns to the place she left? Her prison is dearer to her than her freedom.
Mà la prigione d’oro sai perchè piace allor all’augellin canoro? Più caro al suo signor sà ben che tornerà.
But, do you know why the little singing bird likes her gilded prison? Because she knows her master will love her more when she comes back.
SOLTUDINI AMATE
BELOVED SOLITUDE
Solitudini amate, In cui sfogarmi lice Una fiamma infelice, Voi le sventure mie, deh, consulate, solitudini amate! Amo il grand’Alessandro, ei sol mi sembra Degno dell’amor mio; Mà in quel core infedel non regno sola. Chi mi consiglia, ohimè! Chi mi consola?
Beloved solitude, in which I can give voice to an unhappy passion, ah, console my sorrows. I love the great Alexander, he alone seems to me to be worthy of my love; but in that unfaithful heart I do not reign alone. Who will counsel me, who console me?
AURE FONTI, OMBRE GRADIRE
BREEZES, FOUNTAINS, PLEASANT SHADES
Aure, fonti, ombre gradite, Che mi dite Che farò? Languirò, Spererò, Amerò le mie ferite, Purchè vengano guarite Dalla man che m’impiagò.
Breezes, fountains, pleasant shades, what do you tell me? What shall I do? Shall I languish? Shall I hope? I will love my wounds, as long as they are healed by the hand that dealt them to me.
Sento il sonno, che vela Le stanche luci mie con l’ali placide. Aure, fonti, ombre gradite. Al fin dolce riposo, Cedo agli inviti tuoi. Ombre gradite, Che mi dite,
I feel sleep, which covers my tired eyes with its tranquil wings. Breezes, fountains, pleasant shades, at last, sweet repose, I yield to your invitation. pleasant shades, what do you tell me?
BRILLA NELL’ALMA
IN MY SOUL SPARKLES
Brilla nell’alma un non inteso ancor dolce content, e d’alta gioja il cor, soave inonda.
In my soul sparkles an unheard-of sweet content, and my heart is gently flooded with great joy.
Si nella calma azzurro brilla il mar, se splende il sole, e i rai fan tremolar tranquilla l’onda.
As in the calm the sea glitters blue, the sun shines, and its rays make the waves tremble gently.
All program notes © Australian Chamber Orchestra Song translations revised by the Australian Chamber Orchestra from original translations. © Decca Music Group Limited 18
RICHARD TOGNET TI ACO SOLOISTS VIVALDI & BACH JOHANN SEBASTIAN BACH Born Eisenach 1685. Died Leipzig 1750. ORCHESTRAL SUITE NO.1 IN C MAJOR, BWV1066 Composed c.1730? I. Ouverture II. Courante III. Gavotte I & II IV. Forlane V. Menuet I & II VI. Bourrée I & II VII. Passepied I & II Performance Note For these performances, the Orchestra will play on gut strings. We like the rawness, roughness and soft hue of the sound these strings produce. And the wind players will perform on copies of instruments from the time.
The details of the composition and first performances of much of Bach’s instrumental music are maddeningly unclear. It used to be thought that much of the secular music was composed between 1717 and 1722 when Bach was employed at the court of Cöthen. The reigning prince, Leopold, was a Calvinist; this meant that there was no scope for liturgical music – certainly on the
The pitch is compromised at 415 vibrations per second, which may have been used by some performers in the 18th century. We have little to no idea what the composers intended their music to sound like, so hereby offer you one notion of how it could sound today.
PICTURED: Johann Sebastian Bach. 19
Instead of the devout, unsmiling Lutheran Kapellmeister, here is a composer working in a form which owes most to the lavish extravagance of the Versailles court. Catholic or Lutheran models – but still a need for secular music. We can say with some certainty that many of the solo Suites, Sonatas and Partitas were composed at around this time; the Brandenburg Concertos found their final form then, and some of the Orchestral Suites may also have been written. This work presents a different side of Bach to that which is usually painted. Instead of the devout, unsmiling Lutheran Kapellmeister, here is a composer working in a form which owes most to the lavish extravagance of the Versailles court. The movements of the Suite are French dances, or at least what the rest of Europe liked to think were French dances. This style of French orchestral music was common through much of Germany and was the subject of several learned treatises. It is not known exactly when and for whom Bach wrote his four Orchestral Suites, or, as he would have called them with their French-German name, Ouvertüren. The earliest surviving manuscripts point to the Leipzig Collegium Musicum, a collection of students, professionals and good amateurs who met to play music for fun and even – radically for the time – offered public concerts. Bach’s keyboard concertos and some other secular instrumental works belong to this ensemble and period. The other possibility for the Suites is that at least some were written during Bach’s earlier employment at the court of AnhaltCöthen. This is more appealing, at least to a program note writer, because then it would be allowable to suggest that there may have been special occasions when professional dancers were employed to perform to this music. Obviously that would have serious implications for the tempo of each dance: at some later point in time, for example, instrumental minuets became far more speedy than could ever accommodate the graceful footwork required by the original. But it’s all guesswork – no dancers, even amateurs, need have come anywhere near it. Telemann wrote over 100 such works which probably never saw a well-turned ankle. Instrumental suites were known in other genres, particularly keyboard, although Bach’s Cello Suites are an interesting example. The other point of interest about the timing of the Suites’ composition is that they offer glimpses of sacred works he used elsewhere, including a hymn tune from the Anna Magdalena Notebook which seems to be a starting point for several of the movements in this particular Suite, No.1. Bach seized on a number of accepted conventions and brought 20
his own flawless instinct to their re-creation. Using the hymn tune motif throughout would have been a popular technique in his father’s day; and the opening movement is the standard ‘French overture’ beloved of Baroque composers from Lully to Purcell. The sporadic treatment of the two oboes and bassoon as a separate entity to the others suggests an imaginative rethinking of the Italian concerto grosso. The choice of which dances to include varies from composer to composer and suite to suite, but it was always done with the intention of creating entertaining contrasts of style and metre. Busy triple-time dances might be juxtaposed with more elegant duple-time forms. The Forlane is a slightly unusual one – it was a dance which the French associated with the Venetian Carnival, whose reputed excesses do seem a little startlingly distant from that stereotypical, spiritual, clean-living JS Bach.
ANTONIO VIVALDI Born Venice 1678. Died Vienna 1741. CONCERTO IN D MINOR FOR TWO VIOLINS AND CELLO, RV565 Composed 1711. I. Allegro – Adagio e spiccato II. Allegro – Adagio III. Largo e spiccato IV. Allegro Antonio Vivaldi was born in Venice and was the son of one of the violinists in the orchestra of St Mark’s Church. He was himself an outstanding violin virtuoso and for much of his life conducted the orchestra and chorus at one of Venice’s four institutions for orphaned and foundling girls, many of whom became brilliant singers and instrumentalists. He wrote hundreds of works for these phenomenal young women, and their performances of his works attracted a large audience of followers, many of whom came to the city just to hear these concerts. In 1711 or thereabouts, the Amsterdam publishing house of Estienne Roger brought out what was to become one of the most influential musical publications of the first part of the 18th century. This was Antonio Vivaldi’s Opus 3, his first published set of orchestral concertos, figuratively entitled L’Estro Armonico. Not only did the Amsterdam publication feed the enormous 21
PICTURED: Antonio Vivaldi.
