Osborne Winther Valve in Recital Concert Program

OSBORNE WINTHER VALVE IN RECITAL JULY 2018

Program in short

The oak tree and its branch

Honing the character

Your five-minute read before lights down

Brahms, Dvořák and music of politics

Kate Holden interviews Steven Osborne

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An illuminating journey through Bach’s keyboard masterpiece reimagined for string orchestra.

Richard Tognetti Director & Violin Erin Helyard Keyboards

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WELCOME A warm and intimate performance

Osborne Winther Valve In Recital marks the return of one of the ACO’s favourite artists, the renowned British pianist Steven Osborne. He joins our Principal Cello Timo-Veikko ‘Tipi’ Valve and the wonderful Australian violinist Kristian Winther for a recital featuring two of the great composers of the 19th century, Johannes Brahms and Antonín Dvořák.

In an era where nationalism and politics were closely affiliated with the world of music, these two composers were not only musical contemporaries, but close friends.

Brahms, the staunch traditionalist, wrote music that embraced the rich German tradition, whilst Dvořák was drawn to exploring a new sound that drew upon folk roots from his Czech homeland. You can identify these nationalistic influences in their music in this program: Dvořák’s immensely popular, folk-inspired ‘Dumky’ Trio, and Brahms’ Germanic and vast Piano Trio No.1.

Following our Artistic Director Richard Tognetti’s minor injury, we are extremely grateful to Kristian Winther for making himself available to perform on this tour at short notice; I am very glad to report that, after some much needed time off, Richard is well on his way to making a full recovery.

I hope you enjoy what will be a warm and intimate performance from three outstanding chamber musicians.

Richard Evans Managing Director Join the conversation

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Celebrating 30 years of partnership 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.

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PROGRAM Steven Osborne Piano Kristian Winther Violin Timo-Veikko Valve Cello PRE-CONCERT TALK

45 mins prior to the performance See page 41 for details

SCHUBERT

Piano Trio No.2 in E-flat major, D.929 II. Andante con moto

mins

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DVOR�ÁK Piano Trio No.4 in E minor, Op.90 ‘Dumky’

I. Lento maestoso – Allegro quasi doppio movimento – Lento maestoso – Allegro molto

II. Poco adagio – Vivace non troppo – Poco adagio – Vivace

III. Andante – Vivace non troppo – Andante – Allegretto

IV. Andante moderato (quasi tempo di marcia) – Allegretto scherzando – Meno mosso – Allegretto scherzando – Meno mosso – Allegro – Meno mosso – Moderato

V. Allegro

VI. Lento maestoso – Vivace – Lento – Vivace

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INTERVAL

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SCHUBERT

Piano Trio No.1 in B-flat major, D.898 II. Andante un poco mosso

BRAHMS

Piano Trio No.1 in B major, Op.8

I. Allegro con brio II. Scherzo. Allegro molto III. Adagio IV. Finale. Allegro

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

The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

ACO concerts are regularly broadcast on ABC Classic FM.

COVER PHOTO. KEVIN DAVIS

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Myoung Ho Lee Tree…#2, 2014 Archival Inkjet Print © Myoung Ho Lee, Courtesy Yossi Milo Gallery, New York

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PROGRAM IN SHORT Your five-minute read before lights down

Antonín Dvořák (1841 – 1904) Piano Trio No.4 in E minor ‘Dumky’

Dvořák wrote six piano trios, four of which survive today. The “Dumky” trio is undoubtedly the most famous of these, and one of Dvořák’s best-known works.

Dvořák swiftly composed his “Dumky” trio between November 1890 and February 1891. Writing to his friend Alois Göbl, he said “I am currently working on something little, nay, very little … it is made up of small compositions for violin, cello and piano … At times it will be like a mournful song, and then as if a merry dance.”

The premiere took place in Prague on 11 April 1891 in celebration of an honorary doctorate that had been awarded to Dvořák one month earlier.

Dvořák himself played the piano part, together with conservatoire professors Ferdinand Lachner and Hanuš Wihan on violin and cello.

This same group of musicians would go on to perform the “Dumky” trio during AUSTRALIAN CHAMBER ORCHESTRA

Dvořák’s 36-concert farewell tour before the composer’s departure to take up the position of director at the National Conservatory of Music of America.

