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National Tour Partner Maserati is honoured to be the National Tour Sponsor of the ACO and to be able to play a small part in enabling the ACO to welcome Emmanuel Pahud back to Australia. Coming from a non-musical family, Pahud was just four years old when he heard another boy practicing the flute in a nearby apartment in Rome and decided that was the instrument and career for him. And not just the flute. He vowed that he would learn to play the Mozart concerto he could hear from the next room. Just 11 years later he did just that, performing the Mozart Concerto K.313 in G major with the National Orchestra of Belgium. His subsequent career spans a unique range of music, a remarkable list of collaborators and a litany of praise for his music. The program for this performance, created by Richard Tognetti and Emmanuel Pahud, will provide much more than an expression of the range of Emmanuel Pahud’s unique talent with the flute. It will also demonstrate the power and beauty of the flute, its sensitivity, and ability to move the human spirit and lift the heart. Driven by a similar passion for more than a century, Maserati also drives the human spirit and arouses the heart. It is this commonality of purpose, to enhance life, that we believe makes Maserati such a natural fit with the ACO and why we are so proud of our association with Australia’s finest chamber orchestra and its justifiable worldwide reputation.
Glen Sealey Chief Operating Officer Maserati Australia & New Zealand
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2017 National Concert Season
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EXPERIENCE A TRUE HOME AWAY FROM HOME COMO THE TREASURY
When the talented musicians from ACO perform in Perth, we are dedicated to ensuring they have an elegant, contemporary base to rest and recuperate. COMO The Treasury is a sophisticated 48-room hotel in the revitalised historic centre of Perth. With restaurants, bars and the world-renowned COMO Shambhala wellness offerings all within our heritage building, we’re at the very heartbeat of the state capital.
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ACO concerts are regularly broadcast on ABC Classic FM. Emmanuel Pahud will be broadcast on Sunday 15 October at 2pm.
Australian Chamber Orchestra
Message from the Managing Director Our guest artists and collaborators are vital to the sense of adventure and unknown that our musicians feel as they come into the studio to rehearse before setting off to perform around Australia and the world. Over the years the Orchestra has developed special artistic relationships with a handful of artists who share with us their influences, vision, performance styles and repertoire; players like Giovanni Sollima, Patricia Kopatchinskaja, Steven Isserlis and Emmanuel Pahud have each built a strong musical rapport and innate sense of trust with the ACO. We are so pleased to welcome Emmanuel Pahud back to Australia, having toured with him a number of times internationally since his debut with us in 2003. This program traces a Franco-Germanic lineage from JS Bach to his son CPE Bach, from Franck to Ravel and Debussy. This musical journey gives Emmanuel the opportunity to stand alone in the spotlight with two stunning, but very different, works for solo flute. Bringing programs like these to the stage takes a certain vision from supporters who also value a balance of continuity and innovation, and these are certainly present in our National Tour Partner for these works, Maserati. We are proud of the partnership that we have built with them since 2010 and warmly thank them for their ongoing support. The ACO’s next National Concert Season has recently been launched with a program that celebrates our players and embraces our collective passion to create and consume music that takes us outside our everyday lives. I encourage you to secure your seats and come with us on another musical adventure in 2018.
Richard Evans
2017 National Concert Season
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“Music has always been a part of my life. If I go for an extended period of time without playing my violin I get really irritable. I guess it’s like an addiction!” HELENA RATHBONE
Emmanuel Pahud APPROXIMATE DURATION (MINUTES)
Richard Tognetti Director & Violin Emmanuel Pahud Flute
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CPE BACH Flute Sonata in A minor, Wq.132 I. Poco Adagio II. Allegro III. Allegro
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JS BACH Ricercar a 6 from The Musical Offering, BWV1079
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RAVEL (arr. Richard Tognetti) String Quartet in F major I. Allegro moderato – Très doux II. Assez vif – Très rythmé III. Très lent IV. Vif et agité
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I N T E R VA L 2 0 M I N U T E S
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DEBUSSY Syrinx for Solo Flute
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FRANCK (arr. Richard Tognetti) Sonata in A major for Flute and Strings I. Allegretto ben Moderato II. Allegro III. Recitativo-Fantasia: Ben Moderato IV. Allegretto poco mosso
The concert will last approximately one hour and 45 minutes.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 2017 National Concert Season
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The Program At first glance it might appear that Carl Philipp Emanuel and his father Johann Sebastian are odd fellows out in this ostensibly French program – Debussy, Ravel, and the FrancoBelgian Franck, but subject it to closer scrutiny, and the French connection pervades.
PICTURED: Carl Philipp Emanuel Bach
The ‘great’ King Frederick of Prussia, for whom CPE was in servitude as the court composer, admired all things French, indeed he mainly spoke French, speaking German only to servants or when forced to. Frederick’s abiding passions for literature and music, with a snooty predilection for French culture – including wigs, powder, perfume and the flute, all no doubt underscored by a very oh-so accent – were in stark contrast to his father Frederick William’s preference for German, domestic violence and war mongering, with habitual thrashings of the young Prince; even extending to an 18th-century honour killing, beheading young Fred’s male lover in plain view of the poor hapless Prince. Alive today, one wonders which box he would have ticked. This obsession française was also intrinsic to CPE’s compositional style. Radically experimental and with a keen scent for new trends, we find CPE at the vanguard of the rapidly evolving Voltairean Age of Reason.
PICTURED: Johann Sebastian Bach
PICTURED: Claude Debussy
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The inclusion of JS Bach’s Ricercar a 6 alongside a work by his son (written in the same year), provides us with the apt contrast of the timelessness of the elder’s music with the son’s more à la mode flute sonata. The Ricercar, a six-part fugue, was written after JS went to the historically defining dinner at the court of Frederick the Great in Potsdam. Having recently acquired a new Silbermann fortepiano he was keen for Johann Sebastian to take it for a spin. Such was the longheld anticipation for this happening that Bach’s visit even made it to the palace gazette. Frederick commanded JS to improvise a fugue on a 20-note theme (possibly penned by the King himself) but Old Bach under-promised and over-delivered, spawning The Musical Offering, comprising two ricercars, ten canons and a sonata. James Gaines’ book, Evening in the Palace of Reason, not only takes us into the extraordinary meeting of two of the most formidable characters in history, but constructs for us a portal into one of the crucibles of the modern era, where Voltairean Reason is pitted against Mythology and superstition. Australian Chamber Orchestra
The Ricercar is written for an unspecified instrumentation, possibly keyboard, in six parts. Is it true that JS holds a unique position, that his works more than others can absorb extreme yoga poses; from the Swingle Singers, Jacques Loussier, Wendy Carlos, through to Calvinistic brigades of early music mavens, (who are similar in kind to US constitutional originalists) with all and sundry in between? Bach’s music does seem to work no matter whatever style; so long as one delivers with a keen sense of clarity. PICTURED: Maurice Ravel
In this particular instance we are mainly strings, but Webern is whispering in our ears, having made a curious and texturally arresting reworking of this same Ricercar for larger orchestra. Even though there is a respectable amount of repertoire for the flute, some composers including Mozart didn’t think much of it as a solo instrument, Wolfgang infamously writing to his Papa: ‘…you know I am quite powerless to write for an instrument [the flute] which I cannot bear.’ Disparaging words, indeed, but no doubt had Emmanuel Pahud had the chance to play the Pied Piper to Mozart’s sentiments he would’ve changed his mind. Still, he composed far more for flute than he did for cello…
PICTURED: Emmanuel Pahud Photo by Josef Fischnaller
PICTURED: César Franck
2017 National Concert Season
Seasoned more by Germanic music and traditions than anything French, and with a first attempt inspired by none other than Wagner’s second wife Cosima, César Franck’s Violin and Piano Sonata was put on the map by the Tsar of Franco-Belgian violin playing, Eugène Ysaÿe. César Franck wrote nothing for the solo flute, or cello for that matter, and although there is a version sanctioned by the composer for cello, we can but only imagine that Franck would be similarly swayed by Pahud’s magic. Even though its cyclical form is controlled and its structure etched perfectly in its original for piano, there is an explosive, elemental force begging for an expanded orchestral landscape.