demand for the latest Italian music in northern Europe, but also set a new standard and aesthetic for concerto writing in which the solo instrument par excellence – the violin – was treated in an extrovertly virtuosic fashion. The Weimar-based Johann Sebastian Bach was just one notable consumer of Vivaldi’s new set. He got to know the concertos intimately in 1713, when he made keyboard arrangements of five of them (without orchestral accompaniment). As a result, some of these works are still equally well-known today in Bach’s arrangements (as organ or harpsichord pieces) as in their original orchestral forms. One concerto which Bach did not touch, however, was the 11th Concerto in D minor. From the outset, there could be no suggestion of adapting it for any forces other than strings, so closely is each successive section of the piece fitted to its respective scoring. To open, Vivaldi constructs a wonderful leap-frogging duet for the two solo violins, music in which the instruments literally tumble over each other in close canon. For all their athleticism, however, the violins venture no further 22
harmonically than an admittedly spectacular reiteration of the home chord of D, leaving it to the solo cello (with discreet accompaniment from the continuo) to round off this introductory episode with a stream of semiquaver sequences. Pulsing full chords for the whole ensemble (Adagio e spiccato) interrupt to lead into an Allegro fugue in which soloists and orchestral strings work initially in tandem. Twice during its course, the soloists break out for extended episodes; on the first occasion they are supported by the orchestral continuo section, but on the second the three go it entirely alone. Finally, the basses hold a portentous 12-bar pedal note, while the upper strings tie up the final strands of the fugue in a gradually intensifying coda. The core of the central Largo e spiccato movement is a lyrical solo, in lilting siciliano rhythm, for just one solo violin (the second violin soloist re-joining its orchestral colleagues for the duration), with accompaniment from the upper strings alone. The final Allegro is the most virtuosic for the three soloists, who stand out from their orchestral counterparts throughout.
VIVALDI CELLO CONCERTO IN E MINOR, RV409 Composition date unknown. I. Adagio – Allegro molto II. Allegro – Adagio III. Allegro One could say that Vivaldi is caught in an endless cycle of adoration and rejection. During his lifetime he was highly esteemed as a violinist and composer, but died a pauper in a foreign city. Centuries of relative obscurity followed, until his music was ‘rediscovered’ in the 19th century. The 20th century saw Four Seasons overkill, leading some to dismiss him as a trendy hack who ‘wrote the same concerto’ hundreds of times. And now, scholarship gives us a deeper, more reasonable picture of this interesting man and his wonderful musicianship.
PICTURED: Ospedale della Pietà.
As already mentioned, most of Vivaldi’s hundreds of concerti were written for the foundling girls of the Ospedale della Pietà. These girls developed such a reputation for the skill of its young performers that it became quite popular for visitors to the city to come to the chapel just to admire the music which emanated 23
from behind the modesty screen. (Rousseau was once desperately disappointed to find how many of these ‘angelic’ girls were ‘disfigured by smallpox’ or a squint or something similar.) As foundlings, few of the pupils bore a last name. Vivaldi wrote numerous cello concertos for these young women, and the difficulty of the lines Vivaldi wrote for them along with the overall quality of the music which is dedicated to them is quite astonishing. While the concerto in E minor, RV409, is not dedicated to any of the mononymous foundlings of the Ospedale, we do know that there were at least five active cellists for whom it may have been composed – Claudia, Santina, Teresa, Tonina and Veneranda. The first movement opens with the solo cello, joined by the continuo bassoon for a gently lilting Adagio, which is swiftly interrupted by a fiery Allegro molto from the rest of the orchestra tutti (together). This pattern of tempo shifts continues throughout this movement and into the next, although in the second movement, the pattern is reversed with the solo cello and bassoon playing elegantly understated allegro passages followed by gorgeous adagio interjections from the orchestra. The final movement is a virtuosic Allegro, with the bassoon once again playing a beautiful foil to the solo cello line. While this concerto may not be in the same realm as his Four Seasons, it does demonstrate the astounding calibre of musician for whom Vivaldi was composing.
VIVALDI CONCERTO FOR FOUR VIOLINS IN D MAJOR, RV549 Composed 1711. I. Allegro II. Largo e spicccato III. Allegro The Concerto Grosso, established by Corelli as one of the principal forms of the late-baroque instrumental music, was at once taken up and further developed by a number of the greatest composers in Italy, but none greater and more prolific than Antonio Vivaldi. He exerted greater influence upon his contemporaries, among them Johann Sebastian Bach, who no doubt owed to Vivaldi’s models above all others his own later mastery of the concerto form. Vivaldi was soon forgotten after 24
Antonio Vivaldi exerted greater influence upon his contemporaries, among them Johann Sebastian Bach . . . his death, but our own time has seen a revival of his work in the grandest possible manner. His 12 Concerti Grossi, Op.3 were part of the 1711 L’Estro Armonico. The first concerto of the set, written for four solo violins with accompaniment of a string orchestra and continuo, begins with a bright, joyous D major Allegro. The slow middle movement in B minor, alternates majestic, imperious pronouncements of the full orchestra with flowing solo figurations. The concluding Allegro swings along in a springy triple meter.
BACH ORCHESTRAL SUITE NO.2 IN B MINOR, BWV1067 Composed 1739/40? I. Ouverture II. Rondeau III. Sarabande IV. Bourrée I & II V. Polonaise & Double VI. Menuet VII. Badinerie Scholars have more recently come to believe that a significant number of Bach’s instrumental works were composed much later than originally thought, and that the B minor Suite may have been the last instrumental work Bach composed, in 1739 or 1740. The closest thing we have to an original manuscript is a set of parts dated 1740, of which only the flute and viola parts are in Bach’s own handwriting. After his time in Cöthen, Bach moved to Leipzig in 1723 to take up the position of Kantor at the Thomasschule, and in 1729 also assumed the directorship of the Collegium Musicum, an orchestra founded by his friend and colleague Georg Philipp Telemann when the latter was a student at the turn of the century. Telemann went on to direct such organisations in several European cities. The Collegium Musicum had started life as a collection of student and professional musicians that, to the chagrin of the liturgical music establishment, played for opera and in its own concerts. Even 30 years later, Bach’s assumption of the directorship was a gesture of at least parttime independence from his ecclesiastical masters. Again, we 25
PICTURED: Badinerie movement.
know next to nothing about the programs of the Collegium Musicum, which performed in summer in an outdoor coffee garden on Wednesdays, and at Zimmermann’s coffee house on Friday evenings in winter. We know from a remark of CPE Bach that ‘it was seldom that a musical master passed through . . . without getting to know my father and playing for him’; perhaps it was one such musician who played the solo flute part in the B minor Suite. Arguments for the Suite’s being a late work turn on its hybrid nature – part suite, part concerto. It pays a kind of homage to Telemann, in that Telemann had brought distinctly French forms into currency in German music, and also, thanks to a period as court musician to Count Erdmann II of Promnitz in Poland, had popularised such dance forms as the polonaise. The Suite’s Ouverture is its longest movement, taking up half the work’s duration and, as its name tells us, is an overture in the French style. It begins with a passage that moves at a stately pace with characteristic dotted rhythms and the flute largely doubling the first violin part. The contrasting next section has Bach’s seemingly inexhaustible momentum, and a much more contrapuntal texture allowing the flute a degree of virtuosic independence. At the midpoint of the movement the slow motif returns before a resumption and further elaboration of the faster contrapuntal music that is in turn succeeded by an epilogue.
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This leads to the first of a series of dances: the Rondeau, so called because of its structure of a repeated ‘refrain’, is in fact a Gavotte, whose duple metre and moderate speed contrast nicely with the following Sarabande, with its dignified pace and triple metre. Here the flute helps to flesh out the seemingly simple melody where in the following sprightly Bourrées it explores more virtuosic writing. This contrast is brought into close focus in the polonaise where, having supported the main melody, the flute has a section marked double where it adds highly ornamental figurations. Another courtly triple-metre dance, the Menuet, follows, its simple elegance a wonderful foil for the sparkling wit of the final Badinerie.
BACH VIOLIN CONCERTO NO.2 IN E MAJOR, BWV1042 PICTURED: Zimmermann’s coffee house.
Composed 1708-1717? I. Allegro II. Adagio III. Allegro assai As with both of the Orchestral Suites, dating this concerto is next to impossible, as no autograph copy of the manuscript survives. 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 attention-grabbing 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 movementfast 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 27
Bach expertly shuffles and recombines this apparently slight material, creating an expansive dialogue for soloist and orchestra. section (B), usually in a different key, and a return of the opening verse (A), with the same lyrics as before also, perhaps embellished with extempore ornaments this time. The first movement begins with a pert outline of the triad of E major – Do, Mi, Sol – 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.