Dvořák wrote that “‘Dumka’ is a Little Russian (i.e. Ukrainian) word that resists translation. It is a sort of folk poem frequently found in Russian literature, usually of a sad and melancholy character”. In this sense, he viewed the “dumka” as a poetic form rather than the musical form that goes by the same name.

Dvořák’s “Dumky” trio breaks new ground in that it doesn’t follow the usual cyclic sonata form, but is instead a series of six “dumkas” in alternating moods – from slow sections of melancholy to fast “furiant” and “polka” dances.

Reflective and powerful, the trio remains one of Dvořák’s most popular works and is one of the best examples of the Slavic side of his personality.

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Johannes Brahms (1833 – 1897) Piano Trio No.1 in B major, Op.8

Brahms’s Piano Trio in B major is at the same time both the first and last of his three piano trios.

The trio was completed in January 1854 when Brahms was 20 years of age, and received its premiere the following year. The trio has a special significance for Brahms in that it was his first chamber composition, and the one that launched his public career.

Brahms was his own worst critic, and before the trio was even published he expressed doubts about the work to his friend and mentor, the great violinist Joseph Joachim. Thirty-five years later, Brahms would “trifle away the lovely summer” of 1889 revising the trio.

Brahms joked, “I didn’t provide it with a new wig, just combed and arranged its hair a little.” But in reality he had re-composed most of the trio, with only the Mendelssohnian Scherzo remaining untouched. Brilliantly, Brahms retained the initial themes, seamlessly inserting new passages based on them that were a huge improvement on the originals.

The trio, whose final version premiered in 1890 in Budapest, is unusual in being one of the few major-key works to end in a minor key. Other examples include Brahms’s Third Symphony and G major violin sonata, Schubert’s E-flat impromptu, and Mendelssohn’s “Italian” symphony.

The tragic minor-key ending to the trio may have been inspired by events that were unfolding regarding his friend Robert

Schumann, who attempted suicide shortly after the trio’s completion and would subsequently be confined to an asylum.

Whether the trio is indeed connected to these circumstances, one cannot deny the unmistakably Brahmsian intensity and drama that ends this serenely expansive work.

Franz Schubert (1797 – 1828) Piano Trio No.2 in E-flat major, D.929 Piano Trio No.1 in B-flat major, D.898

Just as Brahms and Dvořák stood in the enormous shadow of Beethoven, so too did Schubert. By 1823, Schubert was ready to establish himself as Beethoven’s successor, but he had become seriously ill with syphilis. He would spend his final years composing a superb series of works that include the two piano trios, written between September and November 1827.

The exuberant Piano Trio in B-flat is unlike many of Schubert’s later works, which exhibit the composer’s acute awareness of his own mortality. The Andante un poco mosso is based on a lullaby melody that takes the form of a round, undergoing a series of poetic transformations. The Piano Trio in E-flat is a more serious work.

The Andante con moto conjures the haunting atmosphere of Winterreise, using a Swedish folk-song ‘Se solen sjunker’ (‘The sun has set’) in a setting that grows increasingly strenuous and violent.

The trios were premiered in 1828 by violinist Ignaz Schuppanzigh and cellist Josef Linke (who had premiered Beethoven’s late quartets) with pianist Karl Maria von Bocklet.

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STEVEN OSBORNE PIANO

AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. BEN EALOVEGA

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“This Brahms trio is one of my very favourite pieces of his. For me, it ends up having just a wonderful balance of spontaneity and… a beautiful shape. Just tremendously involving to play.”

Steven Osborne is one of Britain’s most treasured musicians, whose insightful and idiomatic interpretations of diverse repertoire show an immense musical depth. His numerous awards include The Royal Philharmonic Society Instrumentalist of the Year (2013) and two Gramophone Awards. His residencies at London’s Wigmore Hall, Antwerp’s deSingel, the Bath International Music Festival and most recently with the City of Birmingham Symphony Orchestra are a testament to the breadth of his interests and the respect he commands.

Concerto performances take Osborne to major orchestras all over the world including recent visits to the Deutsches Sinfonieorchester Berlin, Salzburg Mozarteum, Oslo Philharmonic, Finnish Radio Symphony, Danish National Radio, London Symphony, Royal Stockholm Philharmonic, Yomiuri Nippon Symphony, Australian Chamber Orchestra, St Louis Symphony, Aspen Music Festival and Mostly Mozart Festival at Lincoln Center. He has enjoyed collaborations with conductors including Christoph von Dohnanyi, Alan Gilbert, Vladimir Ashkenazy, Stéphane Denève, and Ludovic Morlot.

