ACO Collective: Death & Maiden

AU ST R A L IAN CH AM BER ORCH ESTRA PRES ENTS

DIRECTED BY M AL IN BRO MAN

14 –23 J UNE VIC TOU R PRINCIPAL PARTNER: ACO COLLECTIVE

PRESENTING PARTNER

MESSAGE FROM THE MANAGING DIRECTOR

It is hard to fathom that Schubert lived for only 31 years. During his short life, he composed some 1,500 pieces. On average, assuming he wasn’t composing from birth, he wrote more than one piece per week for his entire life.

This is even more impressive when you consider the timeless quality of his compositions, three of which are being performed on this tour. You will hear both the original Death and the Maiden lied (song), in an arrangement by Marco Mazzeo, as well as his majestic String Quartet in D minor, which uses the lied as its inspiration, in an arrangement by ACO Artistic Director Richard Tognetti. The program begins with a short Rondo, composed when Schubert was just 19.

Rounding out the program, we have pieces from a pair of British composers, separated by some 300 years or so. Two songs by John Dowland will be followed by pioneering 20th-century musical icon Benjamin Britten’s homage to Dowland, written for violist William Primrose.

For this tour, ACO Collective Artistic Director Pekka Kuusisto has entrusted our six Emerging Artists to accomplished Guest Director, Malin Broman. We are delighted to welcome Malin to the ACO family.

I thank Virgin Australia for supporting ACO Collective on this tour. As the ACO’s Principal Partner, we rely heavily on Virgin to enable us to fulfil our performances across the country, and for this, we are eternally grateful. Special and significant thanks also to Wesfarmers Arts, ACO Collective’s Principal Partner. Their vision and generosity enables tours such as these to come to fruition.

I do hope that you enjoy the concert.

Richard Evans 2

AUSTRALIAN CHAMBER ORCHESTRA

MESSAGE FROM THE PRINCIPAL PARTNER

Wesfarmers’ association with the Australian Chamber Orchestra goes back a long way. Eighteen years after we first worked together to bring this wonderful Orchestra to Perth on a regular basis, we are now delighted to be able to help the ACO reach out into our regional communities in Western Australia and beyond as the Principal Partner of ACO Collective.

This tour will show communities across Victoria the vitality and energy that has delighted audiences right across the country since the ensemble was formed in 2007.

It is a privilege and a joy to support the tremendous work of the ACO as part of our commitment to making a broader contribution to the communities in which we live and work. We hope you enjoy this performance as much as we have enjoyed bringing it to you.

PRINCIPAL PARTNER ACO COLLECTIVE

Richard Goyder AO Managing Director Wesfarmers

AUSTRALIAN CHAMBER ORCHESTRA

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PrinciPal Partner

PROGRAM SCHUBERT

RONDO IN A MAJOR FOR VIOLIN AND STRINGS, D.438

DOWLAND (arr. Marco Mazzeo)

FLOW, MY TEARES

DOWLAND (arr. Marco Mazzeo)

IF MY COMPLAINTS COULD PASSIONS MOVE

BRITTEN

LACHRYMAE, OP.48A

INTERVAL SCHUBERT (arr. Marco Mazzeo)

DEATH AND THE MAIDEN, D.531

SCHUBERT (arr. Richard Tognetti)

STRING QUARTET IN D MINOR, D.810 ‘DEATH AND THE MAIDEN’ I. Allegro II. Andante con moto III. Scherzo: Allegro – Trio IV. Presto – Prestissimo

Approximate durations (minutes):

14 – 5 – 3 – 15 – 20 – 3 – 39

The concert will last approximately one hour and 40 minutes, including a 20-minute interval.

TOUR DATES BALLARAT – Art Gallery of Ballarat Thursday 15 June, 7.30pm

HEALESVILLE – The Memo Wednesday 14 June, 7.30pm

BENDIGO – The Capital Saturday 17 June, 8pm

HORSHAM – Town Hall Theatre Sunday 18 June, 3pm

HAMILTON – Performing Arts Centre Wednesday 21 June, 7.30pm

WARRNAMBOOL – Lighthouse Theatre Friday 23 June, 7.30pm

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ABOUT THE MUSIC FRANZ SCHUBERT Born Vienna 1797. Died Vienna 1828.

RONDO IN A MAJOR FOR VIOLIN AND STRINGS, D.438 This concert is called ‘Death and the Maiden’ after the nickname for Schubert’s great D minor string quartet. But there is a subtext of death and youth behind much of the other music as well.