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ELENA KATS-CHERNIN Born Tashkent, 1957. SINGING TREES Composed 2015. I. II. III. IV.
Maple Ebony Willow Spruce
Elena Kats-Chernin is one of the most cosmopolitan composers working today, reaching millions of listeners worldwide through her prolific catalogue of music for theatre, ballet, orchestra and chamber ensemble. Her dramatically vivid music communicates a mixture of light-heartedness and heavy melancholy, combining strong rhythmic figures with elements of cabaret, tango, ragtime and klezmer.
PICTURED: Elena Kats-Chernin
Born in 1957 in Tashkent (Uzbekistan), Kats-Chernin received training at the Gnessin Musical College before immigrating to Australia in 1975. After graduating from the Sydney Conservatorium of Music in 1980, she received a grant to study with Helmut Lachenmann in Hanover. She remained in Germany for 13 years before returning to Sydney, where she now lives. Kats-Chernin has created works in nearly every genre. Among many commissions are pieces for Ensemble Modern, Bang on a Can All-Stars, the Australian Chamber Orchestra, the Adelaide, Tasmanian and Sydney symphony orchestras, Present Music, City of London Sinfonia, Swedish Chamber Orchestra and the North Carolina Symphony. She is one of Australia’s busiest and most prolific composers. The Witching Hour was recently premiered by the Australian World Orchestra under Alexander Briger, with performances at the Sydney Opera House and the Esplanade Concert Hall in Singapore. Singing Trees was commissioned by the Australian Chamber Orchestra to celebrate the acquisition of four special instruments – the Guarneri del Gesù violin, the Stradivarius violin, the Maggini viola and the da Salò double bass. These instruments have been acquired over the past ten years through the ACO Instrument Fund and the generosity of private benefactors. This performance is the world premiere. The composer writes: For this unusual commission honouring these special ‘soldiers’ of music (Guarneri Violin, Stradivarius Violin, Maggini Viola and 29
‘. . . would the wood retain some of the spirit and memory of where it has been, what it has heard, and what it has played in its life?’ ELENA KATS-CHERNIN Da Salò Double Bass), I thought about some of the different types of wood that are used in instrument making, and how they all have their own particular advantages, originalities and strengths. The woods I chose were maple, ebony, willow and spruce. No string instrument can exist without using at least some of these materials. A question I was asking myself was: would the wood retain some of the spirit and memory of where it has been, what it has heard, and what it has played in its life? The heart of that idea led me to imagine an inner life and world for these magnificent instruments, and to offer my own musings on what some of those memories might be if they did happen. The work is in four movements and each is dedicated to one wood. The four instruments (dedicatees) feature in each movement. 1. In Maple, I was strongly drawn to folkloric images. The Viola (Maggini) carries the melody first, and I saw the instrument being outdoors, perhaps in a community of gypsies. Eventually, all the strings come together in a wild dance that is to be played as fast as possible. 2. Ebony is a rarer wood and when the great instrument makers were at their peak, it was in short supply. When I was thinking about the second movement, a tragic Baroque aria kept surfacing in my imagination, with the vocal line sometimes only as a memory rather than stated. Eventually, I wrote it down. 3. Willow is often used inside the body of the violin, supporting unseen mechanics and layers. I was thinking of the willow as being like a child in the womb. What does it hear? Perhaps just snippets, glimpses, snatches of the whole sound. In this movement, there are many silences as well as garbled or frenzied fragments rolling through the atmosphere. I imagined that, when sound is absent from the consciousness inside the ‘body’ of an instrument, it may still be there in the outside world, just unheard and not perceivable in that internal world. 4. Spruce is strong but pliable and when it is used for the front of an instrument its grains are eye-catching and distinct. There are many repeated motifs in the Spruce movement; these motifs represent to me the idea of both the durability of such a wood and its role in the unique gorgeousness of these master objects. Later, as the movement shifts and develops, I keep coming back to the sense of drive and purpose, the way I envisage these great creators used to work. All program notes © Australian Chamber Orchestra 30
JULIA LEZHNEVA SOPR ANO
‘. . . Lezhneva certainly has a phenomenal gift, a voice that ranges evenly over the most intricate coloratura . . . It is a serene, sleek voice, beatific in timbre, with a bell-like resonance that carries well. Technically it is flawless.’ FINANCIAL TIMES Julia Lezhneva is one of the leading artists of her generation. The young Russian soprano created a sensation at the 2010 Classical Brit Awards at London’s Royal Albert Hall when she sang Rossini’s ‘Fra il padre’ at the invitation of Dame Kiri Te Kanawa. International superstardom followed with Opernwelt naming her Young Singer of the Year in 2011 for her debut at La Monnaie in Brussels. Photo by Simon Fowler
SELECT DISCOGRAPHY JULIA LEZHNEVA: HANDEL Decca Classics 478 6766 JULIA LEZHNEVA: ALLELUIA Decca Classics 478 5242 JULIA LEZHNEVA: ROSSINI, VIVALDI, BACH Naïve Classique 5221 HASSE: SIROE Decca Classics 478 6768 HANDEL: ALESSANDRO Decca Classics 478 4699 PERGOLESI: STABAT MATER Erato 19147 VIVALDI: OTTONE IN VILLA Naïve Classique 30493 ROSSINI: PETITE MESSE SOLENELLE Naïve Classique 5409 LES SOPRANOS Naïve Classique 5351
Since then, Lezhneva has been presented around the globe, performing in such places as the Royal Opera House Covent Garden, Royal Albert Hall, The Barbican in London; Severance Hall in Cleveland; Lincoln Center in New York; NHK Hall and Tokyo Bunka Kaikan; Amsterdam’s Concertgebouw; the Madrid Auditorium; Salle Pleyel and Théâtre des Champs-Élysées in Paris; Wiener Konzerthaus and Theater an der Wien; Berlin Staatsoper; Hamburg Laeiszhalle; Essen Philharmonie; Zurich Tonhalle; La Monnaie and Palais des Beaux-Arts in Brussels; the Bolshoi Theatre and the Grand Hall of Moscow Conservatory; and St Petersburg’s Grand Philharmonic Hall. She has also appeared in many festivals worldwide with such conductors as Marc Minkowski, Giovanni Antonini, Sir Antonio Pappano, Alberto Zedda, Philippe Herreweghe, Franz Welser-Möst, Sir Roger Norrington, René Jacobs, Fabio Biondi, Jean-Christoph Spinosi, Diego Fasolis, and Ottavio Dantone, performing with singers including Plácido Domingo, Anna Netrebko, Dame Kiri Te Kanawa, Joyce DiDonato, Juan Diego Flórez, Rolando Villazón, Ildebrando D’Arcangelo, Christopher Maltman, Franco Fagioli, Max Emmanuel Cenčić and Philippe Jaroussky. Born in 1989 to a family of geophysicists on Sakhalin Island, Julia Lezhneva began playing piano and singing at the age of five. She graduated from the Gretchaninov Music School and continued her vocal and piano studies at the Moscow Conservatory. She undertook further vocal studies with Dennis O’Neill in Cardiff, Yvonne Kenny at London’s Guildhall School, as well as attending masterclasses with Elena Obraztsova, Alberto Zedda, Richard Bonynge and Thomas Quasthoff. She has also won numerous competitions including the 2010 Paris International Opera Competition, the youngest entrant in the competition’s history. For her Australian debut in 2014 she won a Helpmann Award for Best Individual Classical Performance, Julia Lezhneva with the Tasmanian Symphony Orchestra, presented by Hobart Baroque. Julia Lezhneva has released numerous recordings, with her first solo CD Alleluia (2013) garnering huge critical acclaim as well as winning the 2013 Echo Klassik Award for Best New Vocal Artist. 31
GENEVIEVE L ACE Y RECORDER
Genevieve Lacey is a recorder virtuoso, serial collaborator and artistic director. Genevieve’s recent creative works include Pleasure Garden (a kinetic sound sculpture for Sydney Festival 2016), 1infinity (a music-dance piece in development with Chinese company Jun Tian Fang and Australian choreographer-director Gideon Obarzanek, 2016), Life in Music (a 5-part series, written, composed and narrated by Genevieve for ABC Radio National, 2015), Namatjira (a theatre piece, and now a feature documentary film, 2010–16), Recorder Queen (a bio-documation, being created with Sophie Raymond and Clare Sawyer).