Summer 2017 saw Osborne give the world premiere of Julian Anderson’s Piano Concerto The Imaginary Museum in his fourteenth performance at the Proms.

A long-time admirer of Osborne’s playing, Anderson dedicated the Concerto to him.

Osborne’s recitals of carefully crafted programs are publicly and critically acclaimed. He has performed in many of the world’s prestigious venues including the Konzerthaus Vienna, Amsterdam Concertgebouw, Philharmonie Berlin, de Doelen Rotterdam, Palais des Beaux Arts Brussels, Suntory Hall Tokyo, Kennedy Center Washington, Carnegie Hall and is a regular guest at London’s Wigmore Hall. His chamber music partners include Alban Gerhardt, Paul Lewis, James Ehnes, Dietrich Henschel and Alina Ibragimova.

His 27 recordings have accumulated numerous awards including two Gramophone Awards, three Preis der Deutschen Schallplattenkritik Awards and a Choc in Classica Magazine in addition to a clutch of Editor’s Choice in Gramophone and Recordings of the Year from The Daily Telegraph, The Guardian, and The Times.

Osborne won first prize at the prestigious Clara Haskil Competition in 1991 and the Naumburg International Competition in 1997. Born in Scotland he studied with Richard Beauchamp at St Mary’s Music School in Edinburgh and Renna Kellaway at the Royal Northern College of Music in Manchester. He is a Visiting Professor at the Royal Academy of Music and was elected a Fellow of the Royal Society of Edinburgh in March 2014.

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KRISTIAN WINTHER VIOLIN AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. KEITH SAUNDERS

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“I’m really looking forward to performing with Tipi and Steven, especially as the Brahms B major is maybe my favourite piano trio. I remember as an audience member feeling total disbelief the first time I experienced the work - I had never heard a piece with a comparable emotional journey.”

Kristian Winther was born in Canberra to musical parents. He studied violin with Josette Esquedin-Morgan and John Harding, and conducting with John Curro, with whom he made his concerto debut at age 15, performing the Sibelius Violin Concerto. As soloist he has appeared with the Sydney, Melbourne, Queensland and Tasmanian symphony orchestras, Auckland Philharmonia, Melbourne Chamber Orchestra, Orchestra Victoria, and Orchestra Romantique. He has performed as Guest Concertmaster of the Mahler Chamber Orchestra, the Melbourne Symphony Orchestra and the West Australian Symphony Orchestra, and as leader of ACO Collective.

An avid chamber musician, Winther was formerly a violinist in the TinAlley String Quartet. During his time with TinAlley, the Quartet won first prize at the Banff International String Quartet Competition which was followed by tours of the USA, Canada and Europe.

He has also performed chamber music with Anthony Romaniuk, Daniel de Borah, Anne Sophie von Otter, Angela Hewitt, Anna Goldsworthy, Richard Tognetti, Brett and Paul Dean, Hue Blanes and Joe Chindamo. As a founding musician of performing arts company Play On, Winther has performed music from the 16th to 21st centuries for sold-out audiences in locations

including an underground car park in Collingwood and a nightclub in Berlin.

He performed the world premiere of Olli Mustonen’s Sonata for Violin and Orchestra with the Melbourne Symphony Orchestra, conducted by the composer, the Australian premiere of John Adams’ concertante work for string quartet and orchestra, Absolute Jest, with the Sydney Symphony Orchestra, and the Australian and New Zealand premieres of Brett Dean’s violin concerto The Lost Art of Letter Writing. He has also given Australian premieres of works

by Andriessen, Kurtág, Salonen, Rihm, Widmann, and Kelly-Marie Murphy.

In 2018 Winther joined the Australia Piano Quartet. Upcoming highlights include the Australian premiere of Mustonen’s Piano Quintet and Winther’s own new work for piano quartet.

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TIMO-VEIKKO VALVE CELLO AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. JACK SALTMIRAS

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Timo-Veikko “Tipi” Valve is known as one of the most versatile musicians of his generation. He performs as a soloist, chamber musician and orchestral leader on both modern and period instruments.

Valve studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden, focusing in solo performance and chamber music.