Richard Tognetti
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The Music CARL PHILIPP EMANUEL BACH Born Weimar 1714 Died Hamburg 1788
FLUTE SONATA IN A MINOR, WQ.132 Composed 1747 I. Poco Adagio II. Allegro III. Allegro ‘Emanuel’ Bach was the second eldest of JS Bach’s many talented sons, and is possibly the most famous. His father was his only real teacher, which makes it all the more surprising and wonderful that Emanuel has such a distinctive voice of his own. Like Telemann – who, incidentally, was his godfather – he receives some credit for bringing musical tastes closer to the Classical age of Mozart and Schubert.
PICTURED: A portrait of Carl Philipp Emanuel Bach by Johann Philipp Bach.
As a child, he followed his father’s work to Cöthen and Leipzig, then did as several other eminent German composers (including Handel, Heinichen and Schütz) and diverted from a musical path to study law, graduating in Frankfurt an der Oder in 1738. It was JS Bach’s ambition that his sons should attend university if possible, to give them greater intellectual insulation than he had enjoyed from the vagaries of freelance employment. After his graduation in 1738, though, Emanuel returned to music, and passed the next fifty years in only two positions: the first, as court harpsichordist and personal accompanist for the flute-playing Frederick the Great in Berlin, and then in 1768, succeeding his godfather Telemann as Kantor at the Johanneum in Hamburg. Living as he did in that ‘transitional’ period between the High Baroque and the Classical era, his music is an intriguing combination of the two, and invariably more serious in intent than the lighter, fluffier galanterie of his younger half-brother Johann Christian. Emanuel gently blamed his employer for many of his stylistic limitations because he was constrained by Frederick’s ability, or lack thereof! Emanuel spent 30 years in service at the court of Frederick the Great in Berlin. Frederick was a keen musician, but no progressive, greatly preferring the old style of music to the new, ‘wild’ kind. Emanuel complained that at court he was ‘more constricted’ in his compositions than in the few works he wrote ‘only for myself’. The relationship
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Australian Chamber Orchestra
PICTURED: Flute Concert with Frederick the Great in Sanssouci by Adolphe Menzel.
Emanuel complained that at court he was ‘more constricted’ in his compositions than in the few works he wrote ‘only for myself ’.
between monarch and musician was never an easy one, perhaps because Emanuel refused to sycophantically adjust his accompaniments to accommodate the king’s less than perfect flute playing. The Sonata in A minor for solo flute was written in 1747, the same year that his father, Johann Sebastian visited him in Berlin and wrote The Musical Offering, whose Ricercar a 6 is also included on this program. In three movements, the opening Poco Adagio in 3/8 is unhurried, luxurious even, with a beautiful array of tonal colours. There is scant information in the score outlining dynamics, articulation and ornamentation. There is a short but dazzling cadenza to close the movement. The Allegro second movement is much lighter and bouncier, skipping buoyantly through a range of tonalities before closing in the tonic A minor. The final movement continues the momentum, the sense of lightness and joy ensuring an overall feeling of contentment, despite the minor key. No one knows for sure if the piece was originally intended for King Frederick to perform – his flute playing, while competent, was by no means virtuosic. Whatever the case, this is indeed a beautiful and regal piece of music that has well and truly earned its place as one of the finest standards of flute repertoire.
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SUGGESTED READING Evening in the Palace of Reason by James Gaines
PICTURED: CPE Bach
PICTURED: JS Bach
If Carl Philipp Emanuel Bach had not gone to work for Frederick the Great, there is every chance that his father, Johann Sebastian. never would have met Frederick the Great and his Musikalisches Opfer (The Musical Offering) would never have been written. In telling the story of The Musical Offering, it is CPE, not JS Bach, who is the hero. For It was CPE who arranged for his father to visit, thus enabling King Frederick to issue the challenge for JS to improvise a fugue. This theme was to become known as the ‘Royal Theme’, and from this challenge one of the greatest fugues ever written came into being – the Ricercar a 6 from The Musical Offering. At the time Johann Sebastian was nearing the end of his life and his son, Carl Philipp Emanuel was at a turning point. It is possible he wanted to show off to his father, using Frederick’s new, ostentatious keyboard as the vehicle. As for Frederick, he was no doubt hoping to embarrass the great composer with an impossible task (he apparently took delight in ‘puncturing men’s egos’). James Gaines’ account of that Sunday evening, in May 1747, when Johann Sebastian Bach, at the invitation of Frederick the Great, came to Potsdam to take dinner with him and Carl Philipp Emanuel Bach, is an engrossing read, including accounts of other historical figures including Lully, George I, Pachelbel, Descartes, Newton and Handel.
PICTURED: Detail from a portrait of Frederick the Great by Anna Dorothea Therbusch 18
Australian Chamber Orchestra
JOHANN SEBASTIAN BACH Born Eisenach 1685 Died Leipzig 1750
RICERCAR A 6 FROM THE MUSICAL OFFERING, BWV1079 Composed 1747
PICTURED: Johann Sebastian Bach
PICTURED: Frederick the Great of Prussia
In May of 1747, Johann Sebastian Bach paid a visit to his son Carl Philipp Emanuel at his workplace, the Potsdam court of Frederick the Great of Prussia (1712–1786). Frederick was a model philosopher king, possessing a brilliant, if merciless, military mind (annexing much of Poland), and a deep interest in music and ideas. He played host to Enlightenment luminaries such as Voltaire and the mathematicians Lagrange and Euler, he was a talented flautist and maintained an orchestra to accompany him in CPE’s or Joachim Quantz’s flute concertos, and even his own compositions (which are rather pedestrian, but probably better than anything composed by royalty since). He was responsible for bringing Germany, and his capital Berlin, into the gloriously modern 18th century. Accordingly, his Potsdam palace was decked out with the latest inventions, including fifteen experimental pianofortes built by Gottfried Silbermann. Frederick dropped hints to CPE that he’d very much like to meet Johann Sebastian and hear what he thought of the pianoforte but nothing had come of it, until he discovered the name of JS Bach in a list of strangers who had arrived at the palace for the evening’s concert. After the necessary protocols, the King ushered Bach around the palace as he improvised on this or that piano. Bach asked Frederick for the subject of a fugue for Bach to work out, extempore. The King, perhaps cruelly, provided an especially knotty theme and requested that Bach attempt to improvise in six parts, but here the composer demurred because the subject wouldn’t work, and instead played a six-part fugue on a theme he’d prepared earlier. The next day, Bach was taken to all the organs in Potsdam so that Frederick could enjoy his performance on them. Bach returned to Leipzig and worked on the theme that Frederick had supplied, including a three- and a six-part treatment, plus assorted canons and a sonata for flute, violin and continuo and sent them to the King in a set he called Musikalisches Opfer (The Musical Offering). The Ricercar a 6 is in six parts, based on a single theme, and is arguably the finest fugue ever written by Bach.
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MAURICE RAVEL Born Ciboure 1875 Died Paris 1937
STRING QUARTET IN F MAJOR Composed 1902–1903 Arranged for strings by Richard Tognetti I. Allegro moderato – Très doux II. Assez vif – Très rythmé III. Très lent IV. Vif et agité Ravel’s Quartet is so assured, original and admired that it’s hard to believe it was his first real go at writing serious chamber music. Still harder is it to comprehend why, at the time, so many of his teachers and professors felt he should give up composing and stick to the piano. It is dedicated to one of the more encouraging tutors (Gabriel Fauré) and even he may have received it with mixed feelings.