Photo by Monty Coles
SELECT DISCOGRAPHY PLEASURE GARDEN ABC 481 2370 HEARD THIS AND THOUGHT OF YOU ABC 481 1874 REINVENTIONS ABC 481 1562 CONVERSATIONS WITH GHOSTS ABC 374 7193 ONCE UPON A TIME ABC 476 1559 3 BAROQUE TRIOS ABC 476 5105 VIVALDI: IL FLAUTO DOLCE ABC 461 8282 TWO MOVE MD3216 PHOENIX SONGS MOVE MD3165 32
Genevieve performs music spanning 10 centuries with collaborators as diverse as the Australian Chamber Orchestra, Danish pipe and tabor player Poul Høxbro, filmmaker Marc Silver, playwright-director Scott Rankin, iconic Australian singer-songwriter Paul Kelly, and the Black Arm Band. Genevieve has also performed as soloist with Academy of Ancient Music, English Concert, Concerto Copenhagen, St Petersburg Chamber Orchestra, Korean Symphony Orchestra, Malaysian Philharmonic Orchestra and all the major Australian Symphony Orchestras. Her long-term musical partners include Karin Schaupp, James Crabb, Australian Brandenburg Orchestra, Flinders Quartet, Marshall McGuire, Neal Peres Da Costa and Daniel Yeadon, Elision Ensemble, and Jane Gower. She has performed at festivals including The Proms, Paris Festival d’Automne, Moscow Chekhov International Theatre Festival, London Jazz Festival, Klangboden Wien, Seoul International Music Festival, Copenhagen Summer, Sablé, Montalbane, MaerzMusik, Europäisches Musikfest, Mitte Europa, David Oistrakh Festival Estonia, Adelaide, Brisbane, Cheltenham, Huddersfield, Lichfield, Melbourne, Spitalfields, Sydney, Perth and Warwick festivals. Genevieve has won two ARIAs (Australian Recording Industry Awards), a Helpmann Award, Australia Council, Freedman and Churchill Fellowships and Outstanding Musician, Melbourne Prize for Music. She holds degrees (including a doctorate) in music and English literature from universities in Melbourne, Switzerland and Denmark. Genevieve is inaugural Artistic Director of FutureMakers, Musica Viva Australia’s artist development program, Chair of the Australian Music Centre board, guest curator and artistic advisor to Ngeringa Arts, and professional mentor for the Australian National Academy of Music’s fellowship program. In 2014 she curated and presented Words and Music for Wheeler Centre, Melbourne. Between 20082012, Genevieve was the Artistic Director of Four Winds Festival, and directed the Melbourne Autumn Music Festival from 2000-2003. She has curated the live music for the Art Music Awards for the Australian Music Centre and APRA from 2013-2015. In 2013, she gave the 15th Peggy Glanville-Hicks Address, Australia’s only public lecture on music, broadcast and televised nationally.
RICHARD TOGNET TI ARTISTIC DIREC TOR & VIOLIN
‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’ THE DAILY TELEGRAPH (UK) Australian violinist, conductor and composer Richard Tognetti was born in Canberra and raised in Wollongong. He has established an international reputation for his compelling performances and artistic individualism.
Photo by Jack Saltmiras
SELECT DISCOGRAPHY AS SOLOIST: BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679 BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three Bach releases available as a 5CD Box set: ABC Classics 476 6168) VIVALDI The Four Seasons BIS SACD-2103 Musica Surfica (DVD) Best Feature, New York Surf Film Festival AS DIRECTOR: GRIEG Music for String Orchestra BIS SACD-1877
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 is also Artistic Director of the Festival Maribor in Slovenia. 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, Tognetti has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene 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. He was recently a soloist in performances with both the Melbourne and Tasmanian symphony orchestras. 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 Horrorscopes; and created The Red Tree, inspired by Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica. 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. He has given more than 2500 performances with the Australian Chamber Orchestra.
Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop 33
SATU VÄNSK Ä VIOLIN
Satu Vänskä was appointed Assistant Leader of the Australian Chamber Orchestra in 2004. She was born to a Finnish family in Japan where she took her first violin lessons at the age of three. She has studied both in Finland and Europe with such artists as Ilya Grubert, Zinaida Gilels and Pavel Vernikov. 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 her 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 2001 she played under the auspices of the Live Music Now Foundation founded by Yehudi, Lord Menuhin, which gave her the opportunity to perform with musicians like Radu Lupu and Heinrich Schiff. Satu performs regularly as lead violin and soloist with the ACO. She is also frontwoman and curator of the critically acclaimed electro-acoustic ensemble, ACO Underground. Satu features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor.
ILYA ISAKOVICH VIOLIN
Ukrainian born Ilya Isakovich started playing the violin at the age of six in the city school of music and graduated in 1991, performing the Mendelssohn Violin Concerto with Dnepropetrovsk Symphony Orchestra. After emigrating to Israel in 1991, Ilya studied at the Jerusalem Conservatory of Music with Moshe Girshovitch. Upon graduating in 1995, he started his military service in the IDF chamber orchestra. In 1997 he undertook further studies with Gennady Kogan. From 1994 until 2000, Ilya played in the Young Israel Philharmonic becoming concertmaster in 1996. During 1999 and 2000 Ilya was concertmaster of the West-Eastern Divan workshop orchestra in Weimar under conductor Daniel Barenboim. In 1999, Ilya was appointed concertmaster of the Israeli Kibbutz Chamber Orchestra and in 2000 he was accepted into the first violin section of the Israel Philharmonic Orchestra in which he worked until 2004. In 2004 Ilya started his Australian life with the ACO.
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MAJA SAVNIK VIOLIN
Born and raised in Slovenia, Maja Savnik began her studies with Anastasia Juvan and Armin Sešek. She continued her studies at the University of Music and Dramatic Arts in Graz with Tibor Varga and later with Silvia Markovic. She returned to Slovenia to study at the Academy of Music in Ljubljana with Primož Novšak. While studying at the Academy, Maja was appointed concertmaster of the Chamber and Symphony Orchestra of the Academy of Ljubljana, with whom she toured Europe. As a soloist, Maja has performed with the Slovenian Philharmonic Orchestra, Ljubljana Radio and TV Orchestra and the National Theatre and Ballet Orchestra, with such conductors as Valery Gergiev, Riccardo Muti and Sir Neville Marriner. Maja won the Student Prešeren award for special artistic achievements during her studies and was the recipient of a scholarship for gifted students. Prior to her appointment to the ACO, Maja was a member of the Slovenian Philharmonic Orchestra, the Chamber String Orchestra of the Slovenian Philharmonic and toured with many famous artists, including Sting, Anna Netbrenko and Mischa Maisky.