Tipi works closely with a number of composers and has commissioned new works for the instrument. Most recently Valve has premiered concertos

by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. With ACO Valve has premiered arrangements of Olli Mustonen’s Sonata for cello and chamber orchestra and an orchestrated version of the Debussy Cello Sonata.

In 2006, Valve was appointed Principal Cello of the Australian Chamber Orchestra with whom he frequently appears as soloist. Valve also curates the ACO’s chamber music series in Sydney. Tipi is a founding member of Jousia Ensemble and Jousia Quartet.

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

“What a pleasant way to spend a week, meeting up with old friends – both my chamber music colleagues and the music itself – on stages around the country.

I recently counted back the number of times I have performed Dvořák’s ‘Dumky’, and have worked out that it might swell into three figures by the end of this tour – and I still never get tired of it!”

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THE OAK Brahms, Dvořák and music of politics.

Words by Kate Holden.

AND ITS AUSTRALIAN CHAMBER ORCHESTRA

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TREE BRANCH PHOTO.

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AUSTRALIAN CHAMBER ORCHESTRA

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J

ohannes Brahms and Antonín Dvořák were masters of both chamber and orchestral music. The two composers – also friends – shared a sensibility in music that was supremely poignant and compassionate. Yet it’s also a music very much of its moment, and its moment was one in which music could not be innocent or simply beautiful or emotive. It was, consciously or unwittingly, a music of politics.

Brahms’s Piano Trio No.1 in B Major was composed first in 1854, and significantly revised in 1889. In the period between, Brahms grew from a promising 20-year-old from Hamburg to a mature master living in Vienna, the heart of Austro–Hungarian culture. Brahms’s personal life, professional reputation and cultural milieu were affixed to the near-last decades of the imperial world, and his superb trio is an exemplar of that moment. His follower and friend Dvořák’s Piano Trio No.4 in E minor, known as the Dumky, is even more freighted with the preoccupations of its time. The piece premiered in Prague in 1891, and at that point Dvořák’s work had been parsed for more than a decade as much for its politics as its pleasure.

If Brahms were an oak, Dvořák was his branch. Both men – one German, Left. St Nicholas church, Prague, Czech Republic

the other Czech – worked in the febrile climate of a musical culture that was played in the pages of the political press as well as the stage, and sometimes required a police presence.

Many audiences are ravished by the two composers’ work without knowing their biographies, save for the agonising tale of Brahms’s devotion to Clara Schumann and Dvořák’s captivation by the New World. The sheer beauty of the music seems quite sufficient. Beyond the sturdy biographies, however, there exists a body of scholarly work that urgently desires classical music, like all other significant cultural phenomena, to be detached from its sophisticated, apparent neutral elevation from the quotidian, and put back into the very real, political, personal world in which it was made. The German scholar Carl Dahlhaus was one of the first to press this cause, observing in 1980 that music wasn’t some miraculous apparition of beauty – “hot air held together by gossamer,” in Joep Leerssen’s phrase – but very much a product of its time and context. Dahlhaus was followed by scholars who have diligently drawn musical stories back into the tapestries of cultural and political history. Perhaps most vehement has been American musicologist, musician and critic Richard Taruskin, who writes in NATIONAL CONCERT SEASON 2018

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“...while our newspapers are full of accounts of atrocity incurred by xenophobia, territorial conflict and ethnic convictions, the world of classical music serenely insists on remaining separate, and indeed in celebrating nationalist elements of its canon...”

nationalist prejudice, one which again what he calls “a spirit of protest against posits a “universal” establishment music the utopian ideas, all corruptions of of the 19th century in Europe without romanticism, that have isolated classical remembering that it was very much a music from audiences”. In both popular particular German sound promoted with and academic publications, Taruskin Teutonic vigour as naturally superior, has written noisily and persuasively on inevitably triumphant, and patriotically many aspects of classical music culture constructed. What we hear in our and one of his bugbears has been the ignorance and convenience as “classic” ineluctable presence in the music of classical music is often actually a colonial both Brahms and Dvořák of nationalism. hegemony in which all divergences In his 1993 New York Times essay such as Slavonic Dances or Hungarian “Nationalism”: Colonialism in Disguise?