Franz Schubert

‘. . . [H]e was a model of childlike affection and brotherly good nature. All who knew him were attracted to him. . .’ – so said an obituary for Schubert, when he died at the age of just 31, in the Wiener Zeitschrift für Kunst, 11 December 1828. But this Rondo is a work from Schubert’s 20th year. It is thought to have been written to highlight the violin skills of either himself or his brother, Ferdinand, another member of a family so musical it had had its own string quartet, formed in 1811.

We get a very strong sense of the convivial nature of the young Schubert from the memoirs of his friends. Anselm Hüttenbrenner has given us the memorable visual description of the 18-year-old: short of stature, with a full, round face, rather stout, and ‘. . . spectacles, which he did not take off even during sleep. . . ’ But what is most remarkable about the young Schubert is the way he teemed with music. The teenage Franz wrote a new song roughly every three days.

So, what is this piece like? In two clearly-defined movements, it begins with an Adagio so lyrical we can well understand that Schubert’s teacher, Salieri, had urged him to find models in Italian opera. A tripping folk-dance-like theme begins the Rondo whose episodes are formally enlarged through developmental passage-work and changes of key. Perhaps this rondo gives few hints of darker currents that might lurk in Schubert’s music, but the previous year Schubert had written his Erlking, the great song that, like Death and the Maiden, conveys death in a harrowing personification.

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JOHN DOWLAND Born London 1563. Died London 1626.

FLOW, MY TEARES IF MY COMPLAINTS COULD PASSIONS MOVE arr. Marco Mazzeo

John Dowland

‘[N]ow recognised,’ according to New Grove Dictionary of Music and Musicians, ‘as the greatest English composer of lute music and lute songs’, Dowland’s music is often associated with melancholy. One of his most famous numbers is Semper Dowland semper dolans, which translates as ‘Always Dowland, always sorrowful.’ But life could be truly precarious life for a catholic in Elizabethan times. Writing to Lord Robert Cecil from Nuremberg in 1595, he pleaded ‘I never loved treason nor treachery nor never knew of any’ after having incautiously fallen in with anti-Elizabethan plotters in Italy. The greatest setbacks he actually suffered though were probably the continual failure to secure appointments in England.

‘Flow, my teares’ was originally composed as a lute piece called Lachrymæ pavane in 1596, with words subsequently added when it was published in his Second Book of Songs in 1600. This luxuriously beautiful arye would become Dowland’s most famous, and has been called ‘probably the most widely known English song of the early 17th century ’.

The song, which uses the dance form of a pavan, begins with a descending motif (a-g-f-e) popularly known as the ‘tear motif’ (hence the Latin: lachrymæ), which has been used in numerous laments throughout history – both as a melody and as a ground bass (e.g. in Monteverdi’s Lamento della ninfa). In 1604, Dowland would publish a set of instrumental variations on the theme called Lachrimae, or Seaven Teares, evoking tears shed not only in sorrow, but ‘in joy and gladness’. Benjamin Britten would quote the work in the sixth variation of his own Lachrymae, itself a set of variations on another song of Dowland’s.

‘If my complaints could passions move’, from Dowland’s First book of Songs from 1597, would be the inspiration for Britten’s Lachrymae. ‘If my complaints’ uses the rhythms of a galliard to express not only the joys but the sorrows of love.

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BENJAMIN BRITTEN Born Lowestoft 1913. Died Aldeburgh 1976.

LACHRYMAE, OP.48A

Benjamin Britten and his dog Clytie

Extraordinarily partial, Benjamin Britten so loved Dowland’s music that a mild joke about it could see a friend frozen out. In 1950, the great violist William Primrose (later to move to Wollongong, and one of ACO Artistic Director Richard Tognetti’s first teachers) visited the music festival that Britten and his partner Peter Pears and Eric Crozier (director of Britten’s opera, Peter Grimes and librettist for Albert Herring) had founded at Aldeburgh in England’s east.

As a ‘reward’ to Primrose for coming, Britten composed a series of variations for viola and piano on a song of Dowland’s – ‘If my complaints could passions move’. Britten’s title for the work, Lachrymae, plays to the public’s doleful view of Dowland. At the technical level however, the work is a miniature masterpiece of variation.