NICOLE DIVALL VIOL A
A graduate of the Canberra School of Music, Nicole Divall studied at the University of North Texas before entering the Emerson Quartet Graduate String Quartet program in Hartford, Connecticut. Following completion of that program, she received her Masters from the University of Michigan. A prize-winner in the 1997 Lionel Tertis International Viola Competition, she has performed at numerous festivals in the US. An experienced Chamber musician, Nikki has appeared as guest violist with the St Petersburg String Quartet, the Los Angeles Piano Quartet, the American String Quartet and the Emerson Quartet. Nikki has held the position of Principal Viola with the Ohio Chamber Orchestra, as well as many of the ensembles in Cleveland including baroque ensemble Apollo’s Fire. She has appeared as Guest Principal with the Ann Arbor Symphony Orchestra, the Sydney Symphony Orchestra and the premiere of the Australian Brandenburg Orchestra’s ensemble series. Nikki has performed as soloist with the Cleveland Chamber Symphony on frequent occasions and her performance of Bach’s Brandenburg Concerto No.6 with Apollo’s Fire can be heard on the Electra label. 35
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. He studied at the Sibelius Academy and the Edsberg Music Institute, focusing on both solo performance and chamber music. 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, commissioning new works for the instrument by such composers as Aulis Sallinen, Olli Virtaperko, Eero Hämeenniemi, Olli Koskelin and Olli Mustonen. In 2006 Valve 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.
MA XIME BIBEAU DOUBLE BASS
Maxime began playing the double bass in his native Canada at the age of 17, completing his undergraduate degree at the Conservatoire de Musique du Québec à Montréal with René Gosselin. He went on to obtain a Master’s of Music at Rice University in Houston with Timothy Pitts and Paul Ellison. He has been Principal Double Bass of the ACO since 1998, appearing as a featured soloist with the Orchestra on many occasions. He has performed in several orchestras including the SHIRA International Symphony Orchestra Israel, Jeunesses Musicales World Orchestra, Sydney Symphony Orchestra, Montreal Symphony Orchestra and WDR Symphony Orchestra in Cologne. He has participated in festivals such as the Spoleto Festival in Italy, Australian Festival of Chamber Music in Townsville, Sydney Festival and Huntington Festival in Mudgee. As an educator he has been involved with the AYO National Music Camp, Sydney Youth Orchestra, University of NSW and Australian National Academy of Music. He is currently a lecturer at the Sydney Conservatorium of Music.
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AUSTR ALIAN CHAMBER ORCHESTR 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
Satu Vänskä 2 Principal Violin
Glenn Christensen Violin
Chair sponsored by Michael Ball am & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts
Chair sponsored by Kay Bryan
Chair sponsored by Terry Campbell ao & Christine Campbell
Aiko Goto Violin
Mark Ingwersen Violin
Ilya Isakovich Violin
Chair sponsored by Anthony & Sharon Lee Foundation
Chair sponsored by Ian Wallace & Kay Freedman
Chair sponsored by The Humanity Foundation
Maja Savnik 3 Violin
Ike See Violin
Alexandru-Mihai Bota Viola
Chair sponsored by Di Jameson
Chair sponsored by Philip Bacon am
38
Players dressed by Willow and SABA
Nicole Divall 4 Viola
Timo-Veikko Valve 5 Principal Cello
Melissa Barnard Cello
Chair sponsored by Ian Lansdown
Chair sponsored by Peter Weiss ao
Chair sponsored by Martin Dickson am & Susie Dickson
Andrew Meisel Double Bass
Jane Gower Bassoon
Courtesy of Australian Opera and Ballet Orchestra
Courtesy of Orchestre Révolutionnaire et Romantique
Georgia Browne Recorder
Erin Helyard 8 Harpsichord/Chamber Organ
Hannah Coleman Recorder
Courtesy of Faculty of VCA & MCM, The University of Melbourne
Benoit Laurent Oboe
Axel Wolf Theorbo
Courtesy of Conservatoire Royal de Bruxelles
Julian Thompson 6 Cello
Ludovic Achour Oboe
Chair sponsored by The Grist & Stewart Families
1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2 Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. 3 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 4 Nicole Divall plays a 1610 Giovanni Paolo Maggini viola kindly on loan from a private Australian benefactor. 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 on loan from 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. 8 Erin Helyard plays a Continuo Organ by Henk Klop, Garderen, Nederland 2004; Ruckers Double Maxime Bibeau 7 Harpsichord by Carey Beebe, Sydney 2003. These instruments are supplied and prepared by Principal Bass Carey Beebe Harpsichords. In Perth he plays a French Double Harpsichord by Michael Johnson 1987, prepared by Erin Helyard. Chair sponsored by Darin Cooper Foundation 39
ACO BEHIND T HE S CENE S BOARD Guido Belgiorno-Nettis am Chairman Liz Lewin Deputy Bill Best John Borghetti Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo
ARTISTIC DIRECTOR Richard Tognetti ao
ADMINISTRATIVE STAFF
Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant
EDUCATION Phillippa Martin ACO Collective & ACO Virtual Manager
FINANCE
Dean Watson Customer Relations & Access Manager
Steve Davidson Corporate Services Manager Fiona McLeod Chief Financial Officer
Jessica Block Deputy General Manager
DEVELOPMENT
Alexandra Cameron-Fraser Chief Operating Officer
Anna McPherson Director of Development
Katie Henebery Executive Assistant to Mr Evans & Mr Tognetti ao
Jill Colvin Philanthropy Manager
Ross Chapman Touring & Production Coordinator Danielle Asciak Travel Coordinator Bernard Rofe Librarian
Leo Messias Marketing Coordinator
Chris Griffith Box Office Manager
Shyleja Paul Assistant Accountant
Lisa Mullineux Tour Manager
Hilary Shrubb Publications Editor
Caitlin Gilmour Education Assistant
Richard Evans Managing Director
Anna Melville Artistic Administrator
Mary Stielow National Publicist
Cristina Maldonado Communications Coordinator
Yvonne Morton Accountant
Luke Shaw Head of Operations & Artistic Planning
Aaron Curran Acting Marketing Manager
Vicki Norton Education Manager
EXECUTIVE OFFICE
ARTISTIC & OPERATIONS
MARKETING
Evan Lawson Box Office Assistant Christina Holland Office Administrator Robin Hall Subscriptions Coordinator
INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer
Lillian Armitage Capital Campaign Executive
AUSTRALIAN CHAMBER ORCHESTRA
Tom Tansey Events Manager
ABN 45 001 335 182
Tom Carrig Senior Development Executive Sally Crawford Patrons Manager Alice Currie Development Coordinator Belinda Partyga Researcher
Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW. In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail PO Box R21, Royal Exchange NSW 1225 Telephone (02) 8274 3800 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au
40
V ENUE SUPP OR T
QUEENSLAND PERFORMING ARTS CENTRE Cultural Precinct, Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101 Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au
MELBOURNE RECITAL CENTRE 31 Sturt Street, Southbank, Victoria 3006
PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000
Telephone +613 9699 3333 Email mail@melbournerecital.com.au Web melbournerecital.com.au
PO Box 3041, East Perth WA 6892
Kathryn Fagg Chair Euan Murdoch CEO
Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager
Christopher Freeman am Chair John Kotzas Chief Executive
CITY RECITAL HALL A City of Sydney Venue
SYDNEY OPERA HOUSE Bennelong Point
2–12 Angel Place, Sydney NSW 2000
GPO Box 4274, Sydney NSW 2001
GPO Box 3339, Sydney NSW 2001 Telephone (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Elaine Chia General Manager
Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer
In case of emergencies… Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.
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ACO B A ROQ UE TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY
Pre-concert talks take place 45 minutes before the start of every concert. Sat 8 Oct, 6.15pm Sydney City Recital Hall Pre-concert talk by Ken Healey am
Sat 15 Oct, 6.45pm Melbourne Recital Centre Pre-concert talk by John Weretka
Wed 19 Oct, 6.45pm Perth Concert Hall Pre-concert talk by Marilyn Philips
Mon 10 Oct, 6.15pm Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills
Sun 16 Oct, 1.15pm Sydney Opera House Pre-concert talk by Ken Healey am
Wed 7 Dec, 6.45pm Melbourne Recital Centre Pre-concert talk by John Weretka
Wed 12 Oct, 6.15pm Sydney City Recital Hall Pre-concert talk by Ken Healey am
Tue 18 Oct, 7.15pm Sydney City Recital Hall Pre-concert talk by Ken Healey am
Pre-concert speakers are subject to change.
