Goldberg Variations Concert Program

GOLDBERG VARIATIONS AUGUST 2018

A Great Relief

Travelling Around Space

Three Pieces

Romy Ash speaks to composer Thomas Adès

Martin McKenzie-Murray on the Goldberg Variations

Bernard Rofe on the music of Stravinsky

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Inside you’ll find features and interviews that shine a spotlight on our players and the program you are about to hear. Enjoy the read.

2019 NEW SEASON ANNOUNCED 15 AUGUST

INSIDE: Welcome

Program

Musicians

From the ACO’s Managing Director Richard Evans

Listing and concert timings

Players on stage for this performance

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Program in Short

Goldberg History

A Great Relief

Your five-minute read before lights down

Follow the story of the Goldbergs through time

Romy Ash speaks to composer Thomas Adès

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Travelling Around Space

Three Pieces

Coming Up

Martin McKenzie-Murray on the Goldberg Variations

Bernard Rofe on the music of Stravinsky

Upcoming events to add to your calendar

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BOOKINGS

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COVER PHOTOS. DANIEL BOUD | PRINTED BY. PLAYBILL PTY LTD

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WELCOME

TRANSFORMING STRAUSS & MOZART

Welcome to our celebration of JS Bach’s Goldberg Variations, a wonderful and enduring piece of music which has been reinterpreted in so many ways over so many years.

8 – 19 SEPTEMBER Adelaide, Canberra, Melbourne, Sydney, Wollongong

Richard Tognetti and the ACO are renowned the world over for their innovative and insightful interpretations of Bach’s music. In this series of concerts we are delighted to present Canadian conductor Bernard Labadie’s visionary string arrangement of the Goldberg Variations in Australia’s concert halls for the very first time.

An intimate and emotional program featuring music by Richard Strauss, Mozart and Wagner, curated by our Principal Cello Timo-Veikko ‘Tipi’ Valve.

Originally written for a two-manual harpsichord in 1741, and more commonly performed on the piano today, this arrangement for strings examines the work in a new form, supported by the verve of the ACO.

Helena Rathbone Violin Aiko Goto Violin Stefanie Farrands Viola Nicole Divall Viola Timo-Veikko Valve Cello Melissa Barnard Cello Maxime Bibeau Double Bass

This year we also celebrate a milestone anniversary with the Commonwealth Bank of Australia, our National Tour Partner for these concerts. Thirty years ago, the Commonwealth Bank and the ACO forged a partnership that has since grown to become one of the longest and most successful of its kind in the country. We are exceptionally grateful to the Commonwealth Bank for their ongoing support, in particular for the loan of the exquisite 1759 Guadagnini violin, played by our Principal Violin Helena Rathbone.

We are delighted to present Bach’s iconic Goldberg Variations for the first time. I hope you find the concert an illuminating and uplifting experience.

Tickets from $49*

Richard Evans Managing Director BOOKINGS

*Booking fee of $7.50 applies. Prices vary according to venue and reserve.

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PROGRAM BACH (arr. Bernard Labadie)

Richard Tognetti Violin Erin Helyard Keyboards Australian Chamber Orchestra

PRE-CONCERT TALK

45 minutes prior to the performance See page 51 for details

STRAVINSKY (arr. strings)

Three Pieces for String Quartet

The Four Quarters, Op.28: I. Nightfalls

BACH (arr. Richard Tognetti)

Canons on a Goldberg Ground, BWV1087

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I. Canon simplex II. All’ roverscio III. Beede vorigen Canones zugleich, motu recto e contrario IV. Motu contrario e recto V. Canon duplex à 4 VI. Canon simplex über besagtes Fundament à 3 VII. Idem à 3 VIII. Canon simplex à 3, il soggetto in Alto IX. Canon in unisono post semifusam à 3 X. Alio modo, per syncopationes et per ligaturas à 2 XI. Canon duplex übers Fundament à 5 XII. Canon duplex über besagte Fundamental – Noten à 5 XIII. Canon triplex à 6 XIV. Canon à 4 per Augmentationem et Diminutionem

INTERVAL AUSTRALIAN CHAMBER ORCHESTRA

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I. [Danse] II. [Eccentrique] III. [Cantique]

THOMAS ADÈS (arr. strings)

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Goldberg Variations, BWV988

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Aria

Variatio 1. a 1 Clav.

Variatio 2. a 1 Clav.

Variatio 3. Canone all’Unisono. a 1 Clav.

Variatio 4. a 1 Clav.

Variatio 5. a 1 ô vero 2 Clav.

Variatio 6. Canone alla Seconda. a 1 Clav.

Variatio 7. a 1 ô vero 2 Clav. al tempo di Giga

Variatio 8. a 2 Clav.

Variatio 9. Canone alla Terza. a 1 Clav.

Variatio 10. Fughetta. a 1 Clav.

Variatio 11. a 2 Clav.

Variatio 12. a 1 Clav. Canone alla Quarta in moto contrario

Variatio 13. a 2 Clav.

Variatio 14. a 2 Clav.

Variatio 15. Canone alla Quinta. a 1 Clav.: Andante

Variatio 16. Ouverture. a 1 Clav.

Variatio 17. a 2 Clav.

Variatio 18. Canone alla Sesta. a 1 Clav.

Variatio 19. a 1 Clav.

Variatio 20. a 2 Clav.

Variatio 21. Canone alla Settima

Variatio 22. a 1 Clav. alla breve

Variatio 23. a 2 Clav.

Variatio 24. Canone all’Ottava. a 1 Clav.

Variatio 25. a 2 Clav.: Adagio The concert will last

Variatio 26. a 2 Clav. approximately two hours, including a

Variatio 27. Canone alla Nona. a 2 Clav.

20-minute interval.

Variatio 28. a 2 Clav.

The Australian Chamber Orchestra reserves the

Variatio 29. a 1 ô vero 2 Clav. right to alter scheduled

Variatio 30. a 1 Clav. Quodlibet artists and programs as necessary.

Aria da Capo ACO concerts are regularly broadcast on ABC Classic FM. Goldberg Variations will be broadcast on ABC Classic FM on Saturday 18 August at 12 noon.

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Celebrating 30 years of partnership

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This year marks 30 years of partnership between the Commonwealth Bank and the Australian Chamber Orchestra, the cornerstone of which has been this rare Guadagnini violin, handmade in 1759.

We are delighted to be able to share this special instrument with audiences across Australia, played

by Helena Rathbone, the ACO’s Principal Violin.

This year marks the 30th anniversary of the partnership between Commonwealth Bank and the ACO. We are passionate about our investment in the arts and the role we play in bringing world-class concerts and performances to the communities in which we live and work.

Our support also includes the loan of our rare 1759 Guadagnini violin to ACO’s Principal Violin, Helena Rathbone.

Our long association has given us the privilege of watching the ACO grow into the world class orchestra that it is today. In this milestone year, we are excited to be the 2018 National Tour Partner for Goldberg Variations, a Bach celebration that brings together the old and the new – in a unique and illuminating way.

I hope you enjoy this special performance of Goldberg Variations.

Matt Comyn Chief Executive Officer of Commonwealth Bank of Australia

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Photo. George Voulgaropoulo / OCULI

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MUSICIANS

Timo-Veikko Valve Liisa Pallandi

The musicians on stage for this performance.

Violin

Liisa currently plays Helena Rathbone’s violin which is a c.1760 Giovanni Battista Gabrielli.

Her Chair is sponsored by The Melbourne Medical Syndicate.

Principal Cello

Tipi plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund. His Chair is sponsored by Peter Weiss ao.

Stefanie Farrands Guest Principal Viola

Chair sponsored by peckvonhartel architects.

Stefanie appears courtesy of Tasmanian Symphony Orchestra.

Alexander McFarlane Viola

Erin Helyard Julian Thompson

Satu Vänskä

Cello

Principal Violin

Richard Tognetti Director and Violin

Satu plays the 1726 ‘Belgiorno’ Stradivarius violin kindly on loan from Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis. Her Chair is sponsored by Kay Bryan.

Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. His Chair is sponsored

by Wendy Edwards, Peter & Ruth McMullin, Louise & Martyn Myer ao, Andrew & Andrea Roberts.

Ike See Mark Ingwersen Violin

Mark plays a contemporary violin made by the American violin maker David Gusset in 1989. His Chair is sponsored by Prof Judyth Sachs & Julie Steiner.

Violin

Ike plays a violin by Johannes Cuypers made in 1790 in The Hague. His Chair is sponsored by Di Jameson.

Julian plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesú, kindly donated to the ACO by Peter Weiss ao.

His Chair is sponsored by The Grist & Stewart Families.

Guest Principal Harpsichord & Piano Erin plays a Ruckers Double Harpsichord by Carey Beebe, 2003. Supplied & prepared by Carey Beebe.

Erin appears courtesy of Melbourne Conservatorium of Music

Axel Wolf

Guest Principal Theorbo

Discover more

Glenn Christensen

Nicole Divall

Violin

Glenn plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. His Chair is sponsored by Terry Campbell ao & Christine Campbell.

AUSTRALIAN CHAMBER ORCHESTRA

Viola

Aiko Goto Violin

Aiko plays her own French violin by Jean-Baptiste Vuillaume. Her Chair is sponsored by Anthony & Sharon Lee Foundation.

PLAYERS DRESSED BY SABA

Nikki plays a 2012 Bronek Cison viola. Her Chair is sponsored by Ian Lansdown.

PHOTOS. BEN SULLIVAN

Maxime Bibeau Principal Bass

Max plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor. His Chair is sponsored

by Darin Cooper Foundation.

Learn more about our musicians, watch us Live in the Studio, go behind-the-scenes and listen to playlists at:

aco.com.au

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THE ACO “The Australian Chamber Orchestra is uniformly high-octane, arresting and never ordinary.� – The Australian, 2017

The Australian Chamber Orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in a history but always looking to the future, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations.

Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts each year. Whether performing in Manhattan, New York, or Wollongong, NSW, the ACO is unwavering in their commitment to creating transformative musical experiences.

The Orchestra regularly collaborates with artists and musicians who share their ideology, from instrumentalists, to vocalists, to cabaret performers, to visual artists and film makers.

In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Recent releases include Water | Night Music, the first Australian-produced classical vinyl for two decades, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. aco.com.au AUSTRALIAN CHAMBER ORCHESTRA

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PROGRAM IN SHORT Your five-minute read before lights down.

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Igor Stravinsky (arr. strings)

Thomas Adès (arr. strings)

Three Pieces for String Quartet

The Four Quarters, Op.28: I. Nightfalls

Three Pieces for String Quartet (1914) is one of the first pieces Stravinsky composed after the premiere of The Rite of Spring, whose radical approach to form and rhythm would have an enormous impact on the direction of 20th-century music.

Three Pieces marks an important shift in Stravinsky’s style – from grand orchestral ballets like The Firebird, still rooted in late-19th-century nationalism, to the cleaner textures and experimental forms that would come to define his neoclassical and serial periods.

The first piece takes the form of a dance, featuring a folk-like melody accompanied by ostinatos, drones and other interjections. The second piece is inspired by the clown Little Tich, whose spontaneous movements – sometimes comedic, sometimes grotesque – are reflected in the changeable music.

The third piece is a ghostly chant.

Three Pieces for String Quartet was premiered in 1915 by the Flonzaley Quartet in Chicago. Stravinsky would go on to arrange the pieces for full orchestra, giving them the titles “Danse”, “Eccentrique” and “Cantique”, and adding a fourth movement, “Madrid”, arranged from his Etude for Pianola.

Written by the multi-award-winning British composer, pianist and conductor Thomas Adès in 2011, The Four Quarters is based around the metaphor of the diurnal cycle – the 24-hour rotation of the earth and each of its four movements (quarters), which personify a different time of day.

Its first movement, “Nightfalls”, evokes the unsettling mysteriousness of night.

The violins open with an interplay of high, alternating pitches that seem to resemble stars and the continuous passage of time all at once. Accompanied by hushed, growling chords in the lower strings, the oscillating violin pattern makes a slow descent before rising upwards to a climax that fades back into the starry world of the opening. In this program, Adès’s eerie nocturne will be played as a prelude to Bach’s Goldberg Variations, representing the troubled, sleepless nights of the Variations’ dedicatee.

The Four Quarters was commissioned

by Carnegie Hall, where it was premiered by the Emerson Quartet in 2011.

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Johann Sebastian Bach (arr. Richard Tognetti)

Johann Sebastian Bach (arr. Bernard Labadie)

Canons on a Goldberg Ground, BWV1087

Goldberg Variations, BWV988

In 1974, Bach’s personal copy of the Goldberg Variations was discovered in Strasbourg. It contains his own handwritten corrections to the score and, inside the back cover, 14 canons based on the first eight notes of the Goldberg bass line.

The exact date of these canons isn’t known, but they appear to be from around the time of the Musical Offering (1747), when Bach was immersed in canonic experimentation. Canon is the strictest form of contrapuntal writing: like an intricate ‘Row, row, row your boat’, a single melody must imitate itself after a specified duration, sometimes higher or lower than its first statement, and even upside down or back to front.

As with those in the Musical Offering, these canons have no specified instrumentation and are written in a kind of shorthand, like riddles. Only a few short bars of music are given, and a clue as to how the puzzle is to be solved.

Richard Tognetti’s playful arrangement for strings and piano evokes the energetic Baroque spirit of harpsichordist Richard Egarr, the rhythmic vitality of jazz pianist Jacques Loussier, the bold orchestrations of Leopold Stokowski, as well as the translucent clarity and quiet candour of György Kurtág’s Bach transcriptions.

This “Aria with diverse variations for harpsichord with two manuals” constitutes the monumental conclusion of Bach’s four-volume Clavier-Übung series (which literally translates as “Keyboard Practice”). Today, the variations are universally known by their more personal nickname: the Goldberg Variations.

The nickname arose from the now famous story of Count Keyserling, Russian ambassador to the Saxon court, who suffered from insomnia.

As the story goes, Bach wrote a set of variations for Keyserling’s court musician, Johann Gottlieb Goldberg, to play to him in order to cheer him up on his sleepless nights.

Various scholars have brought this delightful anecdote, recounted by Bach’s biographer Johann Nikolaus Forkel, into question. They reason that Forkel was writing half a century after Bach’s death using second-hand information, as well as Goldberg’s tender age of 14, and the omission of Keyserling’s name in the published score – an act of tactless ingratitude Bach is unlikely to have committed. However, Goldberg was one of Bach’s great pupils, and it is possible that Bach simply gave Keyserling a copy of the score rather than writing it specifically for him.

AUSTRALIAN CHAMBER ORCHESTRA

Whatever the truth, the work fell into relative obscurity until the 20thcentury, when it re-surfaced in recordings by Wanda Landowska and Rosalyn Tureck. Glenn Gould’s iconic 1955 recording would bring the work to international attention and cemented its reputation as one of Bach’s great masterpieces.

The work itself is the most ambitious solo keyboard work written before Beethoven. It opens with a gentle sarabande Aria adorned in French ornaments, followed by 30 extremely diverse variations – not on the Aria’s melody, but over its bass line. Of the 30 variations, every third is a canon at an increasing interval, and musicologists have identified a multitude of patterns in the work’s structure.

In the final variation, Bach quotes two German folk songs: “Ich bin so lang nicht bei dir gewest” and “Kraut und Rüben haben mich vertrieben”, demonstrating that the variations, far from being a compositional exercise, are firmly rooted in the idea that music should be enjoyed. For all their complexity, the variations flow with a unique sense of coherence and inevitability, and possess an emotional depth that transcends all analysis.

Bach was a serial rearranger of his music, a common and important practice in his time. Bernard Labadie’s arrangement for string orchestra and continuo takes the intricate counterpoint of Bach’s keyboard masterpiece and shares it between the strings, illuminating it in new and exciting ways. Dazzling and colourful, whilst remaining true to the Baroque orchestral style, one could be forgiven for thinking Bach had arranged it himself.

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GOLDBERG HISTORY

1933

1947 American pianist Rosalyn Tureck releases the first recording of the Goldberg Variations on modern piano.

1685 Johann Sebastian Bach is born in Eisenach, Germany.

1725 The Notebook for Anna Magdalena Bach, a compilation of pieces for domestic use by the Bach family, is started. Among the various pieces inside is the ‘Aria’ for the Goldberg Variations. Copied into the book by Bach’s wife Anna Magdalena around 1740, this is the only manuscript score that exists of any part of the Goldberg Variations.

1697 Count Hermann Karl von Keyserling is born. A Russian diplomat, he is said to have often stopped in Leipzig to receive musical instruction from Bach.

1727 Johann Gottlieb Goldberg is born. A musician in the service of Count Keyserling, Goldberg is probably the first performer of the Goldberg Variations, which are now named after him.

Early 1700s

1741 Bach’s Goldberg Variations are first published. Nineteen copies of this first edition survive today.

AUSTRALIAN CHAMBER ORCHESTRA

As the story goes, Count Keyserling, ill and suffering from insomnia, asks Bach to write some music for Goldberg to play to him in order to cheer him up on his sleepless nights.

Bach answers the Count’s request with the Goldberg Variations.

As part of a 20thcentury revival of the work, which had languished in obscurity for over 160 years, Polish-French harpsichordist Wanda Landowska makes the first recording of the Goldberg Variations.

1955 1974 Bach’s own copy of the first edition of the Goldberg Variations is discovered in Strasbourg by French musicologist Olivier Alain. This edition contains Bach’s own handwritten corrections, as well as 14 additional canons on the Goldberg ground bass.

1997

Glenn Gould makes his legendary debut recording, electing to record the Goldberg Variations. His recording would bring the Goldberg Variations to international attention, and they have since been widely performed and recorded.

1981 Glenn Gould makes his second recording of the Goldberg Variations. To this day, listeners debate which of his two recordings is the greater.

Leading Canadian Baroque conductor Bernard Labadie premieres his orchestral arrangement of the Goldberg Variations in Quebec City with his period ensemble Les Violons du Roy.

2013 The Australian Chamber Orchestra first performs the 14 Canons on a Goldberg Ground together with American pianist Jeremy Denk, in an arrangement by Richard Tognetti.

2018 The Australian Chamber Orchestra, led

by Richard Tognetti, will perform Bach’s Goldberg Variations for the first time, in Bernard Labadie’s arrangement.

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A Great Relief Romy Ash speaks to composer Thomas Adès.

AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. BRIAN VOCE

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homas Adès, the composer, conductor and pianist, is speaking from his home and studio in Los Angeles. He is talking about “Nightfalls”, the first movement excerpted from his string quartet, The Four Quarters. He is excited by the character he expects it will have when played by the Australian Chamber Orchestra. “I hope it will sound very beautiful,” he says. “String orchestras are a very special medium and [this performance] will give it amplitude in the sound. It’s a little like when you play something, or sing something, in a cathedral acoustic: it has more depth and space somehow.

I think it will bring out the epic.”

Adès describes the movement as being about the magic of it becoming night, which he refers to as, “The special time in the day.” He says, “Of course, that’s what nightfall is, but I wanted it to be as if it’s only that moment, one day NATIONAL CONCERT SEASON 2018

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after another. As if that’s the only moment the day consists of. And you hear it in the music. It’s always endings. It’s as if you always just see the sun disappearing and then you hear that happen … in a way, it means that the music is always, if you like, going west. It’s that atmosphere of the end of the day, the twilight, and at the end of piece, the stars come out.”

Adès speaks about the movement and the way it is composed as if on two separate planes that eventually “link hands”. He says: “The violins at the start are one plane. It’s like a cycle and if you imagine the night sky turning, it’s always fixed – the notes are fixed and the relationship – but it turns, like a slowly turning cosmos. And underneath

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paper. “At the moment,” he says, “there are hundreds of pieces of paper covered in scribbles of different colours, some of them pinned to the wall, some of them all over the table and the floor.

Out of that apparent chaos something, we hope, eventually emerges.”

Looking across the studio, he settles on the piano. “The piano is a cross between a table and something that…” he pauses, then: “I suppose it’s like a kind of a palette. It’s not quite the right description.”

He releases a laugh, the first of many.

Adès has a warm voice and a serious way of speaking about his work. He matches this with a humble, selfdeprecating humour. He half jokes about the piano, “it’s somewhere to put

“It’s that atmosphere of the end of the day, the twilight, and at the end of piece, the stars come out.” are the lower strings. They are the other plane, which is a very slow, sort of sighing, melody underneath. It’s always falling. Some of it climbs and then falls. They really turn into one breath, into one movement. In fact, in a way, the whole movement actually describes the process where they link hands and become one thing.”

“Nightfalls” will be played as a prelude to Bach’s Goldberg Variations, which as the story goes, was composed for a count who had insomnia. In both pieces, Adès says, there’s an “awareness of the cyclical nature of time”.

In Adès’s studio, there’s a piano, a table and, depending on the stage of the piece he’s writing, a lot of pieces of AUSTRALIAN CHAMBER ORCHESTRA

your pencils”, but goes on to say, “it also helps you keep, in the music, a sense of proportion. In places where I’ve not had a piano and I’ve been trying to write, it’s like things get too long or too short. The proportions get a little harder to judge. I don’t know why. I can use other instruments. I sometimes have little toy instruments, little toy violins, or things that I can hit, just to give myself a little – to get out of my own brain,” he explains, laughing.

Of the composition process, Adès says: “In my experience it usually settles into itself and things that seem to be problems or conflicting possibilities, or versions of things, suddenly start to interlock. Something happens where

everything falls into place, and it can’t really move again; it doesn’t want to move again. I mean, every piece is very different and every time I start one I feel like I’m a beginner, but that moment – I’m familiar with that happening almost every time, as the piece – it’s almost as if it sets into a –” he searches for the right word: “shape.”

“Some quite surprising things can happen. You realise that something joins up with something else that you’d never noticed before and it literally seems to have a life and a mind of its own, which is a weird moment. I imagine it might be like, I hear, what friends of mine who have children say; that strange moment when you realise that they’re different from you and that they’ve got their own personalities. I’m not sure if I’m getting that right, but it’s a strange, magical moment. And it’s really a great relief.”

Adès says he has been composing in some form or another since he was 10 years old. He wrote his first opus at 18, which he called Opus 1, Five Eliot Landscapes, and from there, there was no turning back. He speaks about learning and growing as a composer in the public eye, an incredibly privileged place to be, but with its own set of problems. Some of his early work he later withdrew from publication. He composed his first opera at 24, Powder Her Face. He’s spoken of composing as a compulsion. “I do it because I don’t have a choice, if I didn’t do it I’d – I don’t know what I’d do. I’d become a headline, of some kind,” he laughs. “A bad headline. No. I can’t not do it. I think if you – famously somebody said – if you can stop, you should.

But I can’t.”

Top. Adès says he has been composing in some form or another since he was 10 years old. Above. Front cover of the score, which uses four paintings representing the four time phases of the day.

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TRAVEL LING AROUND SPACE Martin McKenzie-Murray discusses the Goldberg Variations with Richard Tognetti and Bernard Labadie.

Photo. George Voulgaropoulo / OCULI

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“The Goldberg Variations are like the Earth spinning on an orbit,” he says. “The sun rises at the beginning, and the end...”

B

ernard Labadie knows precisely when and why he wanted to become a musician. “Bach was the reason,” he says. “Some time in December 1974 or ’75. The dead of winter. It was a Christmas concert with the Quebec Symphony Orchestra and choir. The first piece of the program was the first cantata of the Christmas Oratorio, and I’ll never forget the impression the chorus made on me. It changed my life completely. I got so excited. Bach absolutely nailed me. I knew this is what I wanted to do.”

The day I speak with Labadie is the first day in months — the very first morning — that the renowned conductor has been able to read. Like Bach, Labadie developed cataracts. Unlike Bach, he hasn’t fatally suffered from their removal. Labadie says the hostile frosting is “the last gift of my cancer in 2014 — induced from all the medication I received, mostly cortisone. Now I need two more laser surgeries and after that everything will be perfect. I can literally see the light at the end of the tunnel. I couldn’t help reflecting on the fact that if Bach, or Handel, had known my doctor, they’d be in great shape.”

In 2014, Labadie was diagnosed with lymphoma. Its work was aggressively swift, and he was placed for a month in a medically induced coma. In that Canadian conductor, Bernard Labadie.

Photo. Dario Acosta

time, Labadie’s body atrophied — his muscle weight halved. Once emerged from his deathly suspension, he had to relearn how to walk. When he resumed conducting, he did so from a chair.

The fact he resumed is telling.

Labadie never stopped thinking about music. Death’s hand reordered his perspective — “I’m living much more in the present time” — but the pleasure and purpose of music remained. So, too, the centrality of Bach. Labadie speaks as effusively of the composer’s talent as he ever has. “The Goldberg Variations are like the Earth spinning on an orbit,” he says. “The sun rises at the beginning, and the end. It’s like the seasons’ cycle.

If you know in advance the structure, you can guess what kind of music will come. It’s like the planets in revolution.”

Labadie’s analogy of cosmic harmony isn’t whimsy. For centuries, Bach’s work has astonished musicians with its logical purity and fastidious grammar. Bach’s scores are often examples of music talking to itself — themes are introduced, elaborated, reversed, inverted. A theme’s spawn will diverge, then triumphantly integrate. With the Goldberg Variations, Bach’s theme is elegantly exhausted — it becomes a self-contained cosmos.

Which might suggest that Bach is bloodlessly intellectual — a musical mathematician. He isn’t. Bach treated music, in the words of critic Alex NATIONAL CONCERT SEASON 2018

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Ross, as a “vessel of divinity” and he worked the laws of music much like those who designed the grand Gothic churches worked laws of engineering and aesthetics — paths to heavenly communion were paved with rules. And yet, the listener needn’t possess knowledge of these laws to enjoy the work.

“We were playing a concert,” Richard Tognetti says, “and my brother, who is not musical, he said afterwards, ‘Bach is best, isn’t he?’ And he wasn’t identifying with the symmetry. He didn’t know what was under the bonnet. What’s incredible is that you can create great mathematical notation that means nothing. But Bach operates on all those levels: under the bonnet, the mechanic can dig around and be amazed by how it’s all put together; or you can just sit back as someone who knows nothing at all and let it wash over you.”

It’s no different for Labadie. Like Tognetti, he has a rarefied appreciation of Bach’s composition — the exquisite geometry beneath the bonnet — but he knew none of this when he first heard Bach one Christmas in Quebec.

It was a subverbal astonishment.

“When you’re 11-years-old, you don’t understand architecture,” he says. “But there was something overwhelming about it that made an impression on me without having the keys to AUSTRALIAN CHAMBER ORCHESTRA

understand it. I was feeling it in my body. But understanding doesn’t take the magic away; it actually enhances it.”

In many of Bach’s scores, duelling elements resolve themselves — but in the centuries since his death, there have been morphing, unresolved disputes as to how best to interpret him. And a question emerges: Does reverence inhibit modern interpreters?

Like Shakespeare, little is known biographically about Bach. We know the depth of his faith — he left a busily annotated Calov Bible, the most explicit expression of his Lutheran thought. We know of his commitment to his craft — he trekked 400 kilometres through snow to watch the famed organist Dietrich Buxtehude play in Lubeck. We know of his influence — Beethoven and Mozart were taking notes, and Goethe said of him that it was “as if the eternal harmony were communing with itself, as might have happened in God’s bosom shortly before the creation of the world”.

Together, this may lead us to wonder where the line exists between a healthy respect for Bach’s mastery and dull fetishisation of his gifts. Like most endeavours filled with passionate people, baroque and classical music has its turf wars. Matters of interpretation have long ACO Artistic Director, Richard Tognetti.

Photo. Jack Saltmiras

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Top. Johann Nikolaus Forkel, 1790 by German artist and copperplate engraver, Christian Heinrich Schwenterley. Above.

Johann Sebastian Bach (aged 61) in a portrait by Elias Gottlob Haussmann.

AUSTRALIAN CHAMBER ORCHESTRA

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been political. How should one arrange Bach? Transliterate him? Modernise him?

Should one? How much does reverence inspire — and how much does it inhibit?

I spoke with both arrangers about the idea of “authenticity” — and its parallel with the United States constitution.

For decades now, the question of interpreting the US constitution has, broadly speaking, yielded two groups: originalists, who stress unbending fidelity to its authors’ words and intentions; and those who argue that their founding document should be respected in its fundamentals, but also treated as a “living, breathing document”.

“People talk about authenticity,” Tognetti says. “‘Just what the composer intended.’ Excuse me? We have no idea what the composer intended. You know, there are people who claim they can work out how certain words were pronounced at the time of Shakespeare’s performances at the Globe — ‘historical pronunciation’. We have that in music, too.

“How I look at it is: not for one second would I ever change the gift that Bach’s given us. I’m an originalist, actually. The script really is worth revering if you think it works. But that doesn’t mean the script can’t be adapted, and that you can’t make it sing and zing for other people who might enjoy it more if it’s adapted.”

Labadie suggests that the insistence on musical “authenticity” is, ironically, confected. “One has to understand the concepts of arrangement for a musician in the 18th century,” he says. “It’s very, very different to how we see it nowadays.

Somehow we’ve been contaminated by the certain rigour that comes with the utmost respect for Bach. Because we

“The script really is worth revering if you think it works.

But that doesn’t mean the script can’t be adapted, and that you can’t make it sing and zing for other people who might enjoy it more if it’s adapted.”

know what he is and what he means in the history of music. But any 18thcentury musician would not have been inhibited by that feeling. Handel borrowed to light the fire. Bach was doing the same thing — he was borrowing from his family, other composers, he was doing it throughout his whole career.

“Bach had no inhibition — his purpose was always to sound as idiomatic as possible. He can make some striking transformations, but not always. Sometimes the music can be transcribed as is. It really depends upon the material in his hands. But there’s no reference to ‘authenticity’. That was something invented in the 20th century.

The idea of authenticity, of going back to the roots — they were the roots, they just didn’t care. They didn’t have this idea that they can’t touch what we have. For them, music was a living material which they could transform whenever they thought it was needed.”

Glenn Gould touched what he had — his professional life was bookended by recordings of the Goldberg Variations, the first a bestseller that critics still say is smudged by his strange fingerprints. Born in Toronto in 1932, Gould was composing and touring before puberty. So young was he when he began his career that his retirement from public performance at 32 might not be considered early. But

his death was. Gould died from a stroke at 50. Before he died, he reclusively wrote essays and recorded radio shows. In the years he did perform publicly, his concerts became known for his tics — humming; gloves and coat, lest he catch a cold; the same squeaky chair. Beneath his feet, he habitually placed a worn square of carpet. Most memorable, though, was his singular, unabashed flamboyance.

But myth follows mastery, for Tognetti.

Gould’s tics didn’t obscure his talent — we are, he says, conscious of them because of it. “He was the great romantic,” Tognetti says. “Throwing himself into it. The mythology is because of the music. With some artists it’s all hype. But Gould was the first great, quirky, romantic pianist with the technique of Horowitz. Mind-blowing.

One of the great pianists of all time.”

Today, it’s still hard to avoid Gould’s 1955 recording of the Goldberg Variations when discussing the piece, a bestseller that repopularised Bach and established Gould’s celebrity. It is fast — very fast — and played with a “fanatically crisp articulation”. Tognetti tells me that audiences in the past have criticised performances of it because they’ve measured it against the only recording they’ve heard: Gould’s.

Labadie and Tognetti are world-class.

They’ve become so with talent. With both, an early, tender and inarticulate passion later resolved itself into rarefied NATIONAL CONCERT SEASON 2018

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“And we, those without their skills, might find pleasure in knowing that music can still remain, even for the globally renowned, a matter of taste and splintering interpretations. ”

skill. But they respectfully disagree on Gould — and other matters. And we, those without their skills, may find pleasure in knowing that music can still remain, even for the globally renowned, a matter of taste and splintering interpretations.

“I’ve never been able to get through the whole thing once,” Labadie tells me of Gould’s ’55 recording of the Variations.

“For me, it’s unbelievably fascinating, but it sounds more like Gould than it sounds like Bach. It certainly doesn’t sound like 18th-century music. This love of short notes, of hyper-articulation. It doesn’t sound natural. It’s a re-creation by someone with an agenda.”

Tognetti says the first Gould recording of the Variations he heard was the later one — the one recorded not long before Gould’s death. “That’s the one I grew up with,” he says. “I gazed first into the beguiling world of Goldberg and Gould, and it was later I heard the ’55 and thought, ‘That sounds too fast.’”

It might be reassuring to know that the bias of a first encounter exists among the most talented.

We love myths of creation. Stories that adorn our most cherished songs. A popular one is that Paul McCartney wrote the melody of “Yesterday” in his sleep and on waking — the melody Glenn Gould In the CBS studio, New York, ca.1955.

AUSTRALIAN CHAMBER ORCHESTRA

Photo. Dan Weiner. Courtesy of Sandra Weiner and Canadian Museum of History.

miraculously retained — scribbled down the chords under the working title “Scrambled Eggs”. McCartney loves the story and so, I think, do we. Perhaps the story’s popularity owes to our pleasure in contemplating some music as magically conceived — and pleasure in thinking of McCartney as a smiling genius for whom even unconsciousness cannot subsume the Muse.

McCartney charmingly shrugs when telling the story — the musician as grateful servant of inscrutable forces. But the story as told ignores individual intelligence and effort. It ignores the fact that inspiration is often the intuitive, subliminal adoption of things already heard — that talent first passionately immerses itself in others’ work, before creating its own. But do we care? The pleasure of the story remains, but what matters most is the song itself.

The myth of the Goldberg Variations is different: a wealthy patron makes an eccentric commission. The foundation for this story is found in an early biography of Bach, written by Johann Nikolaus Forkel 50 years after his subject’s death.

For the existence of the Goldberg Variations, Forkel writes, “we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Keyserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical NATIONAL CONCERT SEASON 2018

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“the saintly Bach, who wrote so much music to awaken others to the Glory of God – whose Variations have, for centuries, dynamically implored the genius of his various interpreters – employed to put an ailing Count to sleep”

instruction by Bach. The Count was often where do you put the Goldbergs? ill and had sleepless nights. At such times, “Sure, [Bach says], ‘I’ll write something Goldberg, who lived in his house, had to to send people to sleep.’ But he can’t spend the night in an antechamber, so deny his own genius doing it. So we as to play for him during his insomnia … can study every note, analysing it and “Once the Count mentioned in Bach's pulling it apart, but here’s this humble and presence that he would like to have some anti-artistic positioning as to be a bit of a clavier pieces for Goldberg, which should joke. And I love that, I love that dilemma.” be of such a smooth and somewhat lively There’s scholarly doubt about it character that he might be a little cheered ever happening. But Tognetti laughs up by them in his sleepless nights. Bach mischievously when he says that thought himself best able to fulfil this perhaps “some myths shouldn’t be wish by means of Variations, the writing debunked” — for him they’re still of which he had until then considered instructive, despite the literal truth, or for an ungrateful task on account of the the fact that, simply, they’re too much fun. repeatedly similar harmonic foundation.”

Myths blossom around genius; so, too, Which is strange: the saintly Bach, debates about its interpretation. But for who wrote so much music to awaken both Tognetti and Labadie, Bach remains others to the glory of God — whose as beguiling as when they first heard Variations have, for centuries, dynamically him. “What Bach means to me, in a very implored the genius of his various direct and objective sense,” Tognetti interpreters — employed to put an ailing says, “is that he’s the most travelled count to sleep. The insomnia myth is, composer — even though he’s one of the in part, about genius servicing banality, least travelled in a physical sense. His of a historically enlivening talent used music has even ventured beyond the to render one rich man unconscious. realm of our solar system via the Voyager For Tognetti, the contrast is amusingly spacecraft, which has travelled farther subversive. “My attraction to [this story] than anyone or anything in history.” is that insomnia is the last thing you’d Labadie shares a quote he imagine the great Bach would put his loves — even if he remains sceptical mind to — sending people to sleep. The of it. “Someone said that Bach was uber-sophisticates like Ricardo Muti — such a complete universe that had he he had a little Euro hissy fit because not existed the history of music would he was listed in the Chicago Tribune have been exactly the same,” he says. under the entertainment section. Okay, “Isn’t that fabulous? But impossible.”

AUSTRALIAN CHAMBER ORCHESTRA

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Three Pieces Bernard Rofe on the music of Stravinsky.

AUSTRALIAN CHAMBER ORCHESTRA

Portrait of Igor Stravinsky, 1915 by Jacques-Emil Blanche.

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“Three Pieces shows us a Stravinsky eager to reinvent the rules – a deep impulse that would have a lasting impact on the direction of 20th-century music.”

C

lassical music is rife with examples of pieces that have become associated, in the public consciousness, with a single, famed event.

Look no further than the last item on this program for a work that has become so inexplicably linked with one pianist’s landmark 1955 recording as to be defined by it. Perhaps the most famous example of this kind of association is Stravinsky’s Rite of Spring, which caused such a scandal at its 1913 premiere that, more than 100 years later, tales of the “riot” it ignited are permanently ingrained into the narrative of 20th-century music.

Listeners will be most familiar with Stravinsky through his three early ballets for Sergei Diaghilev’s Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). In the decades that followed, however, Stravinsky would become something of a musical chameleon, thanks to his unique ability to take influences from different musical styles – from folk, Baroque and Classical, to jazz and 12-tone – and completely reinvent them within his distinct and hugely influential musical language.

Three Pieces for String Quartet of 1914 is one of the first works Stravinsky composed after the premiere of The Rite of Spring. One could be forgiven for thinking that these short, peculiar pieces are quite unexpected from a AUSTRALIAN CHAMBER ORCHESTRA

composer who had received much adulation and notoriety for his colourful and groundbreaking large-scale works.

But Stravinsky was never one to meet the expectations of concert-going public.

Stravinsky was born into Tchaikovsky’s Russia, whose musical landscape was already being drastically transformed by The Five – a “Mighty Handful” of musical nationalists who counted Stravinsky’s teacher Nikolai Rimsky-Korsakov among its members. The young Stravinsky harnessed this nationalist approach in his early ballets – all of which are based on Russian folk material – but by 1913 he had all but exhausted the possibilities of 19th-century romanticism.

The year that followed The Rite’s premiere represents a turning point in history: it was the year of the assassination of Archduke Franz Ferdinand of Austria and the beginning of World War I. The Russian Revolution of 1917 saw Stravinsky’s estate confiscated and his income from Russian publishers cut off. Effectively exiled from Russia, Stravinsky’s creative impulses moved away from the folk music of his homeland and towards the classical influences that would come to define his neoclassical period, in works such as Pulcinella (1920), the Violin Concerto (1931) and the Symphony in C (1940).

In this light, Three Pieces for String

Quartet represents the most important turning point in Stravinsky’s stylistic development, bridging his Russian period – borne out of the nationalist sentiments of The Five – and his more innovative periods of neoclassicism and serialism, both of which exemplify major musical movements of the 20th century.

The first piece is like a merry dance for clockwork musicians. Its melody is not unlike those found in Petrushka, but the other components have their own rhythmic impulses and seem to have little to do with one another. The second piece is inspired by the clown Little Tich, who Stravinsky saw perform in 1914. Little Tich’s jerky, balletic movements fascinated dancers as eminent as Vaslav Nijinsky, and the sudden changes in the music, which reflect the performer’s movements, have more in common with a Webern miniature than Russian folk music. The third piece is entirely homophonic, with Stravinsky writing that the last 20 measures were “some of my best music of that time”. Stravinsky would later rearrange all three for full orchestra, giving them the evocative titles “Danse”, “Eccentrique” and “Cantique”.

Three Pieces, premiered in 1915 by the Flonzaley Quartet in Chicago, shows us a Stravinsky eager to reinvent the rules – a deep impulse that would have a lasting impact on the direction of 20th-century music.

Top. The music hall comedian Little Tich on stage at the Phono-CinémaThéatre, France performing his “big boot dance”. Above. A posed group of dancers in the original production of Igor Stravinsky's ballet The Rite of Spring, showing costumes and backdrop by Nicholas Roerich.

NATIONAL CONCERT SEASON 2018

Photo. David Maurice Smith / OCULI

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SEP/OCT Ilya Gringolts Plays Paganini 30 September – 8 October Adelaide, Brisbane, Melbourne, Perth and Sydney Russian violin prodigy Ilya Gringolts directs the ACO through a virtuosic display featuring music by Vivaldi and Paganini.

COMING UP AT THE ACO

SEP

ACO Collective at Crescendo

Transforming Strauss & Mozart

9 September Sydney Opera House

8–19 September Adelaide, Canberra, Melbourne, Sydney, and Wollongong An emotional, moving program featuring music

by Strauss, Mozart and Wagner stripped back to its powerful core. Curated by our Principal Cello Timo-Veikko ‘Tipi’ Valve.

Upcoming events to add to your calendar.

AUSTRALIAN CHAMBER ORCHESTRA

NOV Tognetti’s Beethoven 8 – 21 November Adelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney

Matthew Truscott directs ACO Collective for Sydney Opera House’s Crescendo, a celebration of Australia’s emerging classical artists.

Hush 18 Launch 16–17 September Melbourne and Sydney ACO Collective come together for concerts in Sydney and Melbourne to celebrate the release of our collaborative CD with charity, The Hush Foundation.

Richard Tognetti directs our monumental season finale, featuring Beethoven’s Violin Concerto and Fifth Symphony.

OCT 2018 Barbican Residency 22 – 24 October London, England The first of three ACO seasons at London's Barbican Centre as International Associate Ensemble at Milton Court.

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Behind the scenes

One great performance deserves another.

Board

Learning & Engagement

Marketing

Guido Belgiorno-Nettis am

Tara Smith

Antonia Farrugia

Chairman

Liz Lewin Deputy

Bill Best John Borghetti ao Judy Crawford John Kench Anthony Lee Martyn Myer ao James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner John Taberner Nina Walton Simon Yeo

Artistic Director Richard Tognetti ao

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

Claire Diment

Learning & Engagement Manager

Director of Marketing

Caitlin Gilmour

Caitlin Benetatos

Emerging Artists and Education Coordinator

Communications Manager

Rory O’Maley

Stephanie Dillon

Digital Marketing Manager

Assistant to the Learning & Engagement and Operations Teams

Christie Brewster

Finance Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

Development Leigh Brezler Director of Partnerships

Jill Colvin Director of Philanthropy

Tom Tansey Events & Special Projects Manager

Penny Cooper Corporate Partnerships Manager

Sarah Morrisby Philanthropy Manager

HR Manager

Lillian Armitage

Artistic Operations

Yeehwan Yeoh

Luke Shaw Director of Artistic Operations

Anna Melville Artistic Administrator

Lisa Mullineux Tour Manager

Ross Chapman Touring & Production Coordinator

Nina Kang Travel Coordinator

Capital Campaign Manager Investor Relations Manager

Camille Comtat Corporate Partnerships Executive

Kay-Yin Teoh Corporate Partnerships Administrator

With 99% coverage of the Australian population, the Telstra Mobile Network performs for the ACO in more places than any other.

Lead Creative

Cristina Maldonado CRM and Marketing Executive

Shane Choi Marketing Coordinator

Colin Taylor Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Mel Piu Box Office Assistant

Christina Holland Office Administrator

Robin Hall Archival Administrator

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

Bernard Rofe

Email

Librarian

aco@aco.com.au

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

Web aco.com.au

Find out more at telstra.com or call 13 2200.

THINGS YOU NEED TO KNOW: The spectrum device and ™ are trade marks and ® are registered trade marks of Telstra Corporation Limited, ABN 33 051 775 556.

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Venue Support

NEWCASTLE CITY HALL Owned and operated by the City of Newcastle 290 King Street, Newcastle NSW 2300 Telephone (02) 4974 2166 (Venue & Event Coordinators) Ticketek Box Office (02) 4929 1977 Email newcastlevenues@ ncc.nsw.gov.au

HOLDING PERFORMANCE TO A HIGHER STANDARD.

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

Just as a successful performance relies on an orchestra playing in harmony, successful investing requires the skills and perspectives of a diverse, global team working together.

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ARTS CENTRE MELBOURNE 100 St Kilda Rd, Melbourne, VIC, 3004, Australia 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

*As at 31/03/2018. Issued in Australia by PIMCO Australia Pty Ltd (ABN 54 084 280 508, AFSL 246862). This information has been prepared without taking into account your objectives, financial situation or needs, and because of this you should consider the appropriateness of the information having regard to these factors before acting on the information. All investments contain risk and may lose value. PIMCO is a trademark of Allianz Asset Management of America L.P. in the United States and throughout the world © 2018 PIMCO.

ADELAIDE TOWN HALL 128 King William Street, Adelaide SA 5000 GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) 8203 7590 Email townhall@ adelaidecitycouncil.com Web adelaidetownhall.com.au

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

Martin Haese Lord Mayor Mark Goldstone Chief Executive Officer

Professor Peter Coaldrake ao Chair John Kotzas Chief Executive

CITY RECITAL HALL LIMITED 2–12 Angel Place, Sydney NSW 2000

WOLLONGONG TOWN HALL

Administration (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com 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

Wollongong Town Hall is managed

by Merrigong Theatre Company Crown & Kembla Streets, Wollongong NSW 2500 PO Box 786, Wollongong NSW 2520 Telephone (02) 4224 5959 Email info@merrigong.com.au Web wollongongtownhall.com.au

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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Pre-Concert Talks Pre-concert talks will take place 45 minutes before the start of every concert.

Newcastle City Hall

Tanja Binggeli Thu 2 Aug, 6.45pm

Sydney Opera House – Concert Hall

Toby Chadd Sun 12 Aug, 1.15pm

Canberra, Llewellyn Hall

Vincent Plush Sat 4 Aug, 7.15pm

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Robert Murray Sun 5 Aug, 1.45pm Mon 6 Aug, 6.45pm Adelaide Town Hall

Vincent Plush Tue 7 Aug, 6.45pm

QPAC Concert Hall, Brisbane

Eddie Ayres Mon 13 Aug, 6.15pm Wollongong Town Hall

Tanja Binggeli Thu 16 Aug, 6.45pm Pre-concert speakers are subject to change.

Sydney, City Recital Hall

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Tanja Binggeli Wed 8 Aug, 6.15pm Toby Chadd Fri 10 Aug, 12.45pm Sat 11 Aug, 6.15pm Tue 14 Aug, 7.15pm

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NATIONAL CONCERT SEASON 2018

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Acknowledgments

ACO Special Initiatives The ACO thanks Dame Margaret Scott ac for establishing the

Dame Margaret Scott ac Fund for International Guests and Composition

ACO Medici Program Medici Patron

Special Commissions Patrons

The late Amina Belgiorno-Nettis

Principal Chairs

Core Chairs

Richard Tognetti ao

VIOLIN

CELLO

Glenn Christensen

Melissa Barnard

Terry Campbell ao & Christine Campbell

Dr & Mrs J Wenderoth

Aiko Goto

Julian Thompson

Anthony & Sharon Lee Foundation

The Grist & Stewart Families

Artistic Director & Lead Violin Wendy Edwards Peter & Ruth McMullin Louise & Martyn Myer ao Andrew & Andrea Roberts

Helena Rathbone

Mark Ingwersen

Principal Violin Kate & Daryl Dixon

Prof Judyth Sachs & Julie Steiner

ACO Collective

Satu Vänskä

Liisa Pallandi The Melbourne Medical Syndicate

Pekka Kuusisto

Principal Violin Kay Bryan

Principal Viola peckvonhartel architects

Timo-Veikko Valve Principal Cello Peter Weiss ao

Maxime Bibeau Principal Double Bass Darin Cooper Foundation

Maja Savnik Alenka Tindale

Ike See

Artistic Director & Lead Violin Horsey Jameson Bird

Guest Chairs

Di Jameson

Brian Nixon

VIOLA

Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

Nicole Divall Ian Lansdown

Ripieno Viola Philip Bacon am

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

We would like to thank the following people who have remembered the Orchestra in their wills. Please consider supporting the future of the ACO by leaving a gift. For more information on making a bequest, or to join our Continuo Circle by notifying the ACO that you have left a bequest, please contact Jill Colvin, Director of Philanthropy, on (02) 8274 3835.

Continuo Circle

AUSTRALIAN CHAMBER ORCHESTRA

LEAD PATRONS Walter Barda & Thomas O’Neill Louise & Martyn Myer ao PATRONS Peter Jopling am qc Hilary Goodson Naomi Milgrom ao Tom Smyth

Thank you to the Patrons who support our partnerships with the Jewish Museum Australia and Emanual Synagogue.

Bequests Toni Kilsby & Mark McDonald Judy Lee John Mitchell Selwyn M Owen Michael Ryan & Wendy Mead Joan & Ian Scott Cheri Stevenson Jeanne-Claude Strong Leslie C. Thiess Ngaire Turner GC & R Weir Margaret & Ron Wright Mark Young Anonymous (17)

LEAD PATRON

PATRONS Marc Besen ac & Eva Besen ao

ACO Bequest Patrons

Steven Bardy Ruth Bell Dave Beswick Dr Catherine Brown-Watt psm & Mr Derek Watt Sandra Cassell Sandra Dent Dr William F Downey Peter Evans Carol Farlow Suzanne Gleeson Lachie Hill David & Sue Hobbs Patricia Hollis Penelope Hughes

ACO Academy

2017 Jewish Museum Patrons

ACO Life Patrons IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman ao

Darin Cooper Foundation Mirek Generowicz David & Sandy Libling Robert & Nancy Pallin

The late Charles Ross Adamson The late Kerstin Lillemor Anderson The late Mrs Sibilla Baer The late Prof. Janet Carr The late Mrs Moya Crane The late Colin Enderby 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 Geraldine Nicoll

SUPPORTERS The Ostroburski Family Julie Steiner FRIENDS Leo & Mina Fink Fund

2018 Emanuel Synagogue Patrons CORPORATE PARTNER Adina Apartment Hotels LEAD PATRON The Narev Family PATRONS Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

2017 European Tour Patrons Philippa & John Armfield Walter Barda & Thomas O’Neill Steven Bardy & Andrew Patterson Chris & Katrina Barter Russell & Yasmin Baskerville David Bohnett & Maria Bockmann Paula Bopf & Robert Rankin Paul Borrud Craig & Nerida Caesar Terry Campbell ao & Christine Campbell Michael & Helen Carapiet Stephen & Jenny Charles Andrew Clouston & Jim McGown John Coles Robin Crawford am & Judy Crawford Graham & Treffina Dowland Dr William F Downey Vanessa Duscio & Richard Evans Terry & Lynn Fern Fitzgerald Foundation Daniel & Helen Gauchat Robert & Jennifer Gavshon Nick & Kay Giorgetta Colin Golvan qc & Debbie Golvan John Grill ao & Rosie Williams Tony & Michelle Grist Eddie & Chi Guillemette Liz Harbison Paul & April Hickman Catherine Holmes à Court-Mather Simon & Katrina Holmes à Court Family Trust Jay & Linda Hughes Di Jameson Andrew & Lucie Johnson Simon Johnson Steve & Sarah Johnston Russell & Cathy Kane John & Lisa Kench Wayne Kratzmann Dr Caroline Lawrenson John Leece am & Anne Leece David & Sandy Libling Patrick Loftus-Hills & Konnin Tam Dr Wai Choong Lye & Daniel Lye Christopher D. Martin & Clarinda Tjia-Dharmadi Janet Matton & Robin Rowe Julianne Maxwell Nicholas McDonald & Jonnie Kennedy Andrew & Cate McKenzie Peter & Ruth McMullin Jim & Averill Minto Rany & Colin Moran Usmanto Njo & Monica Rufina Tjandraputra Dr Eileen Ong James Ostroburski Susan Phillips Simon Pinniger & Carolyne Roehm Andrew & Andrea Roberts

The Ryan Cooper Family Foundation Carol Schwartz am & Alan Schwartz am Rosy Seaton & Seumas Dawes Jennifer Senior & Jenny McGee Peter & Victoria Shorthouse Hilary Stack Jon & Caro Stewart John Taberner Jamie & Grace Thomas Alenka Tindale Dr Lesley Treleaven Beverley Trivett & Stephen Hart Phillip Widjaja & Patricia Kaunang Simon & Jenny Yeo

ACO Mountain Producers’ Syndicate The ACO would like to thank the following people for their generous support of Mountain: EXECUTIVE PRODUCER Martyn Myer ao 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 Charlie & Olivia Lanchester Rob & Nancy Pallin Andrew & Andrea Roberts Peter & Victoria Shorthouse Alden Toevs & Judi Wolf SUPPORTERS Andrew Abercrombie Joanna Baevski Ann Gamble Myer Gilbert George Charles & Cornelia Goode Foundation Charles & Elizabeth Goodyear Phil & Rosie Harkness Peter & Janette Kendall Sally Lindsay Andy Myer & Kerry Gardner Sid & Fiona Myer Allan Myers ac The Penn Foundation Peppertree Foundation The Rossi Foundation Shaker & Diana Mark Stanbridge Kim Williams am Peter & Susan Yates

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Chairman’s Council

ACO Instrument Fund The Instrument Fund offers patrons and investors the opportunity to participate in the owndership of a bank of historic stringed instruments. The Fund’s assets are the 1728/29 Stradivarius violin, the 1714 ‘ex Isolde Menges’ Joseph Guarnerius filius Andreæ violin and the 1616 ‘ex-Fleming’ Brothers Amati Cello.

For more information please call Yeehwan Yeoh, Investor Relations Manager on (02) 8274 3878.

Patron Peter Weiss ao

Board Bill Best (Chairman) Jessica Block Edward Gilmartin John Leece am Julie Steiner John Taberner

Founding Patrons VISIONARY $1M+ Peter Weiss ao CONCERTO $200,000–$999,999 The late Amina Belgiorno-Nettis Naomi Milgrom

OCTET $100,000–$199,999 John Taberner QUARTET $50,000 – $99,999 Mr John Leece am E Xipell Anonymous (1)

Investors Stephen & Sophie Allen John & Deborah Balderstone Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Sam Burshtein & Galina Kaseko Carla Zampatti Foundation Sally Collier Michael Cowen & Sharon Nathani Marco D'Orsogna Dr William F Downey Garry & Susan Farrell

Gammell Family Adriana & Robert Gardos Daniel & Helen Gauchat Edward Gilmartin Lindy & Danny Gorog Family Foundation Tom & Julie Goudkamp Laura Hartley & Stuart Moffat Philip Hartog Peter & Helen Hearl Brendan Hopkins Angus & Sarah James Paul & Felicity Jensen Mangala SF Media Super Daniel & Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven John Taberner & Grant Lang The late Ian Wallace & Kay Freedman

ACO Reconciliation Circle The Reconciliation Circle directly support our music education initiatives 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 please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Colin Golvan qc & Debbie Golvan Kerry Landman

Peter & Ruth McMullin Patterson Pearce Foundation

Sam Ricketson & Rosie Ayton

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

Chairman, ACO

Chief Executive Officer Australian News Channel

Mr Matthew Allchurch Partner, Johnson Winter & Slattery

Mr Philip Bacon am Director, Philip Bacon Galleries

Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr John Borghetti ao Chief Executive Officer, Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines)

Principal, The Adelante Group

Mr Robert Gavshon & Mr Mark Rohald Quartet Ventures

Mr James Gibson Chief Executive Officer Australia & New Zealand BNP Paribas

Mr John Grill ao & Ms Rosie Williams Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant

Mr Andrew Low Mr David Mathlin

Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects

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 Noriyuki (Robert) Tsubonuma Managing Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Chairman, Wesfarmers

Ms Julianne Maxwell

Ms Vanessa Wallace & Mr Alan Liddle

Mr Matt Comyn

Mr Michael Maxwell

Mr Rob & Mrs Jane Woods

Chief Executive Officer Commonwealth Bank

Ms Naomi Milgrom ao

Mr Peter Yates am

Mr Robin Crawford am & Mrs Judy Crawford

Ms Jan Minchin

Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Rowena Danziger am & Kenneth G. Coles am

Mr Jim & Mrs Averill Minto

Mr Michael Chaney ao

Mr Doug & Mrs Robin Elix Mr Bruce Fink Executive Chairman Executive Channel Holdings

ACO Next

Mr Daniel Gauchat

Ms Gretel Packer

Director, Tolarno Galleries

Mr Alf Moufarrige ao

Mr Peter Young am & Mrs Susan Young

Chief Executive Officer, Servcorp

Mr John P Mullen Chairman, Telstra

Mr Martyn Myer ao

This philanthropic program for young supporters engages with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information please call Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Adrian Barrett Marc Budge Justine Clarke Este Darin-Cooper & Chris Burgess Anna Cormack Sally Crawford Shevi de Soysa Amy Denmeade Jenni Deslandes & Hugh Morrow Anthony Frith & Amanda Lucas-Frith Rebecca Gilsenan & Grant Marjoribanks The Herschell Family Ruth Kelly

AUSTRALIAN CHAMBER ORCHESTRA

Evan Lawson Aaron Levine & Daniela Gavshon Royston Lim Dr Caroline Liow Gabriel Lopata Carina Martin Rachael McVean Pat Miller Barry Mowszowski Lucy Myer James Ostroburski Nicole Pedler & Henry Durack Kristian Pithie Michael Radovnikovic

Jessica Read Rob Clark & Daniel Richardson Alexandra Ridout Emile & Caroline Sherman Tom Smyth Michael Southwell Tom Stack Helen Telfer Max Tobin Karen & Peter Tompkins Nina Walton & Zeb Rice Peter Wilson & James Emmett Thomas Wright Anonymous (2)

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55

$1,000–$2,499

National Patrons’ Program Thank you to all our generous donors who contribute to our Education, Excellence, Instrument Fund, International Touring and Commissioning programs. We are extremely grateful for the support we receive to maintain these annual programs. To discuss making a donation to the ACO, or if you would like to direct your support in other ways, please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Program names as at 12 July 2018

Patrons Marc Besen ac & Eva Besen ao Janet Holmes à Court ac

$20,000+ Mr Robert Albert ao & Mrs Libby Albert Dr Catherine Brown-Watt psm & Mr Derek Watt Daniel & Helen Gauchat Catherine Holmes à Court-Mather Andrew Low Jim & Averill Minto Louise & Martyn Myer The Barbara Robinson Family Margie Seale & David Hardy Rosy Seaton & Seumas Dawes Tony Shepherd ao Leslie C Thiess Peter Young am & Susan Young E Xipell Anonymous (2)

$10,000–$19,999 Australian Communities Foundation – Ballandry Fund Geoff Alder Karen Allen & Dr Rich Allen Allens – in memory of Ian Wallace Steven Bardy & Andrew Patterson Eureka Benevolent Foundation Rod Cameron & Margaret Gibbs Jane & Andrew Clifford In memory of Wilma Collie Terry & Lynn Fern Mr & Mrs Bruce Fink Dr Ian Frazer ac & Mrs Caroline Frazer Robert & Jennifer Gavshon Leslie & Ginny Green John Grill & Rosie Williams Tony & Michelle Grist Angus & Kimberley Holden Belinda Hutchinson am & Roger Massy-Greene G B & M K Ilett Di Jameson John & Lisa Kench Miss Nancy Kimpton Irina Kuzminsky & Mark Delaney Anthony & Sharon Lee Foundation Liz & Walter Lewin Anthony & Suzanne Maple-Brown Jennie & Ivor Orchard James Ostroburski & Leo Ostroburski Bruce & Joy Reid Trust Angela Roberts Ryan Cooper Family Foundation Paul Schoff & Stephanie Smee AUSTRALIAN CHAMBER ORCHESTRA

Servcorp Jon & Caro Stewart Anthony Strachan Alden Toevs & Judi Wolf Pamela Turner Shemara Wikramanayake Cameron Williams Anonymous (1)

$5,000–$9,999 Jennifer Aaron Steve & Sophie Allen The Belalberi Foundation Walter Barda & Thomas O'Neill Carmelo & Anne Bontempo Helen Breekveldt Veronika & Joseph Butta Stephen & Jenny Charles Annie Corlett am & Bruce Corlett am Carol & Andrew Crawford Rowena Danziger am & Ken Coles am Maggie & Lachlan Drummond Suellen Enestrom Paul R Espie ao Bridget Faye am Vivienne Fried Cass George Gilbert George Warren Green Liz Harbison Anthony & Conny Harris Annie Hawker John Griffiths & Beth Jackson Doug Hooley I Kallinikos The Key Foundation Kerry Landman Lorraine Logan Danita Lowes & David File Macquarie Group Foundation The Alexandra & Lloyd Martin Family Foundation Rany Moran Beau Neilson & Jeffrey Simpson Paris Neilson & Todd Buncombe K & J Prendiville Foundation Libby & Peter Plaskitt John Rickard In Memory of Lady Maureen Schubert – Marie Louise Theile & Felicity Schubert Greg Shalit & Miriam Faine J Skinner Sky News Australia Petrina Slaytor Jeanne-Claude Strong Tamas & Joanna Szabo Vanessa Tay Alenka Tindale

Simon & Amanda Whiston Hamilton Wilson Woods5 Foundation Anonymous (3)

$2,500–$4,999 Annette Adair Peter & Cathy Aird Rae & David Allen Will & Dorothy Bailey Charitable Gift Lyn Baker & John Bevan The Beeren Foundation Vicki Brooke Neil & Jane Burley Caroline & Robert Clemente Laurie Cox ao & Julie Ann Cox am Anne & Thomas Dowling Elizabeth Foster Angelos & Rebecca Frangopoulos In memory of Rosario Razon Garcia Anne & Justin Gardener Paul Greenfield & Kerin Brown Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Ruth Hoffman & Peter Halstead Merilyn & David Howorth Warwick & Ann Johnson Peter & Ruth McMullin Roslyn Morgan Jane Morley Jenny Nichol David Paradice & Claire Pfister Sandra & Michael Paul Endowment Prof David Penington ac Christopher Reed Kenneth Reed am Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Mrs Tiffany Rensen Fe & Don Ross D N Sanders Carol Schwartz am & Alan Schwartz am Kathy & Greg Shand Maria Sola Ezekiel Solomon am Keith Spence Josephine Strutt Susan Thacore Rob & Kyrenia Thomas Ralph Ward-Ambler am & Barbara Ward-Ambler Kathy White Libby & Nick Wright Don & Mary Ann Yeats Anne & Bill Yuille Rebecca Zoppetti Laubi Anonymous (6)

Barbara Allan Jane Allen Lillian & Peter Armitage In memory of Anne & Mac Blight Adrienne Basser Doug & Alison Battersby Robin Beech Ruth Bell Berg Family Foundation Graeme & Linda Beveridge Leigh Birtles Jessica Block In memory of Peter Boros Brian Bothwell Diana Brookes Elizabeth Brown Stuart Brown Sally Bufé Gerard Byrne & Donna O'Sullivan The Caines In memory of Lindsay Cleland Ray Carless & Jill Keyte Julia Champtaloup & Andrew Rothery Alex & Elizabeth Chernov Kaye Cleary Dr Peter Clifton John & Chris Collingwood Angela & John Compton Leith & Darrel Conybeare Anne Craig Cruickshank Family Trust John Curotta Ian Davis & Sandrine Barouh Michael & Wendy Davis George & Kathy Deutsch Martin Dolan In memory of Ray Dowdell Dr William F Downey Pamela Duncan Emeritus Professor Dexter Dunphy Karen Enthoven Peter Evans Julie Ewington Patrick Fair Penelope & Susan Field Elizabeth Finnegan Jean Finnegan & Peter Kerr Don & Marie Forrest Ron Forster & Jane Christensen John Fraser Chris & Tony Froggatt Kay Giorgetta Brian Goddard Jack Goodman & Lisa McIntyre Ian & Ruth Gough Louise Gourlay oam Camilla & Joby Graves Melissa & Jonathon Green Paul Greenfield & Kerin Brown Grussgott Trust In memory of Jose Gutierrez Paul & Gail Harris Lyndsey Hawkins Kingsley Herbert

Jennifer Hershon Vanessa & Christian Holle Christopher Holmes Michael Horsburgh am & Beverley Horsburgh Gillian Horwood Penelope Hughes Professor Emeritus Andrea Hull ao Stephanie & Mike Hutchinson Dr Anne James & Dr Cary James Owen James Anthony Jones & Julian Liga Brian Jones Bronwen L Jones Mrs Angela Karpin Professor Anne Kelso ao Josephine Key & Ian Breden Michael Kohn John Landers & Linda Sweeny Delysia Lawson Airdrie Lloyd Gabriel Lopata Megan Lowe Diana Lungren Prof Roy & Dr Kimberley MacLeod Garth Mansfield oam & Margaret Mansfield oam Mr Greg & Mrs Jan Marsh Janet Matton & Robin Rowe Jane Tham & Philip Maxwell Kevin & Deidre McCann Nicholas McDonald Helen & Phil Meddings Jim Middleton Michelle Mitchell Abby & Yugan Mudaliar Peter & Felicia Mitchell Dr Robert Mitchell Baillieu & Sarah Myer Dr G Nelson Nola Nettheim Kenichi & Jeanette Ohmae Fran Ostroburski Chris Oxley Mimi & Willy Packer Catherine Parr & Paul Hattaway Leslie Parsonage Rosie Pilat Greeba Pritchard Dr S M Richards am & Mrs M R Richards John & Virginia Richardson Em Prof A W Roberts am Mark & Anne Robertson John & Donna Rothwell J Sanderson In Memory of H. St. P. Scarlett Morna Seres & Ian Hill Diana Snape & Brian Snape am Dr Peter & Mrs Diana Southwell-Keely Kim & Keith Spence Cisca Spencer The Hon James Spigelman ac qc & Mrs Alice Spigelman am Harley Wright & Alida Stanley Dr Charles Su & Dr Emily Lo

Robyn Tamke David & Judy Taylor Jan Tham & Philip Maxwell Dr Jenepher Thomas Mike Thompson Joanne Tompkins & Alan Lawson Anne Tonkin Ngaire Turner Kay Vernon John & Susan Wardle Simon Watson Peter Yates am & Susan Yates Anonymous (26)

$500–$999 John Adams Gabrielle Ahern-Malloy John & Rachel Akehurst Dr Judy Alford Mr & Mrs H T Apsimon Juliet Ashworth Elsa Atkin am Ms Rita Avdiev Christine Barker Helen Barnes In memory of Hatto Beck Kathrine Becker Robin Beech Ruth Bell L Bertoldo Hyne Philomena Billington Elizabeth Bolton Lynne & Max Booth Carol Bower Denise Braggett Henry & Jenny Burger Mrs Pat Burke Josephine Cai Helen Carrig Connie Chaird Pierre & Nada Chami Chaney Architecture Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Captain David Clarke Richard Cobden sc Dr Jane Cook R & J Corney Sam Crawford Architects Donald Crombie am Julie Crozier & Peter Hopson Marie Dalziel Amanda Davidson Mari Davis Dr Michelle Deaker Kath & Geoff Donohue Jennifer Douglas In memory of Ray Dowdell In memory of Raymond Dudley Graeme Dunn Carmel Dwyer Vanessa Finlayson Penny Fraser Susan Freeman

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National Patrons’ Program (continued)

ACO Government Partners We thank our Government Partners for their generous support

$500–$999 (Continued) Paul Gibson & Gabrielle Curtin Don & Mary Glue Sharon Goldie Ian & Ruth Gough Carole A. P. Grace Jennifer Gross Kevin Gummer & Paul Cummins Rita Gupta Rob Hamer Jones Hamiltons Commercial Interiors Lesley Harland Sue Harvey Rohan Haslam Henfrey Family Dr Penny Herbert in memory of Dunstan Herbert Dr Marian Hill Charissa Ho Sue & David Hobbs Geoff Hogbin Peter & Edwina Holbeach Geoff & Denise Illing Steve & Sarah Johnston Caroline Jones Phillip Jones Agu Kantsler Bruce & Natalie Kellett Ruth Kelly Lionel & Judy King Peter & Katina Law Irene Ryan & Dean Letcher qc Megan Lowe Bronwyn & Andrew Lumsden Joan Lyons Geoffrey Massey Dr & Mrs Donald Maxwell Paddy McCrudden Pam & Ian McDougall J A McKernan Margaret A McNaughton Claire Middleton Michelle Mitchell Justine Munsie & Rick Kalowski Nevarc Inc. Andrew Naylor J Norman Paul O’Donnell Robin Offler Mr Selwyn Owen S Packer Effie & Savvas Papadopoulos Ian Penboss

AUSTRALIAN CHAMBER ORCHESTRA

Helen Perlen Kevin Phillips Erika Pidcock Beverly & Ian Pryer Jennifer Rankin Michael Read Joanna Renkin & Geoffrey Hansen Prof. Graham & Felicity Rigby Jakob Vujcic & Lucy Robb Vujcic Jennifer Royle Scott Saunders Garry Scarf & Morgie Blaxill Marysia Segan Jan Seppelt David & Daniela Shannon Agnes Sinclair Ann & Quinn Sloan Ken Smith Michael Southwell Brian Stagoll Patricia Stebbens Ross Steele AM Cheri Stevenson Nigel Stoke C A Scala & D B Studdy Dr Douglas Sturkey cvo am In memory of Dr Aubrey Sweet Team Schmoopy Dr Niv & Mrs Joanne Tadmore Gabrielle Tagg Susan & Yasuo Takao C Thomson TWF See & Lee Chartered Accountants Visionads Pty Ltd Oliver Walton Joy Wearne GC & R Weir Westpac Group Harley & Penelope Whitcombe James Williamson Sally Willis Janie Wittey Lee Wright Dr Mark & Mrs Anna Yates Gina Yazbek Joyce Yong LiLing Zheng Anonymous (41)

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)

John Kench

Mark Stanbridge

Chair Australian Super

Jason Li

Partner Ashurst

Chairman Vantage Group Asia

Guido Belgiorno-Nettis am Chairman ACO

Alden Toevs

Jennie Orchard

Nina Walton

Peter Shorthouse

Gauri Bhala

Senior Partner Crestone Wealth Management

CEO Curious Collective

Melbourne Development Council Martyn Myer ao (Chair)

James Ostroburski

Ken Smith

Chairman, Cogslate Ltd President, The Myer Foundation

CEO Kooyong Group

CEO & Dean ANZSOG

Peter McMullin (Deputy Chair)

Rachel Peck

Chairman McMullin Group

Principal peckvonhartel architects

Susan Thacore

Colin Golvan qc

Peter Yates am Deputy Chairman Myer Family Investments Ltd & Director, AIA Ltd

Disability Advisory Committee Morwenna Collett

Alexandra Cameron-Fraser

Dean Watson

Director Major Performing Arts Projects Australia Council for the Arts

Chief Operating Officer, ACO

Customer Relations & Access Manager, ACO

Event Committees Brisbane

Sydney Judy Crawford (Chair) Lillian Armitage Jane Clifford Deeta Colvin Lucinda Cowdroy Fay Geddes Julie Goudkamp Lisa Kench

Liz Lewin Julianne Maxwell Rany Moran Fiona Playfair Max Stead Lynne Testoni Susan Wynne

Philip Bacon Kay Bryan Andrew Clouston Caroline Frazer Dr Ian Frazer ac Cass George

Di Jameson Wayne Kratzmann Shay O’Hara-Smith Marie-Louise Theile Beverley Trivett Hamilton Wilson

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ACO Partners We thank our Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

NATIONAL EDUCATION PARTNERS Janet Holmes à Court AC Marc Besen AC & Eva Besen AO Holmes à Court Family Foundation The Ross Trust

AUSTRALIAN CHAMBER ORCHESTRA

COMING HOME IS NICE BUT

TA K I N G OFF IS WHERE THE EXCITEMENT LIVES

P R I N C I PA L PA R T N E R O F AUSTRALIAN CHAMBER ORCHESTRA