Rhapsodies are exotic, picturesque, Taruskin opens by noting that while charming. Or, indeed, subversive. our newspapers are full of accounts of Taruskin’s essay, in example, calls out atrocity incurred by xenophobia, territorial Dvořák’s campaign while in the United conflict and ethnic convictions, the States for local composers to seek out the world of classical music serenely insists folk, African–American and indigenous on remaining separate, and indeed themes in the cause of creating a true in celebrating nationalist elements “American” music. He observes that Dvořák of its canon in admiration of the very had, by the time he was invited to direct quaintness that smuggled them into the Thurber National Conservatory of the culture wars of the late 19th century Music in 1882, the year following the and aggravated European tensions that premier of this program’s piano trio, traded last to this day. “You could not hope,” Taruskin says with characteristic bluntness, successfully on his status in Vienna as a “naif” from the peripheral provinces “for a better illustration of what makes of the empire; but that Dvořák, too, was classical music seem so quaint and simultaneously an avatar of a particularly irrelevant to today’s world.” He accuses German dominant music culture – and the repertory of incurious music festivals Taruskin invokes the massive influence and blithe modern naivety of dangerous of the proudly German Brahms – already nostalgia for “an imagined prelapsarian being disguised as simply a norm against age” before the horrors of 20th-century which all ambitions must be judged. nationalism. Taruskin lambasts critics and For a long time, Taruskin and others audiences for wilful amnesia. Worse, he complain, classical music has been accused them of the reproduction of new AUSTRALIAN CHAMBER ORCHESTRA

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subjected to increasingly forensic analysis that detaches it from anything other than pure form and ideal. But morality and integrity are not subordinate to artistic perfection; artists are subjects of their world, and their works are expressions for, against or with the cultural bias of the time. What scholars who seek deeper truths find is that Brahms and Dvořák were more subtle and alert characters than their anodyne myths allow, and their music, too.

Dvořák, born in 1841, was a Czech in a time when Czechs were subjects of the Austro–Hungarian empire. He came from a small town in Bohemia to the regional capital Prague, with the first public performances of his work at the age of 31.

Prague at that time was administered in the German language, and by 1873, the next year, Dvořák was already seeking exposure in the self-appointed Germanic musical heartland, Vienna. Over the next decade he would meet with fluctuating success in the cultural capital, even as his professional evolution continued steadily and both audiences and critics adored his work.

Dvořák launched his career in the German-speaking world, as he had to, in the middle of a shiver of nationalism and insurgency that began the break-up of the old empire, would settle in the form of bounded nations after the Treaty of Versailles and convulse in the ethnicist and militant horrors of the Third Reich.

Only eight years his senior, Brahms was born into the empire at a time of Gründerjahre, imperial and cultural expansion. Raised by a liberal family in the Free and Hanseatic City of Hamburg, a sovereign state before the unification of Germany in 1871, Brahms worked as an

Top. Johannes Brahms, 1889.

Above. Antonín Dvořák, 1882.

“...artists are subjects of their world, and their works are expressions for, against or with the cultural bias of the time.”

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“It’s one of my very favourite pieces of his. For me, it ends up having just a wonderful balance of spontaneity and – I don’t want to call it perfection, because it sounds so kind of abstract – let’s just say, a beautiful shape. Just tremendously involving to play.” already-notable composer in Leipzig and Dusseldorf, and by 1863 had attained a post in Vienna. There he was as part of a reactionary movement opposed to Franz Liszt’s “New German School” of musical innovation, and was on his way to identification with a conservative, chauvinistic lineage properly devoted to the masters Beethoven and Schubert, a tradition among which he would soon be numbered as a new Brahman.

The Piano Trio No.1 was written by Brahms in 1889, in the composer’s maturity and after a lifetime’s devotion to enriching modern German music with its past. The Neue Ausgabe (New Edition) had its premiere in Budapest in 1890 and it is this quite substantially revised version that is almost always performed, as in this program. “The first tune is one of the most open-hearted, beautiful tunes he ever wrote,” says pianist Steven Osborne, with the real warmth of the opening.

