PRINCIPAL PARTNER
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.
The ACO's grand symphonic event of the year features Beethoven’s joyful Seventh Symphony directed by Richard Tognetti, and one of the most popular concertos of our time, Rodrigo’s Concierto de Aranjuez, performed by virtuoso guitarist Slava Grigoryan. Richard Tognetti Director & Violin Slava Grigoryan Guitar Helena Rathbone Violin
30 OCT – 7 NOV Adelaide, Brisbane, Canberra, Melbourne, Perth, Sydney
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Julian Thompson with students from Soldiers’ Settlement Public School Matraville, following a workshop presented in partnership with the Australian Children’s Music Foundation. Image © Fiora Sacco.
Our National Education Program includes a wide range of programs focused on bringing music to young people regardless of background – from primary school children in significantly disadvantaged communities to talented young musicians at the post-tertiary level. Your contribution will help fund our schools’ programs, which allow us to make quality music education available to children across Australia, delivering tangible benefits above and beyond the music itself. Your donation will make a difference – please join us by supporting our National Education Program.
Richard Tognetti AO Artistic Director
To donate please visit aco.com.au/2016education For more information, please phone Sally Crawford, Patrons Manager, on (02) 8274 3830 or email sally.crawford@aco.com.au
“Life is no brief candle to me. It 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 Please consider supporting the ACO with a gift in your will and make sure the ACO plays on for future generations. Your bequest will make a difference. For more information on our Continuo Circle please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au ACO.COM.AU
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ME S S A GE F ROM T HE M A N AGING DIR E C T OR
Our chamber music programs are some of the most anticipated concerts of each Season. They’re a chance to hear our remarkable musicians up close, in this particular case in a program devised by our very own Principal Cello Timo-Veikko ‘Tipi’ Valve. Tipi pairs two of the greatest chamber works by two of the most revered composers in the western musical canon – Mozart and Beethoven. Mozart’s String Quintet in G minor, written shortly before the death of his father, is an achingly beautiful, hauntingly transparent piece, a portent of things to come. Whereas Beethoven’s Op.132 Quartet in A minor traverses a more rugged emotional musical terrain, with a few skirmishes along the way. As violinist Mark Steinberg says, ‘the transformative power of art leads us to recognition of beauty and faith in humanity’. When it comes to faith in humanity, many of our players dedicate much of their ‘free’ time giving back to the community in a variety of ways. Last month, one of our most beloved players, violinist Aiko Goto was honoured by the Japanese Foreign Ministry with a commendation on the occasion of the 40th anniversary of the signing of the Basic Treaty of Friendship and Co-operation between Japan and Australia. Aiko joined the ACO in 1998 and the Japanese Foreign Ministry noted that in addition to the promotion of musical exchanges between Japan and Australia, ‘Ms Goto also dedicates herself to teaching young musicians, helping the development of Australian youth performers.’ Congratulations Aiko on this tremendous and well-deserved honour. I’d like to remind everyone that there are only a few more concerts left in this year’s season. If you have not yet renewed your subscription for 2017, or if you’d like to become part of the ACO subscriber family, book your tickets now.
Richard Evans 8
IN T IM AT E BEE T HOV EN Helena Rathbone Violin Liisa Pallandi Violin Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Cello MOZART String Quintet in G minor, K.516 I. Allegro II. Menuetto and Trio III. Adagio ma non troppo IV. Adagio – Allegro Interval BEETHOVEN String Quartet in A minor, Op.132 ‘Heiliger Dankgesang’ I. II. III. IV. V.
Assai sostenuto – Allegro Allegro ma non tanto Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart: Molto adagio – Andante Alla marcia, assai vivace Allegro appassionato – Presto
Approximate durations (minutes): 35 – INTERVAL – 45 The concert will last approximately one hour and 40 minutes, including a 20-minute interval.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 9
W H AT YOU A R E A BOU T T O HE A R This concert presents the ACO at its most intimate. Just five of us, Helena, Liisa, Sascha, Nikki and I are performing two sublime treasures from two giants of music: Mozart and Beethoven, in a journey that hopefully takes us all from meditation to elation. Mozart’s String Quintet in G minor is filled with dramatic emotion. Tchaikovsky said of the work’s third movement, ‘No one has ever known as well how to interpret so exquisitely in music the sense of resigned and inconsolable sorrow.’
PICTURED: Mozart c.1780/81 – from a portrait by Johann Nepomuk della Croce.
The Quintet was finished in May 1787 and just a couple of weeks later his father died – a man he loved, admired, feared, revered. There is no doubt their relationship was tumultuous, complicated; it is even alleged that such was his esteem/fear for his father that he said ‘After God comes Papa’. Our 2016 subscription season has as its heart Beethoven’s late string quartets. These remarkably complex quartets are the musical and intellectual Everest, for both the performer and listener. Even though they were composed in the depths of deafness, Beethoven was at the height of his creative power. Whether hearing the originals as in this concert, or string orchestra arrangements to which the quartets are so ideally suited, we all are mesmerised by these masterpieces every time we hear, rehearse or perform them. Beethoven’s Op.132 quartet is a key reason that spiritual metaphors are often used when discussing the composer’s later quartets. The majority of my musical life before ACO was shared with three other musicians in a string quartet. This particular piece was what we grew up together with, studying it, discussing it until the late hours and of course performing it, over and over again, for years. It really has everything in it.
PICTURED: Ludwig van Beethoven – from a portrait by Joseph Carl Stieler, 1820.
For me personally, Op.132 is the crowning achievement of chamber music. I hope that not only can Beethoven console Mozart through the music, but also allow us all to share a pure moment, through which we can observe the faults of our shared world.
Timo-Veikko Valve
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A BOU T T HE MUSIC WOLFGANG AMADEUS MOZART Born Salzburg 1756. Died Vienna 1791. STRING QUINTET IN G MINOR, K.516 Composed 1787. I. Allegro II. Menuetto and trio III. Adagio ma non troppo IV. Adagio – Allegro In the face of the emotional intensity of this piece, it seems almost impertinent to enquire into historical detail. The main reason Mozart wrote quintets with a second viola added to the string quartet is that he was attracted by the possibilities of a second ‘tenor’ voice in the ensemble (he preferred to play the viola in chamber music). We can feel this from the music, which often divides the players into two groups of three, with the first viola taking the melodic line in one and the bass line in the other. Further back in his career, Mozart had known quintets by Sammartini and Michael Haydn on which he modelled his own.
PICTURED: Mozart – from a silverpoint drawing by Doris Stock, 1789. 11
Is this ‘a sudden liberation from an unbearable pressure’ . . . None of this really prepares us for the self-revelation of this work, written at the same time as Don Giovanni. G minor, as his two symphonies in that key show, tapped a particularly intense vein of pathos in Mozart, and here the effect is all the more overwhelming for being more concisely expressed. Restless and dark, the first subject, significant in every note, is followed by a sighing second which seems uncommonly reluctant to leave the minor key. The minuet is almost grimly serious, with harsh, off-the-beat stresses, until the wonderful moment when it turns fleetingly to G major for a few moments of happiness. The major key of the muted E-flat slow movement at first seems to promise no relief from the passion, with its constant throbbing, but this gives way to a kind of transfigured emotion – which could be called an expression of resignation, if Mozart’s meaning could be conveyed in words. The pain returns in the second episode, with underlining by the second viola – then a harmonic abyss is crossed, making even more ambiguous the apparent serenity of the major key. The slow introduction leading into the finale recalls, if anything, some of the most poignant passages of Haydn’s The Seven Last Words from the Cross – not for nothing does Einstein evoke the image of the scene in the Garden of Gethsemane for this quintet: ‘The chalice with the bitter potion must be emptied, and the disciples sleep’. The rondo final movement seems cheerful enough, but this gaiety is skin-deep, as references to the minor key tell us. Is this ‘a sudden liberation from an unbearable pressure’, or a restoration of artistic balance which threatened to be too disturbingly upset? © David Garrett
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LUDWIG VAN BEETHOVEN Born Bonn 1770. Died Vienna 1827. STRING QUARTET IN A MINOR, OP.132 ‘HEILIGER DANKGESANG’ Composed 1825. I. II. III. IV. V.
Assai sostenuto – Allegro Allegro ma non tanto Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart: Molto adagio – Andante Alla marcia, assai vivace Allegro appassionato – Presto
Prince Nikolai Galitzin, a Russian nobleman and amateur musician living in Vienna, commissioned ‘up to three’ new quartets from Beethoven in 1822. There was a long delay before Beethoven got to work on the pieces, however. It was, after all, the time when he produced his ‘Diabelli’ Variations, Missa Solemnis and the Ninth Symphony, and contemplated writing an opera about the Roman wine-god Bacchus. PICTURED: Ludwig van Beethoven by Ferdinand Waldmuller, 1823.
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Beethoven saw them as having an important ethical function beyond merely entertaining his audience. However, once Beethoven started on the quartets in 1824, he soon found himself working almost involuntarily. With Opp. 127, 132 and 130 (written in that order) Beethoven had completed Prince Galitzin’s commission, but found that he had by no means exhausted what he wanted to say. The five quartets which finally resulted are radical works and never easy listening, partly because Beethoven saw them (as he saw much of his mature work) as having an important ethical function beyond merely entertaining his audience.
PICTURED: Beethoven Op.132 handwritten score.
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There are as many, if not more, interpretations of these works as there are performances. They have at various times been written off as the result of Beethoven’s deafness and increasingly eccentric behaviour. (A review of another late work of Beethoven asked, ‘What had become of the good man in his later period? Had he not succumbed to a kind of insanity?’) Some commentators have sought to present them as refuges of highly personal speculation, while others have argued that Beethoven removes his personality from these late works to effectively unmask Classical form as lifeless and empty. Formally, Beethoven experiments with the number and relative
. . . the temptation to see Beethoven’s late quartets as a kind of private diary or escapist fantasy becomes almost irresistible. weighting of movements; as in the Ninth Symphony, he allows numerous styles to coexist in many of the works, most explicitly in the archaic Lydian movement of this Quartet. He uses numerous conventional devices (of which fugue is one, albeit pervasive, example) but often subjects them to stresses which display their limitations. Op.132 inaugurates a set of three quartets (including Opp. 130 and 131) which share certain melodic characteristics, such as a tendency to dwell on notes a half-step away from the tonic and dominant, which enable Beethoven to add subtle touches of instability and pathos. Moreover, these works all share an interest in overall formal innovation, most obvious in their progressive addition of movements to the standard four. With Op.132, the temptation to see Beethoven’s late quartets as a kind of private diary or escapist fantasy becomes almost irresistible. The ‘extra’ movement in this work is of course the ‘Convalescent’s Holy Song of Thanksgiving to the Divinity’, and Beethoven’s work on the piece had indeed been interrupted by one of his frequent bouts of serious illness in mid-1825. We shouldn’t doubt his gratitude on recovery, but Beethoven takes some pains to make this piece universal in character. The ‘song’, for instance, is in the Lydian mode – Beethoven writes a deliberately archaic sounding, and therefore impersonal, music, foreshadowed in the slow introduction to the first movement. The Lydian music is only half the story; in a section marked ‘Feeling new strength’ Beethoven lays out a contrasting thematic idea, and then subjects each to his transformative variation form. (He uses the same structural idea in the slow movement of the Ninth Symphony.) We should note that Beethoven’s marking – ‘feeling’ – indicates an unfinished process, and in fact it is only in the major-key coda which concludes the last movement that minor-key shadows are banished. Interestingly, though, despite the almost superhuman sense of unity in this work and its companions, Beethoven was not averse to using discarded music from other works. The finale of Op.132 uses music drafted for, but not used in, the Ninth Symphony, and some of the music Beethoven drafted for this quartet actually ended up in the German Dance movement of Op.130. © Gordon Kerry 15
HELENA RATHBONE VIOLIN
Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s second ensemble ACO Collective, which sources musicians from the Emerging Artists Program. Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff, Canada. Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin in the Fields. When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, the Christchurch Arts Festival, the Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. The group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008. Helena plays a 1759 Guadagnini violin loaned to her by the Commonwealth Bank. Chair sponsored by Kate & Daryl Dixon
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LIISA PALLANDI VIOLIN
Liisa graduated from the Sydney Conservatorium in 2010 with First Class Honours where she studied with Dr Goetz Richter. She also studied at the Australian National Academy of Music with Adam Chalabi and was the first recipient of the Richard Pollett Memorial Award. In 2012 she was an Emerging Artist with the Australian Chamber Orchestra under Helena Rathbone’s mentorship. She continued to tour regularly with both the ACO and ACO Collective before joining the Orchestra as a permanent member in 2015. She has performed with the Sydney, Melbourne, and Tasmanian Symphony Orchestras, the Britten-Pears Orchestra in Aldeburgh and the Australian World Orchestra in their debut concerts. In 2014, Liisa was Guest Principal Violin with the Auckland Philharmonia Orchestra. Liisa has performed as a chamber musician in the Sydney, Melbourne and Perth Arts Festivals, as well as the Thy Chamber Music festival in Denmark. She was a founding member of the Sydney Camerata with whom she won the Musica Viva Chamber Music Award. Liisa won the Kendall National Violin Competition in 2010, along with the Bach Prize and Audience Choice awards. Part of her prize was a viola made by Graham Caldersmith, which she has since played with the ACO. She has performed as a soloist in the Tchaikovsky Violin Concerto and Arvo Pärt’s Tabula Rasa. In 2013 she undertook a Winter Music Residency at the Banff Centre where she was mentored by Henk Guittart. Receiving the Richard Pollet Memorial Scholarship from the AYO allowed her to pursue further study with Henk in The Netherlands in 2013/14. Chair sponsored by The Melbourne Medical Syndicate
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ALEXANDRU-MIHAI BOTA VIOL A
Born in Romania, Alexandru-Mihai Bota began studying violin at age six, switching to viola at age 12. He has performed with such artists as Lukas Hagen, Clemens Hagen, Radovan Vlatkovic, Gérard Caussé, Benjamin Schmid, James Munro, Veronika Skuplik, Wolfgang Brunner, Florian Birsak, Veronika Kroener and Michael Martin Kofler. While studying in Salzburg, he joined the Salzburg Mozart Quartet, and then in 2008 he co-founded the Kilviria Quartet which was invited to perform at the Salzburg Dialoge and Klangspuren Schwaz festivals. As part of Kilviria Quartet, Bota premiered Sergej Newski’s opera Franziskus. In 2013, Alexandru moved to Australia to take up a full time position as Ripieno Viola with the ACO, having toured extensively with the Orchestra in Europe, the USA and Hong Kong in 2012. He is particularly interested in old music, having studied with Jordi Savall and Reinhard Goebel. As a member of Capella Duna Mobile, he often switched to violin, playing his own arrangements and improvisations of Baroque dance. In the field of new music, Alexandru has collaborated with Sofia Gubaidulina, Beat Furrer and Luciano Berio, and performed with the Oesterreichisches Ensemble fuer Neue Musik under Johannes Kalitzke. In 2009 he performed György Kurtág’s trio Hommage à R. Sch. at the Aix-en-Provence Festival, which was broadcast on Arte TV. Bota has been a member of Camerata Salzburg, and was invited to lead the viola section of the Zürcher Kammerorchester. He was guest co-principal viola of the Orchestre Révolutionnaire et Romantique under the leadership of Sir John Eliot Gardiner. Alexandru loves to play jazz and other experimental forms of improvised music, and regularly performs jazz in concerts and festivals around the world. Chair sponsored by Philip Bacon am
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NICOLE DIVALL VIOL A
A graduate of the Canberra School of Music, Nicole Divall left Australia in 1992 to begin graduate studies at the University of North Texas before entering the Emerson Quartet Graduate String Quartet program in Hartford, Connecticut for two years as a member of the Canberra String Quartet. Following completion of that program, she received her Masters from the University of Michigan. A prizewinner 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 has performed Mendelssohn’s Octet with the Emerson Quartet. Nikki has held the position of Principal Viola with the Ohio Chamber Orchestra, the Cleveland Chamber Symphony, the Cleveland-San Jose Ballet, the Cleveland Opera, and Cleveland’s baroque ensemble, Apollo’s Fire. She has appeared as Guest Principal with the Ann Arbor Symphony Orchestra and the Sydney Symphony Orchestra and joined members of the Australian Brandenburg Orchestra for the premiere of their ensemble series in 2004. Nikki has performed as soloist with the Cleveland Chamber Symphony on frequent occasions and her performance of Bach’s Brandenberg Concerto No.6 with Apollo’s Fire can be heard on the Electra label. Nikki plays a 1610 Giovanni Paolo Maggini viola kindly on loan from a private Australian benefactor. Chair sponsored by Ian Lansdown
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TIMO-VEIKKO VALVE CELLO
Timo-Veikko ‘Tipi’ Valve is one of the most versatile musicians of his generation performing as a soloist, chamber musician and orchestral leader on both modern and period instruments. Valve 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 major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. ACO’s 2015 season included the world premiere of an arrangement of Olli Mustonen’s Sonata for cello and chamber orchestra, commissioned by Valve and the ACO. 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. Valve’s instrument is attributed to both Giuseppe Guarneri (filius Andreæ) and Bartolomeo Giuseppe Guarneri (del Gesù) from 1729, generously on loan from Mr Peter Weiss ao. Chair sponsored by Peter Weiss ao
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AUSTRALIAN CHAMBER ORCHESTRA 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 20 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. 21
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
MARKETING Aaron Curran Acting Marketing Manager Mary Stielow National Publicist Hilary Shrubb Publications Editor Leo Messias Marketing Coordinator
Vicki Norton Education Manager
Cristina Maldonado Communications Coordinator
Caitlin Gilmour Education Assistant
Chris Griffith Box Office Manager
FINANCE
Dean Watson Customer Service & Access Manager
Steve Davidson Corporate Services Manager Fiona McLeod Chief Financial Officer
Evan Lawson Box Office Assistant Christina Holland Office Administrator
EXECUTIVE OFFICE
Yvonne Morton Accountant
Richard Evans Managing Director
Shyleja Paul Assistant Accountant
Ken McSwain Systems & Technology Manager
Jessica Block Deputy General Manager
DEVELOPMENT
Emmanuel Espinas Network Infrastructure Engineer
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
ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Anna Melville Artistic Administrator Lisa Mullineux Tour Manager Ross Chapman Touring & Production Coordinator Danielle Asciak Travel Coordinator Bernard Rofe Librarian
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Lillian Armitage Capital Campaign Executive Tom Tansey Events Manager Tom Carrig Senior Development Executive Sally Crawford Patrons Manager Alice Currie Development Coordinator
INFORMATION SYSTEMS
AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW. In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000 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
IN T IM AT E BEE T HOV EN TOUR DATES & PRE-CONCERT TALKS Pre-concert talks take place 45 minutes before the start of every concert. Fri 23 Sept, 7.30pm Newcastle City Hall Pre-concert talk by Ken Healey am
Mon 26 Sept, 7.30pm Melbourne Recital Hall Pre-concert talk by Robert Murray.
Pre-concert speakers are subject to change.
V ENUE SUPP OR T GRAND VENUES OF NEWCASTLE CITY HALL Owned and operated by the City of Newcastle
MELBOURNE RECITAL CENTRE 31 Sturt Street, Southbank, Victoria 3006
290 King Street, Newcastle NSW 2300
Telephone +613 9699 3333 Email mail@melbournerecital.com.au Web melbournerecital.com.au
Telephone (Venue & Event Coordinators) (02) 4974 2996 Ticketek Box Office (02) 4929 1977 Email grandvenues@ncc.nsw.gov.au
Kathryn Fagg Chair Mary Vallentine ao 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 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 24
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
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. Andrew Andersons
Jennifer Hershon
John & Lynnly Chalk
Peter & Edwina Holbeach
Kevin & Deidre McCann Baillieu Myer ac
Dr Jane Cook
Michael Horsburgh am & Beverley Horsburgh
Douglas & Elisabeth Scott
Pamela Duncan Paul & Roslyn Espie
Penelope Hughes
Dr Jason Wenderoth
Dr Roy & Gail Geronemus
Mike & Stephanie Hutchinson
Brian Zulaikha
The Hadfield Family
Professor Anne Kelso ao
Anonymous (2)
Jeanne-Claude Strong
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 25
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
26
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
Justin Phillips & Louise Thurgood-Phillips
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 27
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 31 August 2016 PATRONS
Bruce & Joy Reid Trust
Dr John Harvey ao & Mrs Yvonne Harvey
Marc Besen ac & Eva Besen ao
Andrew & Andrea Roberts
Annie Hawker
Janet Holmes à Court ac
Mark & Anne Robertson
Insurance Group Australia Limited
Margie Seale & David Hardy
I Kallinikos
Rosy Seaton & Seumas Dawes
John Kench
Mr Robert Albert ao & Mrs Libby Albert
Tony Shepherd ao
Key Foundation
Australian Communities Foundation – Ballandry Fund
John Taberner & Grant Lang
Anthony & Sharon Lee Foundation
David & Julia Turner
Mrs Judy Lee
Steven Bardy & Andrew Patterson
E Xipell
Lorraine Logan
The Belalberi Foundation
Peter Yates am & Susan Yates
Macquarie Group Foundation
Guido Belgiorno-Nettis am & Michelle
Professor Richard Yeo
David Maloney & Erin Flaherty
Peter Young am & Susan Young
Julianne Maxwell
Anonymous (3)
P J Miller
EMERGING ARTISTS & EDUCATION PATRONS $10,000 +
Belgiorno-Nettis Andre Biet Helen Breekveldt
James Ostroburski & Leo Ostroburski
Rod Cameron & Margaret Gibbs
DIRETTORE $5,000 – $9,999
Stephen & Jenny Charles
The Abercrombie Family Foundation
Rowena Danziger am & Ken Coles am
Geoff Ainsworth & Jo Featherstone
Mr Bruce Fink
Geoff Alder
Dr Ian Frazer ac & Mrs Caroline Frazer
Peter Atkinson
Ann Gamble Myer
Will & Dorothy Bailey Charitable Gift
Daniel & Helen Gauchat
Veronika & Joseph Butta
John Grill & Rosie Williams
Caroline & Robert Clemente
Kimberley Holden
Darrel & Leith Conybeare
Angus & Sarah James
Mrs Janet Cooke
Di Jameson
Suellen Enestrom
Miss Nancy Kimpton
Bridget Faye am
Elmer Funke Kupper
A G Froggatt
Liz & Walter Lewin
Kay Giorgetta
Andrew Low
Colin Golvan qc
Anthony & Suzanne Maple-Brown
Louise Gourlay oam
Cameron Williams
Jim & Averill Minto
Warren Green
Anonymous (6)
John & Anne Murphy
Tony & Michelle Grist
Louise & Martyn Myer Foundation
Liz Harbison
Jennie & Ivor Orchard
Kerry Harmanis
28
QVB John Rickard Greg Shalit & Miriam Faine Peter & Victoria Shorthouse Jann Skinner Sky News Australia St George Foundation Jon & Caro Stewart Anthony Strachan Leslie C. Thiess Alden Toevs & Judi Wolf Geoff Weir Westpac Group Simon & Amanda Whiston Shemara Wikramanayake
MAESTRO $2,500 – $4,999
Samantha & Aris Allegos
Jennifer Aaron
Jane Allen
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
Christopher Holmes
The Hon Alex Chernoc ac qc &
Vicki Brooke
John Griffiths & Beth Jackson
Mrs Elizabeth Chernov
Diana Brookes
Owen James
Carol & Andrew Crawford
Dr Catherine Brown-Watt psm &
Anthony Jones & Julian Liga
Heather Douglas
Mr Derek Watt
Brian Jones
Anne & Tom Dowling
Jasmine Brunner
Bronwen L Jones
Maggie Drummond
Sally Bufé
Mrs Angela Karpin
Michele Duncan
Andrew & Cathy Cameron
Josephine Key & Ian Breden
John Gandel ao & Pauline Gandel
Terry Campbell ao & Christine Campbell
Julia Pincus & Ian Learmonth
Robert & Jennifer Gavshon
Ray Carless & Jill Keyte
Airdrie Lloyd
Cass George
Patrick Charles
Gabriel Lopata
Nereda Hanlon & Michael Hanlon am
Angela & John Compton
Colin Loveday
Peter & Helen Hearl
Brooke & Jim Copland
Robin Lumley
Simon & Katrina Holmes à Court
R & J Corney
Diana Lungren
Erica Jacobson
Judith Crompton
Garth Mansfield oam & Margaret
Ros Johnson
John Curotta
Mansfield oam
Peter Lovell
Ian Davis & Sandrine Barouh
Mr & Mrs Greg & Jan Marsh
Jennifer Senior & Jenny McGee
Michael & Wendy Davis
David Mathlin
Jane Morley
Martin Dolan
Janet Matton
Nola Nettheim
Dr William F Downey
Jane Tham & Philip Maxwell
Sandra & Michael Paul Endowment
Daniel Droga
Karissa Mayo
Patricia H Reid Endowment Pty Ltd
Pamela Duncan
Nicholas McDonald
Ralph & Ruth Renard
Emeritus Professor Dexter Dunphy am
Ian & Pam McGaw
Mrs Tiffany Rensen
Sharon Ellies
Colin McKeith
Fe & Don Ross
Dr Linda English
Bruce McWilliam
D N Sanders
Peter Evans
Helen & Phil Meddings
Petrina Slaytor
Julie Ewington
Michelle Mitchell
Howard & Hilary Stack
Elizabeth Finnegan
Glenn Murcutt ao
John & Josephine Strutt
Michael Fogarty
Stuart Nash
Ralph Ward-Ambler am &
Don & Marie Forrest
Anthony Niardone & Glen Hunter
Justin & Anne Gardener
Paul O’Donnell
Kerry Gardner
L Parsonage
M Generowicz
Prof David Penington ac
Brian Goddard
GV Pincus
In memory of Jose Gutierrez
Lady Primrose Potter ac
VIRTUOSO $1,000 – $2,499
Paul Hannan
Mark Renehan
Annette Adair
Gail Harris
Dr S M Richards am & Mrs M R Richards
Linda Addy
Lachie Hill
Em Prof A W Roberts am
Barbara Allan
Christian Holle
Julia Champtaloup & Andrew Rothery
Barbara Ward-Ambler Richard & Suzie White Dr Mark & Mrs Anna Yates William & Anna Yuille Anonymous (4)
29
J Sanderson
John & Gay Cruikshank
Dr & Mrs Donald Maxwell
In Memory of H. St. P. Scarlett
Marie Dalziel
Kathleen McFarlane
Lucille Seale
Mari Davis
JA McKernan
Maria Sola
Mrs Sandra Dent
Peter & Ruth McMullin
Keith Spence
In Memory of Raymond Dudley
Louise Miller
Mark Stanbridge
Margaret Dunstan
Marie Morton
Ross Steele am
M T & R L Elford
G & A Nelson
In memory of Dr Warwick Steele
Leigh Emmett
Graham North
Caroline Storch
Christine Evans
Robin Offler
Andrew Strauss
Carol Farlow
John O’Sullivan
Charles Su & Emily Lo
Penelope & Susan Field
Willy & Mimi Packer
Tamas & Joanna Szabo
Jean Finnegan & Peter Kerr
Anne & Christopher Page
David & Judy Taylor
Jessica Fletcher
Robin Pease
Susan Thacore
Peter Fredricson
Elizabeth Pender
Rob & Kyrenia Thomas
Steve Frisken
Kevin Phillips
Matthew Toohey
Sam Gazal
Michael Power
Angus Trumble
Marilyn & Max Gosling
John Prendiville
Ngaire Turner
Jillian Gower
Beverly & Ian Pryer
Kay Vernon
Annette Gross
Jennifer Rankin
Kevin Gummer & Paul Cummins
John Riedl
Hamiltons Commercial Interiors
Sally Rossi-Ford
Lesley Harland
Robin Rowe
Sandra Haslam
Mrs J Royle
Gaye Headlam
Christine Salter
CONCERTINO $500 – $999
Kingsley Herbert
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
Dr Marian Hill
The Sherman Foundation
A & M Barnes
Sue & David Hobbs
Florine Simon
In memory of Hatto Beck
Chloe Hooper
Casimir Skillecorn
Mrs Kathrine Becker
Bee Hopkins
Dr Peter & Mrs Diana Southwell-Keely
Robin Beech
Dr & Mrs Michael Hunter
Fionna Stack
Ruth Bell
Margaret & Vernon Ireland
Georgina Summerhayes
Max & Lynne Booth
Robert & Margaret Jackson
In memory of Dr Aubrey Sweet
Debbie Brady
Barry Johnson & Davina Johnson oam
Gabrielle Tagg
Denise Braggett
Caroline Jones
Simon Thornton
Mrs Pat Burke
Bruce & Natalie Kellett
Peter & Karen Tompkins
Hugh Burton Taylor
Graham Kemp & Heather Nobbs
TWF Slee & Lee Chartered Accountants
Alberto Calderon-Zuleta
Jacqueline & Anthony Kerwick
Dr Ed & Mrs Julie van Beem
Angela & Fred Chaney
Prof Kerry Landman
Joy Wearne
Colleen & Michael Chesterman
Genevieve Lansell
GC & R Weir
Richard & Elizabeth Chisholm
Kwong Lee Dow
Taryn Williams
ClearFresh Water
Dimitra Loupasakis
Sally Willis
Paul Cochrane
Megan Lowe
Sir Robert Woods cbe
Spire Capital
H and R McGlashan
Brian Zulaikha
P Cornwell & Cecilia Rice
Rob Mactier
Anonymous (33)
John Wardle M White Don & Mary Ann Yeats Rebecca Zoppetti Laubi Anonymous (19)
Ms Rita Avdiev
30
ACO 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
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
31
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
Eleanor Gammell
Ian & Caroline Frazer
Lucinda Cowdroy
Cass George
Sandra Ferman
Edward Gray
JoAnna Fisher
Wayne Kratzmann
Tony Gill
James Ostroburski
John Kench Johnson Winter & Slattery
Joanna Szabo
Fay Geddes
Helen McVay
Simon Thornton Executive General Manager, Toll IPEC
Julie Goudkamp
Shay O’Hara-Smith
Deb Hopper
Marie-Lousie Theile
Lisa Kench
Beverley Trivett
DISABILITY ADVISORY COMMITTEE
Jules Maxwell
Bruce & Jocelyn Wolfe
Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts
Edwina McCann
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
Karissa Mayo Elizabeth McDonald Nicole Sheffield John Taberner Lynne Testoni
Paul Nunnari Manager Event Access & Inclusion NSW Government Alexandra Cameron-Fraser Chief Operating Officer, 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 32
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
EVENT PARTNERS
33
ACO NE W S INSPIRING KIDS AROUND THE COUNTRY
PICTURED: Kate Miller-Heidke performs with the ACO Inspire Quartet.
In August, our ACO Inspire Education Quartet travelled to Cairns to perform with the Gondwana Cairns Indigenous Children’s Choir, students from the Cairns State High School Excellence program and Kate Miller-Heidke at the A Night in the Parklands program to officially open the Martin Munro Parklands.
PICTURED: ACO Inspire Quartet musician Jenny Khafagi chats with enthusiastic students at St Marys North Public School.
ACO Inspire also visited Penrith Public School and St Marys North Public School to run ACO Music and Art sessions and to perform concerts. Year 5 students from these schools have been working with our musicians as part of our Penrith Program activities. The ACO Music & Art Program enables students to join the ACO’s global classroom. Classes are offered via video conferencing and students are invited to experience the busy life of a professional musicians through videos sent from backstage at leading international concert halls. 34
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