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ACO MEDICI PROGR A M In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre. MEDICI PATRON
CORE CHAIRS
ACO COLLECTIVE
The late Amina Belgiorno-Nettis
VIOLIN
PRINCIPAL CHAIRS
Glenn Christensen Terry Campbell ao & Christine Campbell
Pekka Kuusisto Artistic Director & Lead Violin
Richard Tognetti ao Artistic Director & Lead Violin Michael Ball ao & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts Helena Rathbone Principal Violin
Aiko Goto Anthony & Sharon Lee Foundation Mark Ingwersen Ian Wallace & Kay Freedman Ilya Isakovich The Humanity Foundation
Kate & Daryl Dixon
Liisa Pallandi The Melbourne Medical Syndicate
Satu Vänskä Principal Violin
Ike See Di Jameson
Kay Bryan
VIOLA
Principal Viola peckvonhartel architects
Alexandru-Mihai Bota Philip Bacon am
Timo-Veikko Valve Principal Cello
Nicole Divall Ian Lansdown
Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation
Horsey Jameson Bird
GUEST CHAIRS Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert
FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Annie Corlett am
CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Grist & Stewart Families
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 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
43
ACO CON T INUO CIRCL E The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Philanthropy Manager, on 02 8274 3835 for more information. Every gift makes a difference. Steven Bardy
Suzanne Gleeson
Cheri Stevenson
Ruth Bell
Lachie Hill
Leslie C Thiess
Sandra Cassell
David & Sue Hobbs
G.C. & R. Weir
Mrs Sandra Dent
Penelope Hughes
Mark Young
Leigh Emmett
Mrs Judy Lee
Anonymous (13)
Peter Evans
Selwyn M Owen
Carol Farlow
Ian & Joan Scott
ACO GENER A L SUPP OR T PAT RONS ACO General Support Patrons assist with the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830. K Chisholm
Mike & Stephanie Hutchinson
Gina Olayiwola
Dr Jane Cook
Geoff & Denise Illing
Douglas & Elisabeth Scott
Paul & Roslyn Espie
Professor Anne Kelso ao
J Skinner
Dr Roy & Gail Geronemus
Macquarie Group Foundation
Christina Scala & David Studdy
The Hadfield Family
Kevin & Deidre McCann
Anonymous (4)
Michael Horsburgh am & Beverley Horsburgh
Baillieu Myer ac
AC O NE X T ACO Next is an exciting philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830. MEMBERS Clare Ainsworth Herschell
John & Lara James
Jessica Read
Justine Clarke
Aaron Levine & Daniela Gavshon
Louise & Andrew Sharpe
Este Darin-Cooper & Chris Burgess
Royston Lim
Emile & Caroline Sherman
Amy Denmeade
Gabriel Lopata
Michael Southwell
Catherine & Sean Denney
Rachael McVean
Helen Telfer
Jenni Deslandes & Hugh Morrow
Carina Martin
Karen & Peter Tompkins
Anthony Frith & Amanda Lucas-Frith
Barry Mowzsowski
Joanna Walton
Anita George
Paris Neilson & Todd Buncombe
Nina Walton & Zeb Rice
Alexandra Gill
James Ostroburski
Peter Wilson & James Emmett
Rebecca Gilsenan & Grant Marjoribanks
Nicole Pedler & Henry Durack
John Winning Jr.
Adrian Giuffre & Monica Ion
Michael Radovnikovic
44
ACO T RUS T S & F OUNDAT IONS
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
ACO INS T RUMEN T F UND The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen. For more information, please call the Investor Relations Manager on 02 8274 3878. Peter Weiss ao PATRON, ACO Instrument Fund BOARD MEMBERS Bill Best (Chairman)
SONATA $25,000 – $49,999
INVESTORS
ENSEMBLE $10,000 – $24,999
Stephen & Sophie Allen
Lesley & Ginny Green
John & Deborah Balderstone
Peter J Boxall ao & Karen Chester
Guido & Michelle Belgiorno-Nettis
Jessica Block
Bill Best
John Leece am
SOLO $5,000 – $9,999
Andrew Stevens
PATRON $500 – $4,999
Sam Burshtein & Galina Kaseko
John Taberner
Michael Bennett & Patti Simpson
Carla Zampatti Foundation
Leith & Darrel Conybeare
Sally Collier
Dr Jane Cook
Michael Cowen & Sharon Nathani
VISIONARY $1m+
Geoff & Denise Illing
Marco D’Orsogna
Peter Weiss ao
Luana & Kelvin King
Dr William F Downey
Jane Kunstler
Garry & Susan Farrell
John Landers & Linda Sweeny
Gammell Family
CONCERTO $200,000 – $499,999
Genevieve Lansell
Edward Gilmartin
The late Amina Belgiorno-Nettis
Bronwyn & Andrew Lumsden
Tom & Julie Goudkamp
Naomi Milgrom ao
Patricia McGregor
Philip Hartog
OCTET $100,000 – $199,999
Trevor Parkin
Brendan Hopkins
John Taberner
Elizabeth Pender
Angus & Sarah James
Robyn Tamke
Daniel & Jacqueline Phillips
Anonymous (2)
Ryan Cooper Family Foundation
PATRONS
LEADER $500,000 – $999,999
QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous
Benjamin Brady
Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman 45
ACO SPECI A L C OMMIS SIONS & SPECI A L PRO JE C T S SPECIAL COMMISSIONS PATRONS
MOUNTAIN PRODUCERS’ SYNDICATE
Peter & Cathy Aird
Major Producers
Gerard Byrne & Donna O’Sullivan
Janet Holmes à Court
Mirek Generowicz
Warwick & Ann Johnson
Peter & Valerie Gerrand
Producers
Corporate Partner
G Graham
Warren & Linda Coli
Lexington Partners
Anthony & Conny Harris
Anna Dudek & Brad Banducci
Manikay Partners
Rohan Haslam
Richard Caldwell
Corporate Supporter
John Griffiths & Beth Jackson
Wendy Edwards
UBS
Lionel & Judy King
David Friedlander
David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson Alison Reeve Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi
Tony & Camilla Gill John & Lisa Kench Charlie & Olivia Lanchester Rob & Nancy Pallin Peter & Victoria Shorthouse
LEAD PATRONS Marc Besen ac & Eva Besen ao
Supporter The Penn Foundation
THE REEF NEW YORK PRODUCERS’ SYNDICATE
INTERNATIONAL TOUR PATRONS
Executive Producers
Mr Robert Albert ao & Mrs Libby Albert
MELBOURNE HEBREW CONGREGATION PATRONS
Alden Toevs & Judi Wolf
Anonymous (1)
The ACO would like to pay tribute to the following donors who support our international touring activities in 2016:
Major Partner
Tony & Michelle Grist Lead Producers Jon & Caro Stewart Foundation Major Producers
SUPPORTER Leo & Mina Fink Fund
EMANUEL SYNAGOGUE PATRONS CORPORATE PARTNERS Adina Apartment Hotels Meriton Group
Linda & Graeme Beveridge
Danielle & Daniel Besen Foundation
LEAD PATRON
Jan Bowen
Janet Holmes à Court ac
The Narev Family
Kay Bryan
Charlie & Olivia Lanchester
Stephen & Jenny Charles
PATRONS
Producers
Ann Gamble Myer
David Gonski ac
Richard Caldwell
Daniel & Helen Gauchat
Lesley & Ginny Green
Warren & Linda Coli
Yvonne von Hartel am & Robert Peck am peckvonhartel architects
The Sherman Foundation
Graham & Treffina Dowland
Janet Holmes à Court
Wendy Edwards
Bruce & Jenny Lane
Doug Elix
Delysia Lawson
Gilbert George
John Leece
Tony & Camilla Gill
Julianne Maxwell
Max Gundy (Board member ACO US) & Shelagh Gundy
Jim & Averill Minto Alf Moufarrige Angela Roberts Mike Thompson Peter Weiss ao
Steve Duchen & Polly Hemphill
Rebecca John & Daniel Flores Patrick Loftus-Hills (Board member ACO US) & Konnin Tam Sally & Steve Paridis (Board members ACO US) Peter & Victoria Shorthouse John Taberner (Board member ACO US) & Grant Lang Alden Toevs & Judi Wolf
46
Justin Phillips & Louise Thurgood-Phillips
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 20 September 2016 PATRONS
Bruce & Joy Reid Trust
Marc Besen ac & Eva Besen ao
Andrew & Andrea Roberts
Dr John Harvey ao & Mrs Yvonne Harvey
Janet Holmes à 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
John Kench
Australian Communities Foundation – Ballandry Fund