PICTURED: Maurice Ravel
PICTURED: Ravel’s autograph, August 1924 20
Ravel’s parents were keen amateur musicians. Unusually, they seem to have wholeheartedly supported their son’s career plans. His father had a formal musical qualification and perhaps there was a sense in which they were pleased to offer young Maurice opportunities that they had been unable to pursue themselves. Ravel senior was a successful engineer (was this why the composer collected mechanical and wind-up toys throughout his life?). Hints of Madame Ravel’s Basque heritage also coloured Maurice’s musical style, with many of his works inspired by or tinged with Spanish and Moorish themes. The family had moved to Paris shortly after Ravel was born. It was a wonderful time and place for a young musician, with a thriving Conservatoire and in 1889 the inspiring and still-famous Paris Exposition. Still, he struggled a bit with his musical studies. He gained prizes at the Conservatoire for his piano performance, but no one liked his harmony and counterpoint. He was dropped from the class and left in 1895. Undaunted, he pursued his compositional urges and re-enrolled in Fauré’s composition class and Gédalge’s counterpoint tutorial, believing it to be essential for his development. Australian Chamber Orchestra
‘He wore sidewhiskers and all his hair emphasised the contrast between his striking head and his tiny body. He liked loud ties and frilly shirts . . .’ COLLETTE
Once again, he didn’t do well – kind souls suggest he was too original or ahead of his time, though others suspect he just didn’t apply himself. Dropped from class for the second time, he was allowed to continue to sit in on Fauré’s lectures. In other ways, he was doing the right things for a young composer: putting on performances of his works and meeting useful people in elegant salons. He read widely and listened to everything that came his way. Collette described him at this time: ‘He wore side-whiskers and all his hair emphasised the contrast between his striking head and his tiny body. He liked loud ties and frilly shirts . . .’ As a result of all this activity, he was not entirely without friends when he failed to win the Prix de Rome, the principal composition prize in France, for a record fifth time. It became a huge public scandal (‘l’Affaire Ravel’) and eventually forced the resignation of the head of the Conservatoire, widely believed to have skewed the results in favour of his own students. The Quartet is often linked with that of Debussy’s, written 10 years earlier. The two works do make an interesting comparison (each composer only ever wrote one quartet). Debussy’s is all about harmony and harmonic innovation; Ravel’s is (perhaps surprisingly, given his academic sagas) more tightly grounded in counterpoint and form. Maybe it’s a sign of that engineering father . . .
PICTURED: Ravel in Paris in 1914 with Vaslav Nijinsky and Bronislava Nijinska. 2017 National Concert Season
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PICTURED: A rare photo of Igor Stravinsky and Maurice Ravel.
One of the things which makes us describe a composer as ‘great’ is an early sense of a distinct and individual voice, and each quartet has this quality in abundance. Each, too, shows one of the great recent musical innovations, attributed to Franck – thematic unity across all movements, where themes ‘cycle’ throughout the work. In Ravel’s case in particular this technique gives a very satisfying sense of cohesion through four quite different movements. The opening Allegro moderato introduces one of the principal themes, while a second theme (doubled at two octaves between violin and viola) has a widely-spaced texture which gives the movement a sense of light and clarity often described as typically French. It is not unemotional, but it is not sweatily passionate in the way so much late-Romantic music can be. The second movement, fast and rhythmic, launches into an arresting pizzicato theme. There is a contrasting middle section (a chance for the cello to shine) before the opening music returns to round off the movement at breathless pace. The third movement draws on that middle section in a rather ‘triste’ atmosphere – the minor key tonality provides something of a respite after all the pizzicato which preceded it and also sets up the finale.
With hindsight, it’s unlikely he would have written something as vivacious and uncomplicatedly witty as the Quartet, except as the very young man he was in 1902.
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The final movement, Vif et agité, is dazzling. It effortlessly links and combines themes and motifs from all over the work, presenting them in new ways and sustaining the interest right up to the climactic moments. The Quartet was one of the works which cemented Ravel’s position in French music. His remarkable career was interrupted, like so many, by the Great War. He volunteered in 1914 and became an ambulance driver (calling his van ‘Adelaide’ after his ballet – what does this say about his driving?). Late in 1916 he became seriously ill and shortly afterwards his mother died. She had been his principal emotional support, and the combined effects of illness, her death and war took an impossibly heavy toll on his life, well-being and composition. With hindsight, it’s unlikely he would have written something as vivacious and uncomplicatedly witty as the Quartet, except as the very young man he was in 1902.
Australian Chamber Orchestra
CLAUDE DEBUSSY Born St Germain-en-Laye 1862 Died Paris 1918
SYRINX FOR SOLO FLUTE Composed 1913 Claude Debussy is revered by almost all the composers who lived after him. His courage in pursuing his own individual artistic path, and the intellectual rigour and curiosity he brought to it, are still of sufficient weight to provoke a sense of awe. At a time when most composers were writing soaring melodies and huge bombastic nationalist scores, he became entranced by the rippling tones of music from the Javanese gamelan at the Paris Exhibition of 1889. What followed was a collection of revolutionary works: suggestive rather than bluntly descriptive; poignant in their atmosphere and intensity rather than their ‘tunes’; beautiful but not always straightforward. The harmony was the most extraordinary thing – instead of following the neat conclusions of perfect cadences and other such rules, its use of whole-tone scales in particular lends it a slippery, elusive quality that intrigues the ear. Wagner, Mahler and Schoenberg all pushed conventional harmony to its limits. It’s almost as though Debussy decided not to play that game at all, and found a completely new way to go about it. PICTURED: Claude Debussy
2017 National Concert Season
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PICTURED: Debussy playing the piano, with composer Ernst Chausson looking on.
From an unusually working-class background, Debussy was a talented young pianist and on the strength of his skill in performance, gained admission to the Paris Conservatoire in 1872. However, there were other, better pianists in his class, and perhaps not unwillingly, he began to study composition with more seriousness, winning the prestigious Prix de Rome in 1884, which meant spending two years at the Villa Medici in Rome.
‘We must agree that the beauty of a work of art will always remain a mystery . . .’ CLAUDE DEBUSSY
After these two years in Rome, Debussy returned to Paris where he found his place with the literary crowd of Symbolists. In 1890, he wrote his first orchestral masterwork, Prélude à l’après-midi d’un faune, based on a poem by Stéphane Mallarmé. The opening flute solo captures the erotic air of the poem. Syrinx, originally known as La Flûte de Pan harks back to the Prélude. It was composed in 1913 to accompany a scene in Gabriel Mourey’s play Psyché, Louis Fleury, to whom the work is dedicated, played the part in the original production. He also championed the work, regularly playing it in concert, so much so that it became a part of the standard flute repertoire. It wasn’t published as Syrinx until 1927, nine years after Debussy’s death. The piece is for solo flute and is only 35 bars in length. It tells the story of the god Pan’s amorous pursuit of the nymph Syrinx. Syrinx does not return Pan’s love and turns herself into a water reed to hide in the marshes. Pan cuts these reeds to make into pipes, in turn killing his love.
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Australian Chamber Orchestra
CÉSAR FRANCK Born Liège 1822 Died Paris 1890
SONATA IN A MAJOR FOR FLUTE AND STRINGS Arranged by Richard Tognetti Composed 1886 I. Allegretto ben Moderato II. Allegro III. Recitativo-Fantasia: Ben Moderato IV. Allegretto poco mosso César Franck was a very talented young pianist. He was accepted into the Brussels Conservatoire before he’d turned eight, and scooped the pool of prizes for sightreading and improvising against much older students. Alas, his father saw an opportunity for easy cash and little César-August-Jean-Guillaume-Hubert was trotted out as a prodigious virtuoso in salons and concert halls across the Low Countries. In his early teens, he was keeping the family alive with income earned through performing and teaching. PICTURED: César Franck
No less an authority than Liszt – who was very taken with young César – correctly identified that Franck had all the technique of a virtuoso but lacked that other essential quality for a sustainable career; namely decent social skills and an ability to schmooze (not that he put it quite like that). The Franck family moved between Belgium and Paris a number of times, searching for a breakthrough, but eventually César had something of a nervous breakdown from the pressure. After a disappointing concert on 1 January 1846, he seems to have left the family home. In 1848, Paris was a highly dramatic place to be – the air was full of revolution, politics, attempted regicide and bloodshed. Somewhere in all this turmoil, Franck was eking out a living as a teacher and organist. He was earning enough to marry the actress Félicité Saillot Desmousseaux in June of that year, rather to his parents’ dismay. By this time Franck had written a number of showy little trifles for his ‘virtuoso’ days; and now branched out into the world of symphonic poems and an opera, although these remained unpublished and presumably unheard. Readers may begin
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PICTURED: Franck at the organ of St Clotilde Basilica, Paris, 1885.
to build a picture of a quietly spoken, gentle organist who liked to jot down a few scores here and there when he could squeeze it in between Sunday masses and giving lessons in keyboard and harmony. Almost unnoticed, he was developing a reputation as an exceptional teacher of composers, and as an original and thoughtful composer himself. Unfortunately, at that time in France, composers found fame and glory almost exclusively through opera, not the kind of instrumental works which Franck was mostly writing. In 1871, Franck was appointed as organ professor at the Paris Conservatoire. His organ classes became the place to be for many of the budding great names of French composition: Duparc, d’Indy and Chausson among them. Franck’s own music, too, championed by his students, began to attract notice; and he was suddenly off and running with a tremendous late flowering of creativity in the last 15 years of his life. People are fond of attributing at least some of this amazing transformation to the effect of a beautiful and vivacious 26
Australian Chamber Orchestra
student, Augusta Holmès. She must have been pretty interesting, because various luminaries agreed that ‘the entire Conservatoire is in love with her’, no doubt including her composition teacher César Franck. The Piano Quintet of 1879 which was dedicated to her was described by Madame Franck as ‘disgusting’, which may tell us something!