A celebrated and thoughtful guest performer, and previous collaborator with the ACO, Osborne continues, “I have a feeling that as Brahms got older he became very concerned with having every piece of his being unimpeachable. I think he was terribly influenced – not in a bad way – by Beethoven. He was terribly self-conscious, because of Beethoven’s greatness, and his pieces had to measure up to Beethoven. So for my taste there AUSTRALIAN CHAMBER ORCHESTRA

was a tremendous effort at stamping out spontaneity and trying to create things that were formally perfect, with nothing that could be criticised. There are various other things he fundamentally changes in the other version, which tighten the work up a bit. But this first movement’s melody completely survived the revision process. And when it starts, it’s just like, ‘Wow.’” Osborne has performed the trio many times. “It’s one of my very favourite pieces of his. For me, it ends up having just a wonderful balance of spontaneity and – I don’t want to call it perfection, because it sounds so kind of abstract – let’s just say, a beautiful shape.

Just tremendously involving to play.”

Ironically for one of the supreme masters claimed for German music, Brahms spent most of his adult life exiled from Germany. He himself held a mature mix of values, largely progressive although surprisingly patriotic, apparently a cultural nationalist, deeply attracted to the glamour of the past. His fascination with folk music extended mostly to domestic or associated, politically sympathetic lineages such as the Slavic and Scottish, rather than a multicultural investment in general. Audiences responded to Right. Vienna at sunset, view from the north tower of St. Stephen's Cathedral.

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“...a flowering of Romantic German composers bloomed to manifest the bounty of the empire. Composers and musicians became celebrity figures, authorial and august, at once glamorous and accessible.”

Above. Charles I or Karl I was the last reigning monarch of the Austro-Hungarian Empire. He was the last Emperor of Austria, the last King of Hungary, the last King of Bohemia, and the last monarch belonging to the House of Habsburg-Lorraine.

AUSTRALIAN CHAMBER ORCHESTRA

his passion for heritage: in Austrian but German-speaking Vienna of the 1870s he was acclaimed by a Liberal bourgeois audience keen to cherish proud German accomplishments while flinching from too-shrill nationalism.

“I really feel for Brahms,” says Osborne. “You can hear it, I think, in a lot of the melodies that he wrote later on, that he’s straining often, it feels to me, very constrained. It’s very beautiful – it’s not to take away from the intense beauty of the music – but it’s a slightly different feeling because of the intensity with which it’s constructed.”

Music had been a conspicuous site for nationalist anxiety since Liszt published an essay to accompany his Hungarian Rhapsodies of 1859. A kind of jealous insecurity powered an increasingly torrential stream of critical thought and musical production to defend the supposed natural virtuosity of German music over all other forms. Revivals of Mozart and Bach assisted this, and a flowering of Romantic German composers bloomed to manifest the bounty of the empire. Composers and musicians became celebrity figures, authorial and august, at once glamorous and accessible. The still relatively recent phenomenon of shared listening in public recitals – and the particular, irresistible thrall of choral music, with massed voices becoming one – encouraged devotion both to new pride in German music and its rapturous power to cohere and move audiences. Music, which had by 1800 an established, standard set of tools, genres, instrumentation and notation, formulas and canonical legacy, was until mid century largely a pan-European cultural gyre in which composers and musicians

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circulated from court to academy and orchestra. It was essentially nationless, observes Leerssen, in the same way as mathematics or architecture is without borders. But the exciting lives and energy of Romantic composers drew focus, and they increasingly became figures associated with the nations with which they identified ethnically or culturally.

The sinuous silver thread of folk music had been present for a century – Mozart’s Rondo alla Turca offered a little sprinkle of orientalist sequins in 1783 – but progressively its use in Germany was

this assimilation, as did Smetana, Janáček, Reger, Bartók, Rimsky-Korsakov, Albéniz, Nielsen, Sibelius, VaughanWilliams, Grainger, de Falla, Stravinsky, and others. It could be argued that the absorption of folk music into the classical body inoculated the musical world against atrophy, and delivered both an energising extension to the potential of music and a newly engaged, delighted and motivated audience.

For Brahms, described by a modern critic as one of folk music’s “staunchest

“...exciting lives and energy of Romantic composers drew focus, and they increasingly became figures associated with the nations with which they identified ethnically or culturally.” not of picturesque sampling from other apparently quaint and distant cultures, but to represent a sensitive, atavistic element in the composer’s own identity.

Inspired by Johann Gottfried Herder, the 18th-century philosopher and promoter of folk memory in the Sturm und Drang movement, ethnomusicologists, composers and amateurs began collecting and arranging folk songs.