John Taberner & Grant Lang
Key Foundation
David & Julia Turner
Anthony & Sharon Lee Foundation
Steven Bardy & Andrew Patterson
Libby & Nick Wright
Mrs Judy Lee
The Belalberi Foundation
E Xipell
Lorraine Logan
Guido Belgiorno-Nettis am & Michelle
Peter Yates am & Susan Yates
Macquarie Group Foundation
Professor Richard Yeo
David Maloney & Erin Flaherty
Peter Young am & Susan Young
Julianne Maxwell
Anonymous (3)
P J Miller
Stephen & Jenny Charles
DIRETTORE $5,000 – $9,999
James Ostroburski & Leo Ostroburski
Rowena Danziger am & Ken Coles am
The Abercrombie Family Foundation
QVB
Mr Bruce Fink
Geoff Ainsworth & Jo Featherstone
John Rickard
Dr Ian Frazer ac & Mrs Caroline Frazer
Geoff Alder
Greg Shalit & Miriam Faine
Ann Gamble Myer
Peter Atkinson
Peter & Victoria Shorthouse
Daniel & Helen Gauchat
Will & Dorothy Bailey Charitable Gift
Jann Skinner
John Grill & Rosie Williams
Veronika & Joseph Butta
Sky News Australia
Kimberley Holden
Caroline & Robert Clemente
St George Foundation
Angus & Sarah James
Darrel & Leith Conybeare
Jon & Caro Stewart
Di Jameson
Mrs Janet Cooke
Anthony Strachan
Miss Nancy Kimpton
Suellen Enestrom
Leslie C. Thiess
Elmer Funke Kupper
Bridget Faye am
Alden Toevs & Judi Wolf
Liz & Walter Lewin
A G Froggatt
Geoff Weir
Andrew Low
Kay Giorgetta
Westpac Group
Anthony & Suzanne Maple-Brown
Colin Golvan qc
Simon & Amanda Whiston
Jim & Averill Minto
Louise Gourlay oam
Shemara Wikramanayake
John & Anne Murphy
Warren Green
Cameron Williams
Louise & Martyn Myer Foundation
Tony & Michelle Grist
Anonymous (5)
Jennie & Ivor Orchard
Liz Harbison
EMERGING ARTISTS & EDUCATION PATRONS $10,000 +
Belgiorno-Nettis Andre Biet Helen Breekveldt Rod Cameron & Margaret Gibbs
Kerry Harmanis
47
MAESTRO $2,500 – $4,999
Jane Allen
Jennifer Aaron
Andrew Andersons
Michael Horsburgh am & Beverley
David & Rae Allen
Philip Bacon am
Horsburgh
DG & AR Battersby
Lyn Baker & John Bevan
Merilyn & David Howorth
Beeren Foundation
Dr David & Mrs Anne Bolzonello
Penelope Hughes
Mr & Mrs Daniel Besen
In memory of Peter Boros
Professor Andrea Hull ao
Jenny Bryant
Brian Bothwell
Sue Hunt
Neil & Jane Burley
Benjamin Brady
Launa & Howard Inman
The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov
Vicki Brooke
John Griffiths & Beth Jackson
Diana Brookes
Owen James
Carol & Andrew Crawford Heather Douglas Anne & Tom Dowling Maggie Drummond Michele Duncan John Gandel ao & Pauline Gandel Robert & Jennifer Gavshon Cass George Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Simon & Katrina Holmes à Court Erica Jacobson Ros Johnson Peter Lovell Jennifer Senior & Jenny McGee Jane Morley Nola Nettheim Sandra & Michael Paul Endowment Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard
Christopher Holmes
Dr Catherine Brown-Watt psm &
Anthony Jones & Julian Liga
Mr Derek Watt
Brian Jones
Jasmine Brunner
Bronwen L Jones
Sally Bufé
Mrs Angela Karpin
Andrew & Cathy Cameron
Josephine Key & Ian Breden
Terry Campbell ao & Christine Campbell
Julia Pincus & Ian Learmonth
Ray Carless & Jill Keyte
Airdrie Lloyd
Patrick Charles
Gabriel Lopata
Angela & John Compton
Colin Loveday
Brooke & Jim Copland
Robin Lumley
R & J Corney
Diana Lungren
Judith Crompton
Garth Mansfield oam & Margaret
John Curotta
Mansfield oam
Ian Davis & Sandrine Barouh
Mr & Mrs Greg & Jan Marsh
Michael & Wendy Davis
David Mathlin
Martin Dolan
Janet Matton
Dr William F Downey
Jane Tham & Philip Maxwell
Daniel Droga
Karissa Mayo
Pamela Duncan
Nicholas McDonald
Emeritus Professor Dexter Dunphy am
Ian & Pam McGaw
Fe & Don Ross
Sharon Ellies
Colin McKeith
D N Sanders
Dr Linda English
Bruce McWilliam
Petrina Slaytor
Peter Evans
Helen & Phil Meddings
Howard & Hilary Stack
Julie Ewington
Michelle Mitchell
John & Josephine Strutt
Elizabeth Finnegan
Glenn Murcutt ao
Ralph Ward-Ambler am & Barbara Ward-Ambler
Michael Fogarty
Stuart Nash
Don & Marie Forrest
Anthony Niardone & Glen Hunter
Richard & Suzie White
Justin & Anne Gardener
Paul O’Donnell
Dr Mark & Mrs Anna Yates
Kerry Gardner
L Parsonage
William & Anna Yuille
M Generowicz
Prof David Penington ac
Anonymous (4)
Brian Goddard
GV Pincus
VIRTUOSO $1,000 – $2,499
In memory of Jose Gutierrez
Lady Primrose Potter ac
Annette Adair
Paul Hannan
Mark Renehan
Linda Addy
Gail Harris
Dr S M Richards am & Mrs M R Richards
Barbara Allan
Lachie Hill
Em Prof A W Roberts am
Samantha & Aris Allegos
Christian Holle
Julia Champtaloup & Andrew Rothery
Mrs Tiffany Rensen
48
J Sanderson
John & Gay Cruikshank
Dr & Mrs Donald Maxwell
In Memory of H. St. P. Scarlett
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John Riedl
Hamiltons Commercial Interiors
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CONCERTINO $500 – $999
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Garry E Scarf & Morgie Blaxill
Elsa Atkin am
Dr Penny Herbert
Carol Schwartz am & Alan Schwartz am
in memory of Dunstan Herbert
Rena Shein
Lyle Banks
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The Sherman Foundation
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In memory of Hatto Beck
Chloe Hooper
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AC O CH A IR M A N’S COUNCIL The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra. Mr Guido Belgiorno-Nettis am Chairman, Australian Chamber Orchestra Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr John Borghetti Chief Executive Officer, Virgin Australia Mr Craig Caesar Mrs Nerida Caesar CEO, Veda Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Michael Chaney ao Chairman, Wesfarmers
Ms Ann Gamble Myer
Ms Gretel Packer
Mr Daniel Gauchat Principal, The Adelante Group
Mr Jeremy Parham Head of Langton’s, Langton’s
Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas
Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects
Mr John Grill ao Chairman, WorleyParsons Mr Grant Harrod Chief Executive Officer, LJ Hooker Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant Mr John Kench Johnson Winter & Slattery Mr Andrew Low Mr David Mathlin Ms Julianne Maxwell
Mr & Mrs Robin Crawford
Mr Michael Maxwell
Rowena Danziger am & Kenneth G. Coles am
Ms Naomi Milgrom ao
Mr David Evans Executive Chairman, Evans & Partners Ms Tracey Fellows Chief Executive Officer, REA Group Mr Bruce Fink Executive Chairman, Executive Channel International Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel
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Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige ao Chief Executive Officer, Servcorp Mr John P Mullen Chairman, Telstra Mr Ian Narev Chief Executive Officer Commonwealth Bank
Mr Mark Robertson oam & Mrs Anne Robertson Mrs Carol Schwartz am Ms Margie Seale & Mr David Hardy Mr Glen Sealey Chief Operating Officer, Maserati Australasia & South Africa Mr Tony Shepherd ao Mr Peter Shorthouse Senior Partner, Crestone Wealth Management Mr Peter Tonagh Chief Executive Officer, FOXTEL Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Mr David & Mrs Julia Turner Ms Vanessa Wallace & Mr Alan Liddle Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Mr Peter Young am & Mrs Susan Young
AC O GOV ER NMEN T PA R T NER S THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT
The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The ACO is supported by the NSW Government through Arts NSW.
The ACO’s 2016 International Festivals Tour is supported by the Australian government through the Ministry for the Arts’ Catalyst—Australian Arts and Culture Fund
AC O COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director, Reserve Bank of Australia Guido Belgiorno-Nettis am Chairman, ACO Bill Best Maggie Drummond
Paul Cochrane Investment Advisor, Bell Potter Securities Ann Gamble-Myer Colin Golvan qc Shelley Meagher Director, Do it on the Roof
EVENT COMMITTEES SYDNEY
BRISBANE
Liz Lewin (Chair)
Philip Bacon
Jane Adams
Kay Bryan
Lillian Armitage
Andrew Clouston
Lucinda Cowdroy
Ian & Caroline Frazer
Sandra Ferman
Cass George
JoAnna Fisher
Edward Gray
Fay Geddes
Wayne Kratzmann
Tony Gill
James Ostroburski
John Kench Johnson Winter & Slattery
Joanna Szabo
Julie Goudkamp
Helen McVay
Simon Thornton Executive General Manager, Toll IPEC
Deb Hopper
Shay O’Hara-Smith
Lisa Kench
Marie-Lousie Theile
Jules Maxwell
Beverley Trivett
DISABILITY ADVISORY COMMITTEE
Karissa Mayo
Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts
Elizabeth McDonald
Jennie Orchard Tony O’Sullivan Peter Shorthouse Senior Partner, Crestone Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton
MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Debbie Brady
Edwina McCann Nicole Sheffield John Taberner Lynne Testoni
Paul Nunnari Manager Event Access & Inclusion NSW Government Alexandra Cameron-Fraser Chief Operating Officer, ACO Sally Crawford Patrons Manager, ACO Dean Watson Customer Relations & Access Manager, ACO
PEER R E V IE W PA NEL S EDUCATION PEER REVIEW PANEL Lyn Williams oam Jane Davidson
John Benson Helen Champion
Theo Kotzas Zoe Arthur
Siobhan Lenihan Marshall McGuire Jane Davidson Alan Dodge
Lyn Williams oam Yarmila Alfonzetti Toby Chadd Elaine Armstrong
ARTISTIC PEER REVIEW PANEL Jim Koehne Anthony Peluso John Painter Mary Vallentine ao
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ACO PA S ACO PAR TRNER T NERS
WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT
PRINCIPAL PARTNER
PRINCIPAL PARTNER: ACO COLLECTIVE
NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
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EVENT PARTNERS
IMAGE BY JACK SALTMIRAS
Richard Tognetti AO, Timo-Veikko Valve, the Board, musicians and management of the ACO wish to express their heartfelt gratitude to Peter Weiss AO, who has given the Orchestra his 1729 Guarneri filius Andreae cello. Peter is the ACO’s most generous Patron in its 40-year history and we thank him for this extraordinary gift.
The ACO and Voyages Ayers Rock Resort are delighted to once again present three sublime concerts over one sensational weekend at the ACO Uluru Festival, 2-4 June 2017. Led by Richard Tognetti, these three transcendental concerts will be complemented by memorable, unique dining events and tailored cultural tours to immerse yourself in the spiritual heart of Australia.
Book early to avoid disappointment. Visit www.ayersrockresort.com.au/ acoulurufestival or call 1300 134 044 EVENT PARTNER
ACO NE W S AN E VENING WOTH THE ACO: MELBOURNE FUNDR AISING DINNER Our annual Melbourne Fundraising Dinner was held on Thursday 16 June at Malvern Town Hall, at which 150 of our Melbourne supporters joined together to help raise vital funds for our Education Program. Guests were treated to a brilliant performance by Richard and the Orchestra of music by Bach, Saint-Saëns, Walton and Weill (featuring a spontaneous tango performance by Glenn and Maja), followed by Satu singing Hollaender’s ‘Wenn ich mir was wünschen dürfte’. Paul Froggatt, Executive Chef at Relais & Châteaux member property Huka Lodge (New Zealand) was flown over especially by our Principal Partner Virgin Australia to cook an amazing three-course feast for our guests, showcasing the finest produce from New Zealand.
ABOVE: Debbie Brady and Jeannie Vandervelde. BELOW LEFT: Maja and Glenn dancing the Tango. BELOW RIGHT: Guido Belgiorno-Nettis am, Carol Schwartz am and Louise Myer. BOTTOM LEFT: Jenny McGee, Jenny Senior and Mandy Lovell. BOTTOM RIGHT: Chef Paul Froggatt, Maja Savnik and Peter Yates am draw the Georg Jensen raffle. Photos: Kit Haselden
After dinner, guests were given first-hand experience of our Education Program as they were transported back to the classroom by the ACO Inspire Quartet in a demonstration of our Music & Art program, which encourages students to create artworks in response to the music. The event was a great success, raising over $140,000 to support our National Education Program, particularly our activity in Victoria. This support will help us to deliver an ACO Collective tour to regional Victoria, our program with the Australian Children’s Music Foundation will be introduced at three primary schools in Sunshine, as well as expanding our exciting new ACO Music & Art programs at Worawa Aboriginal College and the Royal Children’s Hospital Melbourne. We would like to thank Peter Yates and the Melbourne Development Council for their support.
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AC O AT EMANUE L SYNAG OGUE TU ES DAY 8 N OV E M B E R 2016 | 7: 0 0PM
The Australian Chamber Orchestra is thrilled to return to B OOK N OW Emanuel Synagogue for a second inspiring performance www.emanuel.org.au/ACO in its elegant surrounds. Led once again by Richard Tognetti AO, its Artistic Director, the ACO will perform extracts from works ranging from Mozart’s rousing, dramatic Concerto No.5 ‘The Turkish’; to the passionate Jewish spirit and soul of Bloch’s From Jewish Life and then the achingly beautiful Adagio for Strings by Barber.
Premium package $160 (includes drinks and canapés with Richard Tognetti and the ACO musicians following the performance) A Reserve $110 B Reserve $85 Enquiries aco@emanuel.org.au
Emanuel Synagogue is proud to donate one quarter of the profits from ticket sales to Jewish Care’s White Lead Patron The Narev Family Ribbon Australia initiatives. Corporate Partners Emanuel Synagogue 7 Ocean Street, Woollahra Adina Apartment Hotels 7:00pm (doors open 6:30pm) Meriton Group
Patrons David Gonski AC Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
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