After an introduction using one of Dowland’s later phrases, the variations begin with Dowland’s song in the bass but the song breaks off as it begins to generate Britten’s variations. Thus Britten only uses the first two lines of the song so that each variation ends as if referring to the music for ‘Or make Love see wherein I suffer wrong’. In the sixth variation Britten quotes the Dowland song, ‘Flow, my teares’. Then he continues working the opening strain of the Dowland song until the final bars of Dowland’s song appear entirely in their original harmonisation. The effect is reminiscent of the poignant quotation of the Corinthian folksong in the Violin Concerto (‘To the memory of an angel’) of Alban Berg, whom Britten also much admired.

The arrangement for viola and string orchestra was made by Britten in February 1976 to honour a promise he had made to violist, Cecil Aronowitz.

Britten knew by this stage that his heart valve replacement had not worked but he was probably too weak to undergo another operation. He made his will in March.

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AUSTRALIAN CHAMBER ORCHESTRA

FRANZ SCHUBERT DEATH AND THE MAIDEN, D.531 arr. Marco Mazzeo Like The Erlking, Death and the Maiden, is a harrowing account of a young person’s encounter with Death. The single page of music sets two stanzas only. The simple form is chilling. After a spare chordal introduction, the agitated maiden sings, ‘Pass me by, wild man of bones. . . ’ Then Death replies in his heavy D minor: ‘Give me your hand. . . I am a friend and come not to punish you. . . ’ The music modulates to major tonality (D major in the last bars). The brightening of tone actually increases the sense of finality.

Franz Schubert

But Schubert wrote this piece in February of 1817, not long after he’d written the Rondo. Could a 20-year-old really have such sober apprehension? But death was a familiar presence in the 19th century. The deaths of nine of Schubert’s siblings in infancy was only slightly worse than the general 50% infant mortality rate of the time.

FRANZ SCHUBERT STRING QUARTET IN D MINOR, D.810 DEATH AND THE MAIDEN arr. Richard Tognetti I. Allegro II. Andante con moto III. Scherzo: Allegro – Trio IV. Presto – Prestissimo Schubert had been hospitalised in 1823, probably with the syphilis that would eventually claim his life. In February, he wrote to Leopold Kupelwieser: ‘Think of a man whose health can never be restored. . . ask yourself if such a man is not truly unhappy.’

This 1824 quartet gets its nickname from the 1817 song, Death and the Maiden, which is used as a source of material for the second movement. The second movement’s theme is based essentially on the song’s solemn chordal introduction and Death’s reply to the girl. The harmonic rhythm of the theme is retained in each variation, only one of which turns to the major key, a rare lightening of mood in this pervasively minor-key work.

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But is it too far-fetched to hear Death’s insinuations in the lyrical second subject of the ferocious first movement? The piece begins with a powerful D minor tattoo, whose triplets underlie much of the next 15 minutes. When the music turns to the major for the second subject, can we really relax?

The first violin takes flight with almost hysterical semiquavers and hammering semiquavers serve also with triplets as impulses for further development of the ideas. The movement ends quietly, but the sinister note continues with several chromatic inflections before the final soft thuds. To read this movement as a ‘wrestling with Death’ could be a huge overstatement, but certainly the music is a statement of defiance. The tight organisation of ideas represents intense intellectual control.

Franz Schubert by Gustav Klimt

The second movement has ended quietly, but quiescence is short-lived as the music plunges into the scherzo. It has been suggested a presentiment of Wagnerian sword-forging music can be heard here. The Trio, however, contrasts very dramatically with arguably the most benign music of the whole work. The next and final movement is a wild and exhausting tarantella. ‘Death’ obviously appears when an invigoratingly expansive melody transforms into an echo from 1816 of the Erlking’s response: ‘You lovely child, come with me.’

Perhaps this work was composed under cover of great despair, but there is much to celebrate as well. 1824 saw the production of some of Schubert’s greatest masterworks – not only this, but the A minor and G major quartets and the Great C major symphony, No.9. Finally, this work is also an overwhelmingly impressive piece of musical architecture – all achieved against the grain of real-life setbacks and fear. ‘O Death, where is thy sting?’

Gordon Kalton Williams © 2017

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AUSTRALIAN CHAMBER ORCHESTRA

MALIN BROMAN GUEST DIRECTOR AND VIOLIN/VIOLA

Malin Broman is highly sought after as a soloist, artistic director, chamber musician, teacher and orchestral leader. Over the past two decades she has performed as soloist with numerous orchestras including BBC Scottish Symphony Orchestra, BBC National Orchestra of Wales, Gothenburg Symphony Orchestra and St Martin in the Fields. In 2008 Malin was appointed concertmaster of the Swedish Radio Symphony Orchestra with which she has recorded Nielsen’s Violin Concerto, commissioned a violin concerto from Helen Grime (premiered under the baton of Daniel Harding) and a double concerto from Britta Byström.

Malin Broman

She is frequently invited to guest lead the Chamber Orchestra of Europe, Mahler Chamber Orchestra, Philharmonia Orchestra and London Symphony Orchestra amongst others. She is increasingly in demand as a soloist/ artistic director and have worked as such with Trondheim Soloists, Västerås Sinfonietta, Gävle Symphony Orchestra and Swedish Radio Symphony Orchestra. From the 15/16 season she took up the post of Artistic Director for the Musica Vitae chamber orchestra a contract currently running until 2019.

A passionate chamber musician, Malin is a founder member of the internationally acclaimed Kungsbacka Piano Trio and Stockholm Syndrome Ensemble. From 2004 to 2010 she was a member of the Nash Ensemble.

She plays regularly with pianist partner Simon Crawford-Phillips.

In 2008 Malin was appointed viola Professor at Edsberg Music Institute.

She plays a rare Guadagnini violin dated 1782 and a 1861 Bajoni viola, both generously loaned by the Järnåker foundation.

Malin’s performances have been broadcast on BBC Radio 3, Swedish Radio and throughout Europe. She has recorded over 30 discs with labels including Hyperion, NAXOS, Channel Classics, Daphne Records and BIS Records.

In 2002 Malin was presented with the Halland Academy’s Award for Outstanding Cultural Achievement, and in 2008, she was elected a member of the Royal Swedish Academy of Music. www.malinbroman.com

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ACO COLLECTIVE Ten years ago, ACO Collective began its musical journey across the country.

Since then, the ensemble has performed in more than 85 regional centres in every state and territory, all of Australia’s state capitals, and has toured to Japan. Now, the Orchestra celebrates its 10th anniversary touring regional Victoria, New South Wales and Queensland.

ACO Collective (formerly known as ACO2 ) is the ACO’s critically acclaimed 17-piece string ensemble which delivers the ACO’s regional touring and education programs Australia-wide. The Ensemble combines musicians of the ACO with Australia’s most talented young professional musicians at the outset of their careers, creating an orchestra with a fresh, energetic performance style.

2017 marks not only the 10th anniversary of the Ensemble, but also the second year of the brilliant violinist Pekka Kuusisto as its Artistic Director.

ACO Collective, under Kuusisto’s direction, opened the ACO’s 2016 National Subscription season with an 11-concert tour of Sydney, Melbourne, Brisbane, Canberra, Adelaide and Newcastle.

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AUSTRALIAN CHAMBER ORCHESTRA

MUSICIANS ON STAGE Violin Malin Broman Aiko Goto 1 Liisa Pallandi 1 Benjamin Adler 3 Amy Brookman 3 Natalia Harvey 2 Madeleine Jevons 3 Kyla Matsuura-Miller 2 * Lachlan O’Donnell 3 Rollin Zhao 2

Viola Caroline Henbest 1 Justin Julian 2 Elizabeth Woolnough 3

Double Bass John Keene 2 ACO 2017 Emerging Artist 3 Emerging Artist alumni * appears courtesy of the Australian National Academy of Music 1

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Cello Julian Thompson 1 Alexandra Partridge 3 Jack Ward 2

2017 EMERGING ARTISTS The Emerging Artists’ Program connects the next generation of string musicians with the stars of the ACO in a dynamic ensemble with a fresh and unique sound of their own.

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NATALIA HARVEY VIOLIN Natalia completed her Bachelor of Music at the Australian National University (ANU). During her time at ANU, she received an orchestral scholarship of $6000 with the Canberra Symphony Orchestra in 2010, won the Kate Buchdahl Memorial Prize for highest Violin Performance result in 2012 and in the same year was awarded First Place in the Canberra String Festival Open Solo Competition. Natalia was a student at the Australian National Academy of Music (ANAM) between 2013-2015, where she was a finalist in the ANAM Chamber Music Competition in both 2013 and 2015, also winning the 3MBS Listeners Award in 2015. In 2016 she played with Mahler Chamber Orchestra in Germany as part of their prestigious Academy program, and won Third Place and the Holdsworth Family Bach Prize in the Gisborne International Music Competition. Natalia is a casual member of the Melbourne Symphony Orchestra, a member of both the Melbourne Chamber Orchestra and the Australian Brandenburg Orchestra.