More and more opera was produced on “national” themes, from legend, mediæval history or myth. Eventually, with German identity better secured, “ethnic” elements were reintroduced: shepherd’s horns or drones, tonal modes, striking harmonies and dance forms brought under the sturdy but expansive musical canopy of the Romantic era. Brahms, Liszt and later Dvořák soon made names for themselves, partly through mastering

but most idiosyncratic champions”, his earliest independent adventure in music was encountering Romani music as a teenager. It was about this time that he wrote the first version of the Piano Trio No.1. From his early interest in the potential of folk music through to many dozens of compositions featuring, explicitly or dissolved, the themes, tones and tempos of folk, Brahms saw the domestic volkstümlich traditions of German-speaking music and the enticing exotica of Hungarian and Romanian melodies as a patrimony he could draw on to enrich his irreproachably respectful German classical musical heritage. The perceived, indeed cherished, anonymity of folk music, evoking a timeless, peasant authenticity, was useful for ambitious composers who wanted to make a name but also invoke a sturdy NATIONAL CONCERT SEASON 2018

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“The perceived, indeed cherished, anonymity of folk music, evoking a timeless, peasant authenticity, was useful for ambitious composers who wanted to make a name but also invoke a sturdy lineage.”

lineage. Of the Hungarian Dances, Brahms wrote to a friend, they were “real Pusta = gipsy children. So, not fathered by me, but just nurtured with bread and milk.” A Lutheran by upbringing, although he later said he’d read too much Schopenhauer to be religious, Brahms appreciated the vocabulary of melodic formulas and its power to communicate.

For those interested in fomenting nationalism, too, the use of folk elements of any kind spoke volumes. At first, folk motifs were braided into established forms; then nationalism claimed them so the presence of these “exotic” elements was made conspicuous, political, and partisan; then whole new genres, such as the rhapsody, were invented for the classical form. The arc of this development parallels that of nationalism in politics and the imperial context, and seems both democratising and cynical. In the second half of the 19th century in Vienna, it was incendiary.

At the time of Dvořák’s entrée to the prestigious circles of musical Vienna, Czech nationalism was on the rise. The northern principalities and states of the empire had been unified into “Germany” eight years earlier, but the Czech lands were still part of the Austro–Hungarian

Left. Forty-Second Street, New York, 1880-1890.

empire. Liberal Germans of the empire saw nationalism as a civic, imaginative and cultural thing, not ethnic, a set of shared values that thrived because of inherent excellence. However, a resentful Czech nationalism began to flare both in Prague and Vienna. Bonding with Bohemian nobility, these nationalist enthusiasts took up a conservative agitation against perplexed German Liberals, and in 1879 the longstanding Liberal government in Vienna was ousted and a conservative government, known as the Iron Ring, was installed. This was the tense moment Dvořák chose to advance his fortunes in the city.

Dvořák, the first Czech composer to achieve public success outside the country, had been encouraged by the reception of the first efforts he had sent to Vienna, submissions to competitions judged by Brahms among others, with works done in a politely German mode influenced by Beethoven, Schubert, and later Wagner and Liszt. Brahms had also liked Dvořák’s Moravian Duets and had helped get them published.

Then followed a commission for further demonstration of Dvořák’s agreeable Slavic expertise, in the reputationmaking Slavonic Dances for piano (early 1878), as a kind of accompaniment to Brahms’s Hungarian Dances for the same instrument. Dvořák followed these with a stream of folk-influenced works, NATIONAL CONCERT SEASON 2018

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Top. Czech music writer and composer Václav Juda Novotný.

Above. German Bohemian music critic Eduard Hanslick.

Below. Austrian music critic and writer Theodor Helm.

AUSTRALIAN CHAMBER ORCHESTRA

including three Slavonic Rhapsodies and the Czech Suite. “Those political tones are quite clear through the folk songs,” Osborne says, “but another element might be that the feeling of the music is quite different – looking at how intensely constructed Brahms’s music is – and the relative openness of Dvořák’s music.” The assured admixture of solid, conscientious German foundations, luscious sweeps of sound and appealing folk elements made his reputation. “So it could be that also on top of the political thing there’s also a visceral reaction to the music.”

Dvořák’s happy success in Vienna and across Europe was met with jealous anxiety and reproach in Prague, however.

Chastised in the Czech press for the slightest perceived weakening of national loyalty, Dvořák found his career shoved about by German nationalist paranoia in Vienna as well, where he was suspected of insinuating the depravities of Slavic culture into healthy German ears. “The Slavic folk school is not loved in Vienna,” warned one critic. “When faced with it the Viennese feels himself to be decidedly German. A rhapsody that is written by a Czech and proclaims itself Slavic will encounter a quiet opposition in Vienna.”

Back in Prague, music critic Václav Juda Novotný was declaring, “a Czech composer has to write, first and foremost, for a Czech audience. What good would Dvořák be to us if his works were not accessible to our audience?” Meanwhile, two rival critics in Vienna, Eduard Hanslick, originally from Prague, and Theodor Helm, played out not only professional irritability but their own nationalist agenda, respectively defending Dvořák’s loyal assimilation of German tropes or sustaining a campaign

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“...a Czech composer has to write, first and foremost, for a Czech audience. What good would Dvořák be to us if his works were not accessible to our audience?”

of derision for the composer’s “creeping Slavic melody” and inferior aping of the true German master, Brahms.

Every piece performed or published by the Czech was scrutinised for Slavic dimensions. Dvořák seemed to alternately placate Viennese tastes with demonstrations of his confidence with German tradition, helped by the close backing of Brahms himself, who proofread many of his works, while continuing the use of charming folk motifs, and provoking critics and nationalists, or exciting those at home, by explicitly entitling his pieces with Slavic names and genres.

Language mattered. One of the conservative Viennese government’s most inadvertently inflammatory acts was the Stremayr Ordinances which proposed – in hopes of dousing nationalist resentment – that in Bohemia and Moravia imperial administration be in Czech as well as German. Germanspeakers involved were unnerved, Czech nationalists galvanised, and the language in which classical pieces were titled by “provincial” composers became a furiously opined subject in the press. Dvořák was publicly rebuked

by Novotný for having published a score in Vienna, in German, with no Czech edition. Dvořák, who was first taught music and instruments by a German-

speaker, was caught on the horns of language, one of the most contested arenas of nationalism, and hastily assured his countrymen that the situation would be redressed. Even the spelling of his name had now to be considered.

When the Symphony in D major was finally performed, in Prague in 1881, relieved Czech audiences ecstatically acclaimed its Czech credentials, especially a movement incorporating the local “furiant” dance, often adapted

by Dvořák within various genres, and called it the Czech Spring Symphony.

Germans, on its tardy Viennese debut two years later, heard in it reassuring foundations of Beethoven and Brahms – particularly, very discerningly, Brahms’s Second Symphony, dubbed at the time the Viennese. Its sonorous, “Schubertian” respectability was approved. “It’s quite rare in classical music to have that kind of innocence,” enthuses Osborne. “Schubert had it. I’m not sure I can actually think of anyone else. That’s one of the things I really love about Dvořák’s music.”

Dvořák’s music sounded innocent but his strategies were alert. Aware of the delicate ground he’d gained, the next year, 1884, he suggested his Hussite Overture, based on a mediaeval event in which Czech hussars valiantly overcame Germans, should be innocuously listed as simply Dramatic. Nevertheless, the NATIONAL CONCERT SEASON 2018

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“And yet it is undeniable that Dvořák adhered insistently to the combination of folk and art music throughout his career, both controversial and convenient as it was for him”

Above. Bohemia as the heart of Europa regina, 1570.

AUSTRALIAN CHAMBER ORCHESTRA

farcical two-night run of Dvořák’s opera The Cunning Peasant, in 1885, originally set in Bohemia but changed to Austria for the occasion, saw mixed audiences of Czechs and Germans erupting during the performance: police were called; arrests made. Dvořák, who had seemed to phlegmatically endure rejections of his productions and constant censure by critics, did darkly refer to the time his opera was “murdered in Vienna”.

The Piano Trio No.4 was composed in 1891, after a decade of this local stress and international achievement, and its familiar name is the Dumky. The word is the plural of “dumka”, a kind of lamenting song from Ukraine. Dvořák was far from the only user of its merits, but its grave, Slavic character, although not Bohemian, appears often in his works, including a noted movement in his Piano Quintet in A major, Op.81. Liszt wrote three dumky pieces and if he hadn’t already known these, Dvořák was likely introduced to the form by strong pan-Slavic supporter Leoš Janáček in Brno. The potential glibness of cultural appropriation is manifested in an anecdote, in which the composer, following years of using the name and concept, finally asked someone, “What is a dumka?” And yet it is undeniable that Dvořