TARRAWARRA FESTIVAL 7 – 8 MARCH 2015
EVENT PARTNER
M E S SAG E F RO M ACO G E N E R A L M A N AG E R
There can be no setting more exquisite for a weekend of music than the TarraWarra Museum of Art, especially as early autumn starts to turn the leaves of the Yarra Valley from brilliant green to richer tones of gold and red. Since the Australian Chamber Orchestra’s first performance in the Museum four years ago, this annual musical weekend has grown into one of the most sought after events on the calendar, and an eagerly anticipated artistic experience for Richard Tognetti and the musicians of the ACO. We are enormously grateful to Museum Director Victoria Lynn for welcoming the Orchestra into the superbly curated gallery spaces, enabling the sound worlds of composers as diverse as Bach and Sculthorpe, Vivaldi and Barber, Tchaikovsky and Mustonen, to reverberate through and collide with the unsurpassed collection of modern Australian art which gives TarraWarra its distinctiveness. At the heart of the whole festival is the warm generosity of our hosts Eva Besen AO and Marc Besen AC who have made lifelong contributions to Australian cultural life which have touched millions over many decades. The ACO has been one of countless fortunate beneficiaries of their patronage and we relish this opportunity to thank them most sincerely for their faith in the ACO’s vision. Timothy Calnin General Manager Australian Chamber Orchestra
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F E STI VA L OV E RV I E W
A SCULTHORPE HOMAGE Saturday 7 March, 12.30pm Richard Tognetti Artistic Director and Lead Violin Satu Vänskä Violin Timo-Veikko Valve Cello VIVALDI Concerto for Strings and Continuo in C major, RV117 SCULTHORPE Djilile for string orchestra SCULTHORPE Sonata for Strings No.2 VIVALDI Concerto in A minor, Op.3, No.6, RV356 from L’estro armonico SCULTHORPE Sonata for Strings No.1 VIVALDI Concerto in D minor, Op.3, No.11, RV565 from L’estro armonico
COLOUR AND STRUCTURE Saturday 7 March, 6pm Richard Tognetti Artistic Director and Lead Violin BACH Contrapunctus 1–4 from The Art of Fugue, BWV1080 DEBUSSY (arr. Moore) Allegro vivo from Sonata for Violin and Piano MUSTONEN Nonet No.2 FRANCK (arr. Tognetti) Allegretto ben moderato from Sonata for Violin and Piano in A major STRAVINSKY Apotheosis from Apollo SAINT-SAËNS (arr. Tognetti) Introduction & Rondo capriccioso, Op.28
MASTERCLASS Sunday 8 March, 11am Quartet Masterclass led by ACO Principal Cello Timo-Veikko Valve Featuring students from the Australian National Academy of Music PROKOFIEV Allegro from String Quartet No.1 in B minor, Op.50
ITALY FROM THE OUTSIDE Sunday 8 March, 2.30pm Richard Tognetti Artistic Director and Lead Violin MOZART Divertimento in F major, K.138 BARBER Adagio for strings TCHAIKOVSKY Souvenir de Florence, Op.70
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A SC U LTH O R P E H O M AG E
Saturday 7 March, 12.30pm ANTONIO VIVALDI (1678–1741) Concerto for Strings and Continuo in C major, RV117 I. Allegro alla francese II. Largo III. Allegro PETER SCULTHORPE (1929–2014) Djilile for string orchestra PETER SCULTHORPE Sonata for Strings No.2 Lontano – Molto preciso – Calmo – Molto preciso – Grave ANTONIO VIVALDI Concerto in A minor, Op.3, No.6, RV356 from L’estro armonico I. Allegro II. Largo III. Presto Richard Tognetti Violin PETER SCULTHORPE Sonata for Strings No.1 I. Sun Song II. Chorale III. Interlude IV. Chorale V. Sun Song ANTONIO VIVALDI Concerto in D minor, Op.3, No.11, RV565 from L’estro armonico I. Allegro – II. Adagio-spiccato e tutti – Allegro – adagio III. Largo e spiccato IV. Allegro Richard Tognetti Violin Satu Vänskä Violin Timo-Veikko Valve Cello
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A SC U LTH O R P E H O M AG E
The relationship between the music of the late Peter Sculthorpe and composers of the Baroque is subtle but strong. Like Bach and Handel, Corelli and Vivaldi, Sculthorpe had an instinctive feel for the glories of a string ensemble, and, as a ‘reformed’ double bass player, his music is often built, like that of the Baroque, on a strong bass foundation. Ian Fairweather Chi-tien stands on head 1964 synthetic polymer paint and gouache on cardboard on composition board 64.8 x 99.1 cm Gift of Eva Besen AO and Marc Besen AO 2014, TarraWarra Museum of Art collection © Ian Fairweather/DACS. Licensed by Viscopy, 2014
There is a hint of ‘Jesu, joy of man’s desiring’ in My Country Childhood, and figurations based on Bach’s keyboard works appear transformed, as musicologist Graeme Skinner has noted, in Love 200, Love 201 and the first movement of Snow, Moon and Flowers. The latter work reminds us, too, that Sculthorpe, like Vivaldi, enjoyed celebrating the natural world in his music. Born in Venice in 1678 and ordained a priest in 1703, Vivaldi had enjoyed great success during his lifetime as violin virtuoso, entrepreneur and composer. His playing was clearly prodigious. One contemporary describes how Vivaldi ‘put his fingers but a hair’s breadth from the bow, so that there was scarcely room for the bow’. About 50 of Vivaldi’s 500 concertos are ripieno concertos, which have no soloist(s). The first movement of the C major Concerto (RV117) is subtitled ‘French’, but, though it avoids the slow-fast pattern of the ‘French’ overture, it has several French features: the swirling upbeat before an insistent statement of tonic and
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dominant harmony at the start, and the prevalence of dotted rhythms. These also activate the simple contrapuntal textures of the slow movement. The finale has some echoes of the French gavotte. Sculthorpe’s references to Indigenous music connect his work to this country’s ancient human culture. One of Sculthorpe’s earliest borrowings was of a song, recorded in Arnhem Land by AP Elkin in the 1950s, Djilile (Whistling-duck on a billabong), which he used in a number of works. In recent years the sacred provenance of the song has led to some controversy, though as Skinner notes, it is ‘close to unrecognisable from the very approximate adaptation of the tune … Sculthorpe hoped that his continued respectful references to the tune might be approved of’. This version of the piece was composed for the ACO in 2001. Sculthorpe’s Sonatas for Strings are all derived from earlier string quartets. The Second, composed in 1988 for the ACO, who premiered it in the United Kingdom that year, is an arrangement of the String Quartet No.9 of 1975. In one movement, built of five contrasting sections, the work juxtaposes two kinds of music. Slow, yearning material – inspired partly by the half-step melodic motif attributed by the astronomer Johannes Kepler, in his discussion of the music of the spheres, to the earth – alternates with the vigorous, Indigenousinflected rhythms and melodies of Sculthorpe’s Song of Tailitnama. The central Calmo is, as Skinner points out, a ‘kind of passacaglia’ – another link between this music and the Baroque. In 1711, Vivaldi was lucky enough to meet up with the Amsterdambased printer Estienne Roger, who had revolutionised the printing of music. Instead of moveable type, Roger engraved plates, and used beams to link shorter notes like quavers and semiquavers. The music could therefore be printed as often as needed, and was much more legible. Vivaldi’s Opus 3, or L’estro armonico (The harmonious fancy), a collection of 12 concertos for various combinations appeared in Roger’s edition in 1711. Containing works such as the A minor Violin Concerto (RV356), it soon became, as scholar Michael Talbot puts it ‘perhaps the most influential collection of instrumental music to appear during the whole of the 18th century’.
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The first and third movements are structured around the alternation of a ritornello (or refrain) from the orchestra interspersed with virtuosic episodes from the soloist, while the central slow movement is usually simple in form, allowing elaborate decoration from the soloist. The A minor work displays the full range, from pyrotechnic display to a limpid cantabile line, of what must have been Vivaldi’s awesome technique. Sculthorpe’s First Sonata for Strings dates from 1983, when it was commissioned by Musica Viva Australia for the ACO. It began life as Sculthorpe’s Tenth String Quartet, originally composed for the Kronos Quartet. In acknowledgement of the American connection, Sculthorpe revisits his earlier Sun Song, based on music of the Yaqui and Pueblo peoples. This material forms the outer frame of the work, which, as in the Second Sonata, consists of five symmetrically arranged movements. The second and fourth are ‘Chorales’, (though not especially Bachian), and the central interlude relates to the outer movements. Like Sculthorpe, the Baroque masters would often rework material to create striking new pieces. Vivaldi certainly did, and L’estro armonico also captivated the imagination of a slightly younger German composer who transcribed and arranged some of the music in order to perfect his own concerto form. His name was Johann Sebastian Bach, and his (unaccompanied) Organ Concerto in D minor, BWV596, is an arrangement of Vivaldi’s D minor Concerto from that set. The original version is a true concerto grosso, with group of soloists (concertino) pitted against the rest of the band (ripieno). Vivaldi begins with not one but two fast movements: one in triple time for the soloists alone, and then, after a tutti interruption, a fugal 4/4 movement. The Largo lilts with a siciliana rhythm, while the finale begins with contrapuntal figures that it ditches in favour of a joyful noise.
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CO LO U R A N D STR U CT U R E
Saturday 7 March, 6pm JOHANN SEBASTIAN BACH (1685–1750) Contrapunctus 1–4 from The Art of Fugue, BWV1080 CLAUDE DEBUSSY (1862–1918) Allegro vivo from Sonata for Violin and Piano Arranged by Christopher Moore Richard Tognetti Violin OLLI MUSTONEN (born 1967) Nonet No.2 I.
Inquieto
II. Allegro impetuoso III. Adagio IV. Vivacissimo INTERVAL CÉSAR FRANCK (1822–1890) Allegretto ben moderato from Sonata for Violin and Piano in A major Arranged by Richard Tognetti Richard Tognetti Violin IGOR STRAVINSKY (1882–1971) Apotheosis from Apollo CAMILLE SAINT-SAËNS (1835–1921) Introduction & Rondo capriccioso, Op.28 Arranged by Richard Tognetti Richard Tognetti Violin
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CO LO U R A N D STR U CT U R E
Two works in this program are by composers, in ill-health, nearing the end of their lives; others are by composers in early to mid-career. What all share is a commitment to the craft of music, regardless of external circumstance. The Art of Fugue, composed in the last decade of Bach’s life, is, like the roughly contemporary A Musical Offering, a largescale work based on a single theme. Certain aspects remain mysterious, however. The piece was being engraved for printing when Bach died, but we know he would not have used the title (in any case, he preferred contrapunctus to ‘fugue’); it was written in ‘full’ score – that is with one part per musical stave – but is laid out with convenient page-turns for a keyboard player, but as more than one commentator has noted, it may be a theoretical piece, intended for study, ‘whose strange beauties can never be realised in performance.’ The first four fugues were composed between 1740 and 1745, and together form a neat sub-group: each is in common time, with four voices, or parts, and the fugue subject, or theme, that binds Tony Tuckson Untitled c.1973 polyvinyl acetate, pigment and charcoal on composition board 181.5 x 120.8 cm Gift of Eva Besen AO and Marc Besen AO 2001, TarraWarra Museum of Art collection Image reproduced courtesy of the artist’s estate TP185
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the whole work together is stated at the start of each in the alto, bass, tenor and soprano lines respectively. Claude Debussy fell silent with despair, producing little in the year 1914 as World War I raged. Soon, however, he began a projected set of six chamber pieces to be published as the work of ‘Claude Debussy, French musician’; unusually for him, they would be sonatas, rather than pieces with descriptive titles. During 1915 he composed the first two, the Cello Sonata and the Sonata for flute, viola and harp, but at the end of that year had major surgery for cancer. He completed the Violin Sonata in March 1917. In his last public appearance, Debussy played this piece with violinist Gaston Poulet in September 1917. The first movement has that very French quality of being fast in tempo but melancholy, if restrained, in mood, with long-breathed melodies and magical sequences of chords. Pianist Olli Mustonen is also a prominent conductor and composer, who studied in his native Finland with Einojuhani Rautavaara. The opening of Nonet No.2, marked Inquieto, is dominated by short, urgently repeated figures. Long notes gradually become increasingly extended lines against repeated chords that are sounded, at first more and more emphatically, but which then gradually fade. The second, in compound metre, evokes a folk-dance and employs subtle shifts of mode between major and minor. Against this cantering rhythm and bustling texture, thematic material often appears played by pairs of instruments. The piece builds to a busy and forceful climax but then, as in the first movement, fades suddenly away. The adagio movement is as long as the other three combined. Long held chords change gradually as motifs built from gently throbbing siciliana rhythms move unhurriedly through the texture. The central section becomes more impassioned, with using the lower resonance of the ensemble and progressively more elaborate material in the upper voices. Once all passion is spent, the piece retreats to the tranquillity of its opening bars. This is dispelled by the vivacissimo finale. Repeated notes in the upper strings gradually permeate the whole texture in a tour-deforce of shimmering textures and strongly profiled rhythmic motifs.
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In a 1906 monograph dedicated to his beloved teacher, Vincent D’Indy compared César Franck to ‘the modest and admirable craftsmen’ who built France’s cathedrals in the Middle Ages in a spirit of ‘simplicity and self-abnegation’. Like a Gothic cathedral, the body of Franck’s work grew slowly over a long period; Franck’s mastery of various forms came about through patient study and practice. The first movement of his celebrated Violin Sonata, composed in 1886, is a lilting Allegretto in 9/8 time, with a chain of thirds announced by the soloist after a set of introductory chords. The tonic key, A major, is not sounded until the eighth bar, and then only on a weak beat, immediately ‘cancelled out’ by the introduction of chromatic notes. This keeps the movement in a state of gentle expectation. The first climax – given to the piano (here the orchestra) with a melody in octaves – in is E major; only on its second statement near the end is it emphatically, but briefly, in the tonic A. In the late 1920s Stravinsky received a commission from American philanthropist Elizabeth Sprague Coolidge for a halfhour work. Always pragmatic, Stravinsky decided on a piece that could also do service as a score for the Ballets Russes in Paris, where he lived, his first ballet without a sung narration since The Rite of Spring. The scenario is almost non-existent, describing the birth of Apollo and his interaction with the Muses (of which, for purposes of economy, there are three, not nine) and his final ascension as a god (Apotheosis) to Mount Parnassus. All this is couched in Stravinsky’s neo-classical style, music that evokes
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that of the French Baroque, and revels in what Stravinsky called ‘l’euphonie multisonore’ of the string band. Apollo is a fit subject – not only patron of music, he is the patron of classicism, with its code of restraint and balance, who makes ‘the intoxication of the imagination submit to the law’. Paris in 1860s enjoyed something of a golden age. The Emperor Napoléon III had become a progressively more liberal leader over the previous decade; Hausmann created the boulevards and avenues that define the city; buildings such as the Gare du Nord, L’Opéra and the Trinité church appeared; in the visual arts, this is the period of the Realist painters like Corot, Manet and the young Degas. Saint-Saëns was in his early maturity and enjoyed some fame as a pianist and composer. The violinist Pablo Sarasate had premiered Saint-Saëns’ Violin Concerto No.1 at the start of the decade, and the composer wrote this show-piece for Sarasate in 1863.
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M ASTE RC L AS S
Sunday 8 March, 11am
ABOUT THE AUSTRALIAN NATIONAL ACADEMY OF MUSIC
Quartet Masterclass with
The Australian National Academy of Music (ANAM) is dedicated
students from the Australian National Academy of Music, led by ACO Principal Cello Timo-Veikko Valve.
to the artistic and professional development of the most exceptional young musicians from Australia and New Zealand. ANAM’s vision is to develop the country’s future music leaders, distinguished by their artistic skill, imagination, courage, and
PROKOFIEV String Quartet
their contribution to a vibrant music culture.
No.1 in B minor, Op.50
The only institute of its kind in Australia, and one of the few
I.
Allegro
Amy Brookman Violin
in the world, ANAM is renowned for its innovation, energy and adventurous programming and is committed to pushing the
Madeline Jevons Violin
boundaries of how classical music is presented and performed.
Elliott O’Brien Viola
ANAM believes that a vibrant future for classical music lies
Gemma Tomlinson Cello Australian National Academy of Music Nick Bailey General Manager Paul Dean Artistic Director
in the hands of musicians who understand that historical and contemporary music are interdependent; musicians who are engaged with a broad range of styles and genres; musicians with the highest technical and musical accomplishment, but also with an understanding of the context in which the art form finds itself today and the courage and commitment to ensure its future. This year, ANAM is thrilled to host an exceptional array of talented faculty and visiting artists who will guide the students through a year of one-on-one lessons, masterclasses and public performances. Throughout 2015 ANAM will be joined by some of the best Australian and international artists including Simone Young (conductor), Emma Matthews (soprano), Shane Chen (violin), Stanley Dodds (conductor), Sara Macliver (soprano), Gail Williams (french horn), Wissam Boustany (flute), David Dolan (piano), Lisa Moore (piano), musicians from the Mahler Chamber Orchestra, Wilco’s Glenn Kotche (percussion), Kathryn Stott (piano) and Anthony Marwood (violin). For more information about ANAM, please visit anam.com.au
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ITA LY F RO M TH E O U TS I D E
WOLFGANG AMADEUS MOZART (1756–1791) Divertimento in F major, K.138 I.
Allegro
II. Andante III. Presto SAMUEL BARBER (1910–1981) Adagio for strings PETER ILYICH TCHAIKOVSKY (1840–1893) Souvenir de Florence, Op.70 I.
Allegro con spirito
II. Adagio cantabile e con moto III. Allegretto moderato IV. Allegro vivace
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ITA LY F RO M TH E O U TS I D E
The achievements of Bach and Handel were largely made possible by Italian forerunners, and the country itself with its natural beauties, and vivid culture remained a magnet for musicians in the following centuries. Gosia Wlodarczak Found in Translation: The Drunken Buddha (Interpretation drawing #1) (detail) 2014 three-panel pigment ink drawing on primed linen, two sets of instructions: Instruction for the Maker and Instruction for the Viewer 3 panels: 210 x 230 cm each Photo: Longin Sarnecki Courtesy the artist and Fehily Contemporary, Melbourne
Between 1769 and 1773 Mozart and his father made three journeys to Italy, performing in over 40 cities, as well as in the homes of various aristocrats and princes of the church. The three Divertimenti, K.136-8 were composed by the 16 year-old Mozart in 1772. They are often played by string orchestras but, as Mozart biographer Maynard Solomon notes, are ‘probably string quartets rather than orchestral works’. The original manuscripts label them as divertimenti, but not in Mozart’s handwriting, and they don’t correspond to what Mozart would normally have regarded as a ‘divertimento’, a series of dance movements framed by marches. Perplexed that his Adagio for strings was commonly used to add an air of solemnity to important occasions, Samuel Barber insisted ‘it’s just music’. In 1938 Arturo Toscanini asked Barber for a new work. Barber provided two: the Adagio and the first Essay for orchestra, and both were performed and broadcast by the NBC Symphony Orchestra. The Adagio instantly became part of the US’s soundtrack to the encroaching crisis of the war and was played during the broadcast announcement of President Roosevelt’s death. It
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brought its composer high standing with audiences and sneering dismissal by the more learned. In its original version the Adagio is the slow movement (originally marked Molto adagio) from Barber’s String Quartet Op.11, which premiered in Rome in 1937. With its eternal note of sadness, its sense of constant yearning, the Adagio dwells on its limited thematic material, making gradual changes as it gathers intensity. In 1886 Tchaikovsky was commissioned to write a string sextet to celebrate his being made an honorary member of the St Petersburg Chamber Music Society. He got only as far as writing down what was to become the theme of the Adagio of this work while visiting Florence in 1887. The rest of the work was composed in June and July 1890. Tchaikovsky wrote comparatively little chamber music. His Piano Trio is a masterpiece, but in his string quartets, was less comfortable with the relatively limited mass and palette of colour afforded by the ensemble. He said to one friend that he was concerned that in writing the Souvenir he was in danger of thinking in orchestral terms first, and then refining his ideas for the sextet; not surprisingly, the work is more often played by string orchestras than sextets these days. Just how ‘Italian’ the work is, is moot. Tchaikovsky and his brother Modest travelled to Italy in 1879, but he never made any particular connection between the work and that country. Some of the melodic and rhythmic material may evoke Italian song and dance especially in the slow movement and scherzo, but the work is always permeated by Tchaikovsky’s distinctive voice. And perhaps in deference to the chamber music aficionados for whom the work was written there are also many demonstrations of Tchaikovsky’s mastery of sonata form and fugue in the outer movements. © Gordon Kerry 2015
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RICHARD TOG N ET TI – ARTISTIC DI RECTOR & VIOLI N “Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.” THE DAILY TELEGRAPH (UK) 2015 marks the 25th year of Richard Tognetti’s artistic directorship of the Australian Chamber Orchestra. Born and raised in Wollongong NSW, Richard 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 SELECT DISCOGRAPHY
with the Orchestra of the Age of Enlightenment, the Academy
AS SOLOIST:
of Ancient Music, Slovene Philharmonic Orchestra, Handel &
BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679
Haydn Society (Boston), Hong Kong Philharmonic, Camerata
BACH Sonatas for Violin and Keyboard ABC Classics 476 5942
Philharmonique du Luxembourg, Nordic Chamber Orchestra and all
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
Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre of the Australian 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
(All three Bach releases available as a 5CD Box set: ABC Classics 476 6168)
book. He co-created and starred in the 2008 documentary film
VIVALDI The Four Seasons
Musica Surfica. Most recently, he provided additional music for
BIS SACD-2103
The Water Diviner, Russell Crowe’s directorial debut.
Musica Surfica (DVD) Best Feature, New York Surf Film Festival AS DIRECTOR:
Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities
GRIEG Music for String Orchestra
and was made a National Living Treasure in 1999. He performs
BIS SACD-1877
on a 1743 Guarneri del Gesù violin, lent to him by an anonymous
Pipe Dreams Sharon Bezaly, Flute
Australian private benefactor.
BIS CD-1789
All available from aco.com.au/shop
He has given more than 2500 performances with the Australian Chamber Orchestra.
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SAT U VÄ N S K Ä – V I O L I N Satu Vänskä was appointed Assistant Leader of the Australian Chamber Orchestra in 2004. Satu was born to a Finnish family in Japan where she took her first violin lessons at the age of three. Her family moved back to Finland in 1989 and she continued her studies with Pertti Sutinen at the Lahti Conservatorium and the Sibelius Academy. From 1997 Satu was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich where she finished her diploma in 2001. In 1998 Sinfonia Lahti named her ‘young soloist of the year’. In 2000 she was a prize winner of the ‘Deutsche Stiftung Musikleben’ and from 2001 she played under the auspices of the Live Music Now Foundation founded by Lord Yehudi Menuhin which gave her the opportunity to perform with musicians like Radu Lupu and Heinrich Schiff. Satu performs regularly as guest director and soloist with the ACO, and features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor. Satu was presented in recital in July 2012 by the Sydney Opera House as part of their Utzon Room Music Series.
TI M O -V E I K KO VA LV E – C E L LO Timo-Veikko ‘Tipi’ Valve is one of the most versatile musicians of his generation, performing as a soloist, chamber musician and orchestral leader on both modern and period instruments. Tipi studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden, focusing on solo performance and chamber music in both institutions. Tipi has performed as a soloist with all the major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. This year, he will perform the world premiere of an arrangement of Olli Mustonen’s Cello Sonata for cello and chamber orchestra, commissioned by Tipi and the ACO. In 2006 he was appointed Principal Cello of the Australian Chamber Orchestra and 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. 18
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AU STR A L I A N C H A M B E R O RC H E STR A Richard Tognetti Artistic Director & Violin Chair sponsored by Michael Ball AM & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts
This year marks the 40th anniversary of the Australian Chamber
Helena Rathbone Principal Violin Chair sponsored by Kate & Daryl Dixon
With inspiring programming, unrivalled virtuosity, energy and
Satu Vänskä Principal Violin Chair sponsored by Kay Bryan
Orchestra. From its first concert in November 1975 to its first concert of 2015, the Orchestra has travelled a remarkable road.
individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross artform projects and
Glenn Christensen Violin
pieces specially commissioned for the ensemble.
Aiko Goto Violin Chair sponsored by Anthony & Sharon Lee Foundation
Founded by the cellist John Painter, the ACO originally comprised
Mark Ingwersen Violin Chair sponsored by Ian Wallace & Kay Freedman Ilya Isakovich Violin Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund
just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 20 players (three part-time), giving more than 100 performances in Australia each year, as well as touring internationally. The Orchestra performs all over the world: from red-dust regional
Liisa Pallandi Violin
centres of Australia to New York night clubs, from Australian capital
Ike See Violin
cities to the world’s most prestigious concert halls, including
Violin Chair Chair sponsored by Terry Campbell AO & Christine Campbell
Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s
Christopher Moore Principal Viola Chair sponsored by peckvonhartel architects
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,
Alexandru-Mihai Bota Viola Chair sponsored by Philip Bacon AM
Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand,
Nicole Divall Viola Chair sponsored by Ian Lansdown
Netherlands, Germany, China, Greece, the US, Scotland, Chile,
Timo-Veikko Valve Principal Cello Chair sponsored by Peter Weiss AO Melissa Barnard Cello Chair sponsored by Martin Dickson AM & Susie Dickson Julian Thompson Cello Chair sponsored by The Clayton Family Maxime Bibeau Principal Double Bass Chair sponsored by Darin Cooper Foundation PART-TIME MUSICIANS Zoë Black Violin
Italy, France, Austria, Switzerland, England, Belgium, The 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,
Caroline Henbest Viola
including singers Tim Freedman, Neil Finn, Katie Noonan, Paul
Daniel Yeadon Cello
Capsis, Danny Spooner and Barry Humphries and visual artists
GUEST CHAIR
Michael Leunig, Bill Henson, Shaun Tan and Jon Frank.
Brian Nixon Principal Timpani Chair sponsored by Mr Robert Albert AO & Mrs Libby Albert
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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M U S I C I A N S O N STAG E
Richard Tognetti 1 Violin
Satu Vänskä 2 Violin
Aiko Goto Violin
Mark Ingwersen3 Violin
Liisa Pallandi Violin
Ike See4 Violin
Alexandru-Mihai Bota Viola
Nicole Divall Viola
Players dressed by AKIRA ISOGAWA
Timo-Veikko Valve5 Cello
Julian Thompson6 Cello
Maxime Bibeau7 Double Bass
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. Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 4. Ike See plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 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 kindly on loan from the Australia Council. 7. Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.
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AUSTR ALIAN CHAM B ER ORCH ESTR A
TA R R AWA R R A M U S E U M O F A RT S P O N SO RS
PRINCIPAL SPONSOR
MAJOR PARTNERS
MAJOR SPONSOR
EVENT SPONSORS
AUSTR ALIAN CHAM B ER ORCH ESTR A
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ACO N ATI O N A L E D U CATI O N P ROG R 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 Ali Brosnan on (02) 8274 3830 or ali.brosnan@aco.com.au EMERGING ARTISTS & EDUCATION PATRONS $10,000+
Stephen & Jenny Charles
Jennie & Ivor Orchard
The Cooper Foundation
Margie Seale & David Hardy
Chris & Tony Froggatt
Tony Shepherd AO
Ann Gamble Myer
John Taberner & Grant Lang
Daniel & Helen Gauchat
Leslie C. Thiess
Andrea Govaert & Wik Farwerck
Alden Toevs & Judi Wolf
Australian Communities Foundation – Ballandry Fund
Dr Edward C. Gray
Transfield Holdings
Angus & Sarah James
Daria & Michael Ball
PJ Jopling AM QC
The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO
Steven Bardy & Andrew Patterson
Miss Nancy Kimpton
E Xipell
Bruce & Jenny Lane
Peter Yates AM & Susan Yates
Prudence MacLeod
Peter Young AM & Susan Young
Anthony & Suzanne Maple-Brown
Anonymous (3)
Liz Cacciottolo & Walter Lewin Mark Carnegie
Alf Moufarrige
Mr Robert Albert AO & Mrs Libby Albert Australian Communities Foundation – Annamila Fund
The Belalberi Foundation Andre Biet
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AUSTR ALIAN CHAM B ER ORCH ESTR A
TH A N K YO U
The ACO would like to thank most sincerely Marc Besen AC and Eva Besen AO for their wonderful support of the TarraWarra Music Festival. We thank all supporters of the TarraWarra Music Festival and the ACO’s far-reaching National Education Program.
PRESENTING PARTNER
PATRONS – NATIONAL EDUCATION PROGRAM Marc Besen AC & Eva Besen AO
Janet Holmes à Court AC
TRUSTS AND FOUNDATIONS
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
GOVERNMENT PARTNERS
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 state government through Arts NSW.
VENUE PARTNER
AUSTR ALIAN CHAM B ER ORCH ESTR A
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311 Healesville-Yarra Glen Road Healesville VIC PO Box 310 Healesville VIC 3777 Tel 03 5957 3100 Fax 03 5957 3120 Email museum@twma.com.au Opening hours Open Tuesday–Sunday, 11am–5pm Open all public holidays except Christmas day twma.com.au
Opera Quays, 2 East Circular Quay Sydney NSW PO Box R21 Royal Exchange NSW 1225 Box Office 1800 444 444 (Mon–Fri, 9am–5pm) Administration 02 8274 3800 (Mon–Fri, 9am–5pm) Email aco@aco.com.au aco.com.au