JUSTIN JULIAN VIOLA Justin Julian studies viola with Roger Benedict at Sydney Conservatorium on a full scholarship. In addition to his studies, Justin has a busy professional life working as a casual violist with the Sydney Symphony Orchestra, Opera Australia Orchestra, and Canberra Symphony Orchestra. Justin was Principal Viola of the Australian Youth Orchestra’s National Music Camp at the age of 15, and has since participated in numerous AYO programs. Justin will be attending the 2017 Estivo Summer School in Verona with his recently formed string quartet, Voces Quaternae. As a soloist, he has performed in the Sydney Opera House Concert Hall, and appeared in masterclasses for Randolph Kelly, Kate Hamilton, William Coleman and Ivo Jan Van-der Werff, amongst others.

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AUSTRALIAN CHAMBER ORCHESTRA

JOHN KEENE DOUBLE BASS John Keene is a Sydney-based double bassist and conductor. He was the Sydney Symphony Orchestra’s Double Bass fellow in 2015 and 2016. In 2016, he performed as a soloist with the Sydney Conservatorium of Music Chamber Orchestra, having won the Conservatorium’s 2015 string concerto competition. John is a casual musician with the Sydney, Melbourne, Adelaide, and Tasmanian Symphony Orchestras. In 2015, he was selected to participate in the Symphony Services International Core Conductors Program, and in 2016 attended eight conducting masterclasses with Australian and New Zealand professional orchestras. In 2017, he is continuing in his studying a Bachelor of Music (Double Bass Performance) at the Sydney Conservatorium of Music, and conducts his own orchestra, ensemble nouveau.

KYLA MATSUURA-MILLER VIOLIN Kyla studied with Phillip Taylor and then Michele Walsh at the Queensland Conservatorium and largely attributes her desire to become a professional musician to her association with the Queensland and Australian Youth Orchestras. Through AYO Kyla was recipient of the Richard Pollett Memorial Award in 2017. In 2015, Kyla moved down to Melbourne to study with Dr Robin Wilson at the Australian National Academy of Music (ANAM).

Solo and chamber highlights of her time at ANAM have included playing in masterclasses with Richard Tognetti, Maxim Vengerov, Anthony Marwood, Noah Bendix Balgley and the Tinalley quartet. She was the 2016 recipient of the Audience Choice and Best Sonata prizes at the Kendall National Violin Competition. She also performed as a soloist in Max Richter’s Four Seasons Recomposed in Brisbane to critical acclaim.

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JACK WARD CELLO Jack’s passion is chamber music and collaboration. Highlights include performances at the Melbourne, Perth and Canberra Festivals and Four Winds Festival. As an orchestral musician, Jack has performed with the Melbourne and Adelaide Symphony Orchestras, Copenhagen Philharmonic, Orchestra Victoria and Sydney Symphony Sinfonia. In 2016, Jack joined the Penny Quartet for performances at the Melbourne Recital Centre and recitals in Sydney and Brisbane. Jack studied his Master’s with Andreas Brantelid at the Royal Danish Academy of Music. Previous teachers include Howard Penny at ANAM, Janis Laurs, Georg Pedersen and private tutelage from Nicolas Alstaedt, Johannes Moser and Alban Gerhardt. Jack also performs in improvised and contemporary music settings, including performances in the NowNow, Lalala series and the Griffin Theatre Company.

ROLLIN ZHAO VIOLIN Rollin Zhao is fortunate to be joining the ACO Collective on tour as a 2017 Emerging Artist. As a violinist brought up in youth music ensembles, Rollin is particularly fond of making music together with others. From 2014-2015, he studied at the Australian National Academy of Music, and enjoyed his time there performing as a member of the Beren Quartet. Since 2012, Rollin has participated actively in Australian Youth Orchestra programs and has held principal positions on numerous occasions. Returning to Brisbane in 2016, Rollin completed his Bachelor of Music with First Class Honours from the University of Queensland, and was a joint recipient of the Music Honours Prize. He continues his studies this year as an MPhil candidate at UQ with Adam Chalabi.

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AUSTRALIAN CHAMBER ORCHESTRA

ACO NATIONAL EDUCATION PROGRAM 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 PATRONS

Michael & Helen Carapiet

Louise & Martyn Myer Foundation

Marc Besen AC & Mrs Eva Besen AO Janet Holmes à Court AC

Stephen & Jenny Charles

Jennie & Ivor Orchard

Rowena Danziger AM & Ken Coles AM

Bruce & Joy Reid Trust

Irina Kuzminsky & Mark Delaney

Andrew & Andrea Roberts

Mr & Mrs Bruce Fink

Mark & Anne Robertson

Dr Ian Frazer AC & Mrs Caroline Frazer

Margie Seale & David Hardy

Ann Gamble Myer

Rosy Seaton & Seumas Dawes

Daniel & Helen Gauchat

Tony Shepherd AO

Kimberley Holden

Anthony Strachan

Di Jameson

Leslie C. Thiess

John & Lisa Kench

David & Julia Turner

Miss Nancy Kimpton

Libby & Nick Wright

Liz & Walter Lewin

E Xipell

EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Geoff Alder Australian Communities Foundation – Ballandry Fund Steven Bardy & Andrew Patterson The Belalberi Foundation Anita & Luca Belgiorno-Nettis Foundation Guido Belgiorno-Nettis AM & Michelle Belgiorno-Nettis Helen Breekveldt Rod Cameron & Margaret Gibbs

Andrew Low

Peter Yates AM & Susan Yates

Anthony & Suzanne Maple-Brown

Peter Young AM & Susan Young

Jim & Averill Minto

Anonymous (3)

ACO NEXT 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

Rebecca Gilsenan & Grant Marjoribanks

Michael Radovnikovic

Clare Ainsworth Herschell

Adrian & Monica Giuffre

Jessica Read

Lucinda Bradshaw

Aaron Levine & Daniela Gavshon

Louise & Andrew Sharpe

Justine Clarke

Royston Lim

Emile & Caroline Sherman

Este Darin-Cooper & Chris Burgess

Gabriel Lopata

Michael Southwell

Amy Denmeade

Rachael McVean

Helen Telfer

Catherine & Sean Denney

Carina Martin

Karen & Peter Tompkins

Jenni Deslandes & Hugh Morrow

Barry Mowzsowski

Joanna Walton

Mandy Drury

Paris Neilson & Todd Buncombe

Nina Walton & Zeb Rice

Anthony Frith & Amanda Lucas-Frith

James Ostroburski

Peter Wilson & James Emmett

Alexandra Gill

Nicole Pedler & Henry Durack

John Winning Jr.

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THANK YOU The ACO would like to thank the supporters of ACO Collective’s Victorian Tour. In particular, we thank our government and corporate partners, the trusts and foundations, members of ACO Next and the many generous patrons of our Emerging Artists’ and Education Programs who have made this tour possible.

PRESENTING PARTNERS PRINCIPAL PARTNER: ACO COLLECTIVE

PRINCIPAL PARTNER

PATRONS – NATIONAL EDUCATION PROGRAM Marc Besen ac & Eva Besen ao

Janet Holmes à Court ac

GOVERNMENT PARTNERS

TRUSTS AND FOUNDATIONS

Holmes à Court Family Foundation

The Ross Trust

VENUE PARTNERS

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City of Ballarat

Yarra Ranges Council

Greater Bendigo City Council

Horsham Rural City Council

Hamilton Performing Arts Centre

Warrnambool City Council

AUSTRALIAN CHAMBER ORCHESTRA

NATIONAL EDUCATION PROGRAM ANNUAL GIVING APPEAL 2017 YOUR DONATION WILL MAKE A DIFFERENCE Support our National Education Program and bring the music you love to young people around Australia.

TO DONATE PLEASE VISIT ACO.COM. AU/2017EDUCATION For more information, please contact Sally Crawford, Patrons Manager on (02) 8274 3830 or email sally.crawford@aco.com.au

Richard Tognetti AO Artistic Director Pekka Kuusisto ACO Collective Artistic Director Richard Evans Managing Director Phillippa Martin ACO Collective Manager Caitlin Gilmour Education Coordinator Opera Quays, 2 East Circular Quay Sydney NSW 2000 PO Box R21 Royal Exchange NSW 1225 Administration 02 8274 3800 (Mon–Fri, 9am–5pm) Email aco@aco.com.au Web aco.com.au /AustralianChamber Orchestra

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