. . . what is more immediately striking for the listener is Franck’s astonishingly emotional quality.
In these late works, Franck demonstrates his mastery of large-scale form. The same themes are heard across all the movements through the kind of so-called ‘cyclic’ form which attracted such attention for Beethoven and then again for Liszt. It’s much harder to sustain interest in a theme for an extended period of time across a whole work, than it is to just deal with it for one movement and then move on to something else. It’s possible to attribute this skill at least in part to Franck’s renowned excellence at improvisation, still a key element in being a decent church organist. But what is more immediately striking for the listener is Franck’s astonishingly emotional quality. Whether you choose to hear it as a spiritual outpouring or a more earthly, sensuous one, it is a truly great embodiment of the Romantic period – intensely personal, unrestrained, compelling. The Sonata in A major of 1886 was given as a wedding present to Franck’s compatriot, the famous violin virtuoso Eugène Ysaÿe, on his marriage to Louise Bourdeau. Ysaÿe adored the work immediately. He played it thereafter, introducing Franck’s music to a wide audience in the only way possible in those days before recordings. It remains a cornerstone of the violin recital repertoire.
PICTURED: Eugène Ysaÿe to whom Franck dedicated this sonata.
However, it is possible that Franck may have originally intended the work for cello; and at the very least, designated a second edition of the published sonata as ‘for violin or cello’. Many cellists have embraced the work, and indeed the darker tones of the lower instrument – like the oboe, often called into use by composers wanting to wring a bit of extra emotion out of the situation – seem to suit it perfectly. So, it seems reasonable that this work could also be played by other instruments, including flute, as you will hear in these performances. And Richard Tognetti has taken this thinking a step further, arranging the work for
2017 National Concert Season
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. . . it seems reasonable that this work could also be played by other instruments, including flute . . .
string accompaniment in lieu of piano. At the forefront of his concern was making sure the string parts remained sufficiently transparent in texture that the solo flute ‘was left alive and well’. Similarly, the bellicose, agitated quality of the second movement required judicious handling in order to adapt the very pianistic language for strings, without losing any of the tumultuous emotion of the original. The freely expressive Recitativo-Fantasia may have been Franck’s most personal statement (what was he trying to ‘say’ with this wordless recitative?). The canonic nature of the finale offered the challenge of leaving its delicacy intact within the richer texture of an orchestra. The initial theme is glimpsed yet again, but transformed into a context of radiance and resolution.
All notes by Australian Chamber Orchestra © 2017
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Emmanuel Pahud Flute
Swiss-and-French flautist Emmanuel Pahud began studying music at the age of six. He graduated in 1990 with First Prize from the Paris Conservatoire, and went on studying with Aurèle Nicolet. He won First Prize at the Duino, Kobe and Geneva Competitions, and at age 22 Emmanuel joined the Berliner Philharmoniker as Principal Flute under Claudio Abbado, a position which he still holds today. In addition, he enjoys an extensive international career as soloist and chamber musician. Emmanuel appears regularly at leading concert series, festivals and orchestras worldwide, and has collaborated as a soloist with top conductors such as Abbado, Antonini, Barenboim, Boulez, Fischer, Gergiev, Gardiner, Harding, Järvi, Maazel, Nezet-Séguin, Orozco-Estrada, Perlman, Pinnock, Rattle, Rostropovich and Zinman. Emmanuel is a dedicated chamber musician and regularly gives recitals with pianists Eric Le Sage, Alessio Bax, Yefim Bronfman, Hélène Grimaud, Stephen Kovacevich, as well as jazzing with Jacky Terrasson. In 1993, Emmanuel founded the Summer Music Festival in Salon de Provence together with Eric Le Sage and Paul Meyer, which is still a unique chamber music festival today. He also continues chamber music performances and recordings with ‘Les Vents Français’ with top wind players François Leleux, Paul Meyer, Gilbert Audin and Radovan Vlatkovic.
Photo by Fabien Monthubert
He is committed to expanding the flute repertoire and commissions new flute works every year to composers such as Elliott Carter, Marc-André Dalbavie, Thierry Escaich, Simon Holt, Toshio Hosokawa, Michaël Jarrell, Luca Lombardi, Philippe Manoury, Matthias Pintscher and Christian Rivet. Since 1996 Emmanuel has recorded exclusively for EMI / Warner Classics, one of the most significant contributions to recorded flute music: more than 25 recordings which all have received unanimous critical acclaim and winning awards. Emmanuel was honoured to Chevalier dans l’Ordre des Arts et des Lettres for his contribution to music, and is HonRAM of the Royal Academy of Music. He also is an Ambassador for Unicef.
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Australian Chamber Orchestra
Richard Tognetti Director & Violin
Australian violinist, conductor and composer Richard Tognetti was born in Canberra and raised in Wollongong. He has established an international reputation for his compelling performances and artistic individualism. He began his studies in his home town with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director. He was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015. 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, he has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovenian Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras, most recently as soloist and director with the MSO and TSO. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutosławski’s Partita. In November last year, he became London’s Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall. 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 Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd. Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor. Chair sponsored by the late Michael Ball am and Daria Ball, Wendy Edwards, Peter and Ruth McMullin, Andrew and Andrea Roberts. 2017 National Concert Season
‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’ THE DAILY TELEGRAPH (UK)
Photo by Paul Henderson Kelly
SELECT DISCOGRAPHY AS SOLOIST: BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679 BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three Bach releases available as a 5CD Box set: ABC Classics 476 6168) VIVALDI The Four Seasons BIS SACD-2103 Musica Surfica (DVD) Best Feature, New York Surf Film Festival AS DIRECTOR: MOZART’S LAST SYMPHONIES ABC Classics 481 2880 BACH BEETHOVEN FUGUE ABC Classics 481 4960 All available from aco.com.au/shop 31
Australian Chamber Orchestra From its first concert in November 1975 to today, 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 cellist John Painter, the ACO originally comprised just 13 players. Today, the ACO has grown to 17 players, who between them play around 100 performances across Australia each year. Led by Artistic Director Richard Tognetti, who has been at the helm since 1990, the ACO seeks to inspire and challenge with repertoire that is both brilliantly dazzling and unrelentingly powerful. This energy and spirit of adventure isn’t confined to the country they call home; the ACO’s international touring schedule sees the Orchestra performing in many of the world’s greatest concert halls including Amsterdam’s Concertgebouw, London’s Barbican Centre and Royal Festival Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. Their performances have left their mark on more than 40 countries around the globe spanning Europe, Asia Pacific, and North and Latin America. The ACO regularly performs and collaborates with artists who share their passion for forging new paths and creating new musical destinations: from such musicians as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Olli Mustonen, Brett Dean and Ivry Gitlis, to Neil Finn, Jonny Greenwood, Katie Noonan, Danny Spooner, Barry Humphries and Meow Meow; and visual artists and film makers, including Michael Leunig, Bill Henson, Shaun Tan, Jon Frank, and Jennifer Peedom.
‘ If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK)
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 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
In addition to their demanding touring schedule, the Orchestra records for the world’s top labels. Their recordings of Bach’s works for solo violin won three consecutive ARIA Awards. Recent releases include Mozart’s Last Symphonies, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. Documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents. 32
Australian Chamber Orchestra
Musicians on Stage
Richard Tognetti 1 Leader & Violin
Satu Vänskä 2 Principal Violin
Aiko Goto Violin
Mark Ingwersen Violin
Chair sponsored by the late Michael Ball am & Daria Ball, Wendy Edwards, Peter & Ruth McMullin, Andrew & Andrea Roberts
Chair sponsored by Kay Bryan
Chair sponsored by Anthony & Sharon Lee Foundation
Chair sponsored by Julie Steiner & Judyth Sachs
Ilya Isakovich Violin
Liisa Pallandi Violin
Maja Savnik 3 Violin
Ike See Violin
Chair sponsored by The Humanity Foundation
Chair sponsored by The Melbourne Medical Syndicate
Chair sponsored by Alenka Tindale
Chair sponsored by Di Jameson
Thibaud Pavlovic-Hobba Violin
Nicole Divall 4 Viola
Timo-Veikko Valve 5 Principal Cello
Melissa Barnard Cello
Chair sponsored by Ian Lansdown
Chair sponsored by Peter Weiss ao
Chair sponsored by Martin Dickson am & Susie Dickson
Benjamin Adler Violin
Players dressed by Willow and SABA
Rosalind Ventris Guest Principal Viola Julian Thompson 6 Cello
Maxime Bibeau 7 Double Bass
Chair sponsored by The Grist & Stewart Families
Chair sponsored by Darin Cooper Foundation
Chair sponsored by peckvonhartel architects
Nathan Greentree Viola
1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2 Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. 3 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 4 Nicole Divall plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor. 5 Timo-Veikko Valve plays a 1616 Hieronymus and Antonio Amati cello kindly on loan from the ACO Instrument Fund. 6 Julian Thompson plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, donated to the ACO by Peter Weiss ao. 7 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.
2017 National Concert Season
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ACO Behind the Scenes BOARD
EDUCATION
MARKETING
Guido Belgiorno-Nettis am Chairman Liz Lewin Deputy Bill Best John Borghetti ao Judy Crawford John Kench Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner John Taberner Nina Walton Peter Yates am Simon Yeo
Phillippa Martin ACO Collective & ACO Virtual Manager Vicki Norton Education Manager Caitlin Gilmour Education Coordinator
Antonia Farrugia Director of Marketing Caitlin Benetatos Communications Manager Rory O’Maley Digital Marketing Manager Cristina Maldonado Marketing & Communications Executive Shane Choi Marketing Coordinator Hilary Shrubb Publications Editor Dean Watson Customer Relations & Access Manager Colin Taylor Ticketing Sales & Operations Manager Gene Smith Ticketing Officer Christina Holland Office Administrator Robin Hall Archival Administrator
FINANCE Fiona McLeod Chief Financial Officer Yvonne Morton Financial Accountant & Analyst Dinuja Kalpani Transaction Accountant Samathri Gamaethige Business Analyst
ARTISTIC DIRECTOR
DEVELOPMENT
Richard Tognetti ao
Anna McPherson Director of Corporate Partnerships Jill Colvin Director of Philanthropy Tom Carrig Corporate Partnerships Manager Sarah Morrisby Philanthrophy Manager Sally Crawford Patrons Manager Lillian Armitage Capital Campaign Manager Yeehwan Yeoh Investor Relations Manager Jen Sanford Acting Events Manager Camille Comtat Corporate Partnerships Executive Belinda Partyga Researcher Kay-Yin Teoh Corporate Partnerships Administrator Max Stead Development Executive
ADMINISTRATIVE STAFF EXECUTIVE OFFICE Richard Evans Managing Director Alexandra Cameron-Fraser Chief Operating Officer Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer ARTISTIC OPERATIONS Luke Shaw Director of Artistic Operations Anna Melville Artistic Administrator Lisa Mullineux Tour Manager Ross Chapman Touring & Production Coordinator Nina Kang Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant 34
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 Australia Telephone (02) 8274 3800 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au
Australian Chamber Orchestra
Venue Support Australian National University QUEENSLAND PERFORMING ARTS CENTRE Cultural Precinct, Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101 Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au
AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music William Herbert Place (off Childers Street), Acton, Canberra Venue Hire Information Telephone (02) 6125 2527 Email music.venues@anu.edu.au
ARTS CENTRE MELBOURNE PO Box 7585, St Kilda Road, Melbourne VIC 8004 Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au James MacKenzie President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer
Christopher Freeman am Chair John Kotzas Chief Executive
PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000
CITY RECITAL HALL LIMITED 2–12 Angel Place Sydney NSW 2000
PO Box 3041, East Perth WA 6892
Administration (02) 9231 9000 Box Office (02) 8256 2222 Web www.cityrecitalhall.com
Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager
Renata Kaldor ao Chair, Board of Directors Elaine Chia CEO
SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer
In case of emergencies… Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.
2017 National Concert Season
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Emmanuel Pahud TOUR PRESENTED BY
TOUR DATES & PRE-CONCERT TALKS Pre-concert talks take place 45 minutes before the start of every concert. Please share our concert program with your companion/s, where possible – one between two. Our programs are also available on our website for download. Sat 30 Sep, 7.15pm Canberra – Llewellyn Hall
Sat 7 Oct, 6.15pm Sydney – City Recital Hall
Tue 10 Oct, 7.15pm Sydney – City Recital Hall
Pre-concert talk by Vincent Plush
Pre-concert talk by Francis Merson
Pre-concert talk by Francis Merson
Sun 8 Oct, 1.15pm Sydney Opera House
Wed 11 Oct, 6.15pm Sydney – City Recital Hall
Pre-concert talk by Francis Merson
Pre-concert talk by Francis Merson
Mon 9 Oct, 6.15pm Brisbane – QPAC Concert Hall
Fri 13 Oct, 12.45pm Sydney – City Recital Hall
Pre-concert talk by Gordon Hamilton
Pre-concert talk by Tanja Binggeli
Sun 1 Oct, 1.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by Lucy Rash Tue 3 Oct, 6.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by Lucy Rash Wed 4 Oct, 6.45pm Perth Concert Hall Pre-concert talk by Rosalind Appleby
Pre-concert speakers are subject to change.
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Australian Chamber Orchestra
ACO Medici Program In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre. MEDICI PATRON
CORE CHAIRS
ACO COLLECTIVE
The late Amina Belgiorno-Nettis
VIOLIN
Pekka Kuusisto Artistic Director & Lead Violin
PRINCIPAL CHAIRS Richard Tognetti ao Artistic Director & Lead Violin The late Michael Ball ao & Daria Ball Wendy Edwards Peter & Ruth McMullin Andrew & Andrea Roberts Helena Rathbone Principal Violin Kate & Daryl Dixon Satu Vänskä Principal Violin Kay Bryan
Glenn Christensen Terry Campbell ao & Christine Campbell Aiko Goto Anthony & Sharon Lee Foundation Mark Ingwersen Julie Steiner & Judyth Sachs Ilya Isakovich The Humanity Foundation Liisa Pallandi The Melbourne Medical Syndicate
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
Maja Savnik Alenka Tindale
Principal Viola peckvonhartel architects
Ike See Di Jameson
Timo-Veikko Valve Principal Cello Peter Weiss ao
Ripieno Viola Philip Bacon am
Maxime Bibeau Principal Double Bass Darin Cooper Foundation
Horsey Jameson Bird
VIOLA
Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Grist & Stewart Families
ACO Life Patrons 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 The late John Harvey ao
Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao
ACO Bequest Patrons 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, Director of Philanthropy, on 02 8274 3835. The late Charles Ross Adamson The late Kerstin Lillemor Andersen The late Mrs Sybil Baer The late Prof. Janet Carr The late Mrs Moya Crane The late Colin Enderby 2017 National Concert Season
The late Neil Patrick Gillies The late John Nigel Holman The late Dr S W Jeffrey am The late 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 late Scott Spencer
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ACO Continuo Circle 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, Director of Philanthropy, on 02 8274 3835 for more information. Every gift makes a difference. Steven Bardy Ruth Bell David Beswick Dr Catherine Brown-Watt & Mr Derek Watt Sandra Cassell Mrs Sandra Dent
Peter Evans Carol Farlow Suzanne Gleeson Lachie Hill David & Sue Hobbs Penelope Hughes Toni Kilsby & Mark McDonald
Mrs Judy Lee Selwyn M Owen Michael Ryan & Wendy Mead Ian & Joan Scott Cheri Stevenson Leslie C Thiess
Ngaire Turner G.C. & R. Weir Margaret & Ron Wright Mark Young Anonymous (15)
ACO Reconciliation Circle Contributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Jill Colvin, Director of Philanthropy, on 02 8274 3835. Colin & Debbie Golvan Kerry Landman Peter & Ruth McMullin
Patterson Pearce Foundation Sam Ricketson & Rosie Ayton
ACO Excellence Fund Patrons ACO Excellence Fund Patrons enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830. Dr Jane Cook Paul & Roslyn Espie Robert & Jennifer Gavshon Carole A.P. Grace Rohan Haslam
Doug Hooley Mike & Stephanie Hutchinson Geoff & Denise Illing Baillieu Myer ac
David Shannon J Skinner Christina Scala & David Studdy
Mike Thompson Dr Jason Wenderoth 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 Clare Ainsworth Herschell Lucinda Bradshaw Justine Clarke Amy Denmeade Jenni Deslandes & Hugh Morrow Mandy Drury Anthony Frith & Amanda Lucas-Frith 38
Shevi de Soysa Rebecca Gilsenan & Grant Marjoribanks Ruth Kelly Aaron Levine & Daniela Gavshon Royston Lim Gabriel Lopata Rachael McVean
Carina Martin Barry Mowzsowski James Ostroburski Nicole Pedler & Henry Durack Michael Radovnikovic Jessica Read Louise & Andrew Sharpe Emile & Caroline Sherman
Tom Smyth Michael Southwell Helen Telfer Karen & Peter Tompkins Nina Walton & Zeb Rice Peter Wilson & James Emmett Thomas Wright Anonymous (1) Australian Chamber Orchestra
ACO Trusts and Foundations
Holmes à Court Family Foundation
The Ross Trust
ACO Instrument Fund The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Maja Savnik. The Fund’s third asset is the 1616 ‘ex-Fleming’ Antonio and Hieronymus Amati Cello, played in this concert by Principal Cello Timo-Veikko Valve. For more information, please call Yeehwan Yeoh, Investor Relations Manager on 02 8274 3878. Peter Weiss ao PATRON, ACO Instrument Fund
SONATA $25,000 – $49,999
BOARD MEMBERS
Leslie C. Thiess
Bill Best (Chairman)
ENSEMBLE $10,000 – $24,999 Anonymous (1)
Sam Burshtein & Galina Kaseko Carla Zampatti Foundation Sally Collier Michael Cowen & Sharon Nathani Marco D’Orsogna
SOLO $5,000 – $9,999
Dr William Downey
PATRON $500 – $4,999
Garry & Susan Farrell
In memory of Lindsay Cleland
Gammell Family
Merilyn & David Howorth
Edward Gilmartin
Luana & Kelvin King
Tom & Julie Goudkamp
John Landers & Linda Sweeny
Philip Hartog
Bronwyn & Andrew Lumsden
Peter & Helen Hearl
Peter McGovern
Brendan Hopkins
John & Virginia Richardson
Angus & Sarah James
Peter & Victoria Shorthouse
Paul & Felicity Jensen
Robyn Tamke
Daniel & Jacqueline Phillips
Naomi Milgrom ao
Anonymous (2)
Ryan Cooper Family Foundation
OCTET $100,000 – $199,999
INVESTORS
Dr Lesley Treleaven
John Taberner
Stephen & Sophie Allen
QUARTET $50,000 – $99,999
John & Deborah Balderstone
The late Ian Wallace & Ms Kay Freedman
John Leece am & Anne Leece
Guido & Michelle Belgiorno-Nettis
Anonymous
Bill Best
Jessica Block John Leece am Julie Steiner John Taberner
PATRONS VISIONARY $1m+ Peter Weiss ao LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 The late Amina Belgiorno-Nettis
Andrew & Philippa Stevens
Benjamin Brady 2017 National Concert Season
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ACO Special Projects ACO MOUNTAIN PRODUCERS’ SYNDICATE
The Australian Chamber Orchestra would like to thank the following people for their generous support of Mountain: Executive Producer
Charlie & Olivia Lanchester
Phil & Rosie Harkness
Martyn Myer ao
Rob & Nancy Pallin
Peter & Janette Kendall
Andrew & Andrea Roberts
Andy Myer & Kerry Gardner
Peter & Victoria Shorthouse
Sid & Fiona Myer
Major Producers Janet Holmes à Court ac Warwick & Ann Johnson Producers Richard Caldwell Warren & Linda Coli Anna Dudek & Brad Banducci Wendy Edwards David Friedlander Tony & Camilla Gill John & Lisa Kench
Alden Toevs & Judi Wolf Supporters Andrew Abercrombie Joanna Baevski Ann Gamble Myer Gilbert George Charles & Cornelia Goode Foundation
Allan Myers ac The Penn Foundation Peppertree Foundation The Rossi Foundation Shaker & Diana Mark Stanbridge Kim Williams am Peter & Susan Yates
Charles & Elizabeth Goodyear
2017 EUROPEAN TOUR PATRONS Philippa and John Armfield
Eddie Guillemette
James Ostroburski
Steven Bardy & Andrew Patterson
Liz Harbison
Susan Phillips
Paul Borrud
Paul & April Hickman
Andrew & Andrea Roberts
Craig & Nerida Caesar
Jay & Linda Hughes
Terry Campbell ao & Christine Campbell
Andrew & Lucie Johnson
The Ryan Cooper Family Foundation
Michael & Helen Carapiet
Steve & Sarah Johnston
Stephen & Jenny Charles
Russell & Cathy Kane
Andrew Clouston
John & Lisa Kench
Robin & Judy Crawford
Wayne Kratzmann
Graham & Treffina Dowland Dr William F Downey
Mr Christopher D Martin & Mrs Clarinda Tjia-Dharmadi
Terry & Lynn Fern
Nicholas McDonald & Jonnie Kennedy
Jamie Thomas
Stephen Fitzgerald
Andrew McKenzie
Phillip Widjaja & Patricia Kaunang
Daniel & Helen Gauchat
Jennifer Senior & Jenny McGee
Simon Yeo
Nick & Kay Giorgetta
Usmanto Njo & Monica Rufina Tjandraputra
Colin Golvan qc & Debbie Golvan
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Simon Johnson
Carol Schwartz am & Alan Schwartz am Rosy Seaton & Seumas Dawes Peter Shorthouse Hilary Stack Jon & Caro Stewart John Taberner
Australian Chamber Orchestra
ACO Special Projects SPECIAL COMMISSIONS PATRONS
JEWISH MUSEUM PATRONS LEAD PATRON
Peter & Cathy Aird Josephine Kay & Ian Bredan
PATRONS Marc Besen ac & Eva Besen ao
ACO COLLECTIVE QUEENSLAND REGIONAL TOUR Lead Patrons Philip Bacon am
Mirek Generowicz
Andrew Clouston
Anthony & Conny Harris
Dr Ian Frazer ac & Mrs Caroline Frazer
Rohan Haslam
SUPPORTERS
Bruce Lane
The Ostroburski Family
David & Sandy Libling
Julie Steiner
Robert & Nancy Pallin Team Schmoopy Rebecca Zoppetti Laubi
INTERNATIONAL TOUR PATRONS
FRIEND Leo & Mina Fink Fund
EMANUEL SYNAGOGUE PATRONS CORPORATE PARTNERS
The ACO would like to pay tribute to the following donors who support our international touring activities:
Adina Apartment Hotels
Linda & Graeme Beveridge
LEAD PATRON
Anthony & Sharon Lee Foundation
The Narev Family
Doug Hooley Professor Anne Kelso ao Bruce & Jenny Lane Delysia Lawson Friends of Jon & Caro Stewart Mike Thompson
Meriton Group
PATRONS David Gonski ac Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
In memory of Lady Maureen Schubert– Marie-Louise Theile & Felicity Schubert Urbane Restaurant Group Patrons Cass George Shay O’Hara Smith Syd Williams qc Hamilton Wilson
ACO UK SUPPORTERS Ambassadors Brendan & Bee Hopkins Friends John & Kate Corcoran Hugo & Julia Heath John Taberner Patricia Thomas Supporters
Anonymous (1)
John Coles Isla Baring
Peer Review Panels EDUCATION PEER REVIEW PANEL Zoe Arthur
Jared Furtado
John Benson
Theo Kotzas
Helen Champion
Lyn Williams oam
Jane Davidson
ARTISTIC PEER REVIEW PANEL Yarmila Alfonzetti
Melissa King
John Painter am
Elaine Armstrong
Jim Koehne
Anthony Peluso
Toby Chadd
Siobhan Lenihan
Mary Vallentine ao
Jane Davidson
Marshall McGuire
Lyn Williams oam
Alan Dodge
Katie Noonan
2017 National Concert Season
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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 Donor list current as at 7 August 2017. PATRONS
Anthony & Suzanne Maple-Brown
Paul & Roslyn Espie
Marc Besen ac & Eva Besen ao
Jim & Averill Minto
Bridget Faye am
Janet Holmes à Court ac
Servcorp
JoAnna Fisher & Geoff Weir
Louise & Martyn Myer Foundation
Angelos & Rebecca Frangopoulos
Jennie & Ivor Orchard
Liz Harbison
James Ostroburski & Leo Ostroburski
Annie Hawker
The Bruce & Joy Reid Trust
I Kallinikos
Geoff Alder
Andrew & Andrea Roberts
The Key Foundation
Australian Communities Foundation – Ballandry Fund
Mark & Anne Robertson
Kerry Landman
Margie Seale & David Hardy
Anthony & Sharon Lee Foundation
Steven Bardy & Andrew Patterson
Rosy Seaton & Seumas Dawes
In memory of Dr Peter Lewin
Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis
Tony Shepherd ao
Lorraine Logan
Anthony Strachan
Macquarie Group Foundation
Rod Cameron & Margaret Gibbs
Leslie C. Thiess
David Maloney & Erin Flaherty
Michael & Helen Carapiet
David & Julia Turner
Stephen & Jenny Charles
Shemara Wikramanayake
The Alexandra & Lloyd Martin Family Foundation
Rowena Danziger am & Ken Coles am
Libby & Nick Wright
Libby & Peter Plaskitt
E Xipell
John Rickard
EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert
In memory of Wilma Collie Irina Kuzminsky & Mark Delaney Kate & Daryl Dixon
Insurance Group Australia Limited
Peter Yates am & Susan Yates
Greg Shalit & Miriam Faine
Peter Young am & Susan Young
Peter & Victoria Shorthouse
Anonymous (4)
Sky News Australia
Eureka Benevolent Foundation
Petrina Slaytor
Mr & Mrs Bruce Fink
DIRETTORE $5,000 – $9,999
Dr Ian Frazer ac & Mrs Caroline Frazer
Jon & Cheyenne Adgemis Geoff Ainsworth & Jo Featherstone
Ivan Wheen
Daniel & Helen Gauchat
Peter Atkinson
Simon & Amanda Whiston
Kimberley Holden
David and Helen Baffsky
Cameron Williams
Di Jameson
The Belalberi Foundation
Woods Foundation
John & Lisa Kench
Helen Breekveldt
Anonymous (4)
Miss Nancy Kimpton
Veronika & Joseph Butta
Liz & Walter Lewin
Darrel & Leith Conybeare
Andrew Low
Suellen & Ron Enestrom
42
Jeanne-Claude Strong Alenka Tindale
Australian Chamber Orchestra
MAESTRO $2,500 – $4,999
Professor Richard Yeo
Penelope & Susan Field
Jennifer Aaron
William & Anne Yuille
Elizabeth Finnegan
Annette Adair
Anonymous (5)
Michael Fogarty
David & Rae Allen Stephen & Sophie Allen Will & Dorothy Bailey Charitable Gift Brad Banducci & Anna Dudek The Beeren Foundation Neil & Jane Burley The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov Caroline & Robert Clemente Laurie & Julie Ann Cox Carol & Andrew Crawford
VIRTUOSO $1,000 – $2,499 Barbara Allan Jane Allen Andrew Andersons In memory of Anne & Mac Blight David Blight & Lisa Maeorg Lyn Baker & John Bevan Adrienne Basser Doug & Alison Battersby Robin Beech Berg Family Foundation
Don & Marie Forrest Chris & Tony Froggatt Anne & Justin Gardener Kay Giorgetta Brian Goddard Grussgott Trust Kingsley Herbert Jennifer Hershon Lachie Hill Christopher Holmes Doug Hooley
Jessica Block
Michael Horsburgh am & Beverley Horsburgh
Dr David & Mrs Anne Bolzonello
Penelope Hughes
In memory of Peter Boros
Professor Emeritus Andrea Hull ao
Brian Bothwell
Sue Hunt
Vicki Brooke
John Griffiths & Beth Jackson
Diana Brookes
Owen James
Ros Johnson
Dr Catherine Brown-Watt psm & Mr Derek Watt
Anthony Jones & Julian Liga
Jennifer Senior & Jenny McGee
Sally Bufé
Jane Morley
Gerard Byrne & Donna O’Sullivan
Jenny Nicol
Ian & Brenda Campbell
OneVentures David Paradice & Claire Pfister
Terry Campbell ao & Christine Campbell
Sandra & Michael Paul Endowment
Ray Carless & Jill Keyte
Prof David Penington ac
Ann Cebon-Glass
Kenneth Reed am
Patrick Charles
Patricia H Reid Endowment Pty Ltd
Dr Peter Clifton
Ruth & Ralph Renard
Angela & John Compton
Mrs Tiffany Rensen
R & J Corney
Fe & Don Ross
Gay Cruickshank
Nola Nettheim
D N Sanders
Peter & Penny Curry
Barry Novy & Susan Selwyn
Paul Schoff & Stephanie Smee & Friends
Ian Davis & Sandrine Barouh
Paul O’Donnell
Michael & Wendy Davis
Mimi Packer
Maria Sola
Martin Dolan
Leslie Parsonage
Howard & Hilary Stack
In memory of Ray Dowdell
John & Josephine Strutt
Dr William F Downey
Dr S M Richards am & Mrs M R Richards
Susan Thacore
Emeritus Professor Dexter Dunphy
Em Prof A W Roberts am
Nicky Tindill
Carmel Dwyer
Julia Champtaloup & Andrew Rothery
Ralph Ward-Ambler am & Barbara Ward-Ambler
Wendy Edwards
Richard & Sandra Royle
Dr Linda English
J Sanderson
Westpac Group
Peter Evans
In Memory of H. St. P. Scarlett
Don & Mary Ann Yeats
Julie Ewington
Lucille Seale
Anne & Tom Dowling Ari & Lisa Droga Maggie & Lachlan Drummond John & Jenny Green Warren Green Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl
2017 National Concert Season
Brian Jones Bronwen L Jones Mrs Angela Karpin Airdrie Lloyd Gabriel Lopata Garth Mansfield oam & Margaret Mansfield oam Mr and Mrs Greg & Jan Marsh Jane Tham & Philip Maxwell Kevin & Deidre McCann In memory of Rosario Razon Garcia Helen and Phil Meddings
43
Mr John Sheahan qc
Nevarc Inc.
HE & RJ McGlashan
Diana & Brian Snape am
John Curotta
JA McKernan
Dr Peter & Mrs Diana Southwell-Keely
Sharlene & Steve Dadd
Louise Miller
Marie Dalziel
Justine Munsie & Rick Kalowski
Keith Spence
Mari Davis
G & A Nelson
Jim & Alice Spigelman
Rosemary Dean
Robyn Nicol
Harley Wright & Alida Stanley
In Memory of Raymond Dudley
Graham North
Caroline Storch
Pamela Duncan
Andrew Strauss
Robin Offler
M T & R L Elford
Charles Su & Emily Lo
Sue Packer
Leigh Emmett
Tamas & Joanna Szabo
Robin Pease
Agnes Fan
David & Judy Taylor
Ian Penboss
Jean Finnegan & Peter Kerr
Rob & Kyrenia Thomas
Susan Freeman
Anne Tonkin
Louisa Geddes
Ngaire Turner
Paul Gibson & Gabrielle Curtin
Kay Vernon
Don & Mary Glue
Prof Roy & Dr Kimberley MacLeod
Colin Golvan qc & Debbie Golvan
Jason Wenderoth
Ian and Ruth Gough
M White
Mrs Megan Grace
Dr Mark & Mrs Anna Yates
Paul Greenfield & Kerin Brown
Rebecca Zoppetti Laubi
Annette Gross
Anonymous (19)
Kevin Gummer & Paul Cummins
CONCERTINO $500 – $999 Juliet Ashworth Elsa Atkin am Rita Avdiev Christine Barker In memory of Hatto Beck
Hamiltons Commercial Interiors Lesley Harland Paul & Gail Harris Sue Harvey Sandra Haslam Gaye Headlam
Elizabeth Pender Kevin Phillips Michael Power Beverly & Ian Pryer Mandie & Andrew Purcell Jennifer Rankin Jedd Rashbrooke Jennifer Royle Trish & Richard Ryan ao Garry Scarf & Morgie Blaxill Carol Schwartz am & Alan Schwartz am The Sherman Foundation Ken Smith Ross Steele am Cheri Stevenson Douglas Sturkey cvo am
Mrs Kathrine Becker
Dr Penny Herbert in memory of Dunstan Herbert
Ruth Bell
Dr Marian Hill
Gabrielle Tagg
Lynne & Max Booth
Sue & David Hobbs
Simon Thornton
Debbie Brady
Geoff Hogbin
Denise Braggett
Chloe Hooper
TWF Slee & Lee Chartered Accountants
Mrs Ann Bryce
Dr & Mrs Michael Hunter
Henry & Jenny Burger
Barry Johnson & Davina Johnson oam
Denise Wadley
Mrs Pat Burke
Caroline Jones
Joy Wearne
Alberto Calderon-Zuleta
Irene Kearsey & Michael Ridley
GC & R Weir
Helen Carrig
Bruce & Natalie Kellett
Harley & Penelope Whitcombe
Connie Chaird
Lionel & Judy King
Kathy White
Angela & Fred Chaney
Genevieve Lansell
Sally Willis
Colleen & Michael Chesterman
Kwong Lee Dow
Janie Wittey
Richard & Elizabeth Chisholm
Irene Ryan & Dean Letcher qc
Sir Robert Woods cbe
Stephen Chivers
Megan Lowe
Michael Zimmerman
ClearFresh Water
Diana Lungren
Brian Zulaikha
Sally Collier
Janet Matton & Robin Rowe
Anonymous (30)
Annabel Crabb
Dr & Mrs Donald Maxwell
44
In memory of Dr Aubrey Sweet
Visionads Pty Ltd
Australian Chamber Orchestra
Chairman’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
Mr Angelos Frangopoulos
Chief Executive Officer,
Chairman,
Chief Executive Officer,
Servcorp
Australian Chamber Orchestra
Australian News Channel
Mr Matthew Allchurch
Ms Ann Gamble Myer
Chairman, Telstra
Mr Daniel Gauchat
Mr Ian Narev
Principal,
Chief Executive Officer
The Adelante Group
Commonwealth Bank
Mr Robert Gavshon &
Ms Gretel Packer
Partner, Johnson Winter & Slattery Mr Philip Bacon am Director, Philip Bacon Galleries
Mr Mark Rohald
Mr David Baffsky ao
Quartet Ventures
Mr Marc Besen ac &
Mr James Gibson
Mrs Eva Besen ao
Chief Executive Officer,
Mr John Borghetti ao Chief Executive Officer, Virgin Australia Mr Craig Caesar Mrs Nerida Caesar
Australia & New Zealand
Mr David Hardy
Chairman,
Mr Glen Sealey
WorleyParsons
Mr Simon &
Mrs Helen Carapiet
Mrs Katrina Holmes à Court Observant
Managing Director,
Leslie Janusz Hooker
Casella Family Brands
Chairman,
(Peter Lehmann Wines)
LJ Hooker
Mr Michael Chaney ao
Mr Andrew Low
Mr & Mrs Robin Crawford am
Mrs Carol Schwartz am
Mr John Grill ao
Mr Michael &
Wesfarmers
peckvonhartel architects
Ms Margie Seale &
Mrs Janet Holmes à Court ao
Chairman,
Mr Robert Peck am & Ms Yvonne von Hartel am
BNP Paribas
CEO, Veda
Mr John Casella
Mr John P Mullen
Mr David Mathlin Ms Julianne Maxwell
Chief Operating Officer, Maserati Australasia & South Africa Mr Tony Shepherd ao Mr Peter Shorthouse Senior Partner, Crestone Wealth Management Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Ms Vanessa Wallace &
Mr Michael Maxwell
Mr Alan Liddle
& Kenneth G. Coles am
Ms Naomi Milgrom ao
Mr Peter Yates am
Mr David Evans
Ms Jan Minchin
Rowena Danziger am
Executive Chairman, Evans & Partners Mr Bruce Fink Executive Chairman, Executive Channel Holdings
Director, Tolarno Galleries Mr Jim & Mrs Averill Minto
Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Mr Peter Young am & Mrs Susan Young
Mr Alf Moufarrige ao
2017 National Concert Season
45
ACO Government Partners The ACO thanks our 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 Create NSW.
ACO Committees SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Chair, Australian Super
Jason Li Chairman, Vantage Group Asia
Guido Belgiorno-Nettis am Chairman, ACO
Jennie Orchard
John Kench
Mark Stanbridge Partner, Ashurst Paul Sumner Chief Executive Officer, Mossgreen
Peter Shorthouse Senior Partner, Crestone Wealth Management
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
Peter McMullin Chairman, McMullin Group James Ostroburski CEO, Kooyong Group
Paul Sumner Chief Executive Officer, Mossgreen Susan Thacore
Colin Golvan qc
DISABILITY ADVISORY COMMITTEE Morwenna Collett CEO, Accessible Arts Paul Nunnari Manager, Event Access & Inclusion NSW Government
Ebru Sumaktas Senior HR Officer, Department of Family and Community Services
Sally Crawford Patrons Manager, ACO
Alexandra Cameron-Fraser Chief Operating Officer, ACO
Dean Watson Customer Relations & Access Manager, ACO
Vicki Norton Education Manager, ACO
EVENT COMMITTEES SYDNEY
BRISBANE
Liz Lewin (Chair)
Lisa Kench
Philip Bacon
Wayne Kratzmann
Lillian Armitage
Julianne Maxwell
Kay Bryan
Shay O’Hara-Smith
Lucinda Cowdroy
Karissa Mayo
Andrew Clouston
Marie-Louise Theile
Sandra Ferman
Rany Moran
Dr Ian Frazer ac
Beverley Trivett
Eleanor Gammell
John Taberner
Mrs Caroline Frazer
Fay Geddes
Lynne Testoni
Cass George
46
Australian Chamber Orchestra
ACO AC PA TT NER AC OO PA RR T NER S SS ACO AC O PA R NER AC O PAPartners R T NER S ACO
WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT WE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT OURCorporate CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT WE THANK We thank our Partners for their generous support PRINCIPAL PARTNER PRINCIPAL PARTNER
PRINCIPAL PARTNER: ACO COLLECTIVE PRINCIPAL PARTNER: ACO COLLECTIVE
NATIONAL TOUR PARTNERS NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS CONCERT AND SERIES PARTNERS
MEDIA PARTNERS
EVENT PARTNERS
MEDIA PARTNERS
EVENT PARTNERS
42 2017 National Concert Season Season 42
39 39
39 47
ACO News PRINCIPAL PARTNER: ACO COLLECTIVE
ACO COLLECTIVE CELEBRATES 10 YEARS! ACO Collective celebrated 10 years of regional touring on a three-week tour of regional New South Wales and Queensland. The Orchestra performed eight public concerts, of which six were completely sold out, along with schools’ concerts, string workshops and Music & Art sessions at schools in and around Cairns. To celebrate the anniversary, ACO Collective also had special collaborative performances with the Bellingen Youth Orchestra and the Gondwana Indigenous Children’s Choir in Cairns. ACO Collective performed in Bellingen on their very first regional tour in 2007, with Richard Tognetti and the Bellingen Strings. This year the newest crop of Bellingen Strings performed a guard of honour for ACO Collective and the Bellingen Youth Orchestra (many of whom were part of that first performance 10 years ago) opened the evening’s concert with Elgar’s Nimrod along with ACO Collective. In a sold-out concert in Cairns, the ACO continued its ongoing collaboration with the Gondwana Indigenous Children’s Choir. The Choir, directed by its Artistic Director and Founder Lyn Williams, and ACO Collective opened the evening’s concert by performing together two specially commissioned works by Australian composer Luke Byrne written in conjunction with local Gimuy Walubara Yidinji elder Gudju Gudju, and featuring Yidinji lyrics and dance, as well as two traditional Torres Strait Islander songs.
2017 National Concert Season
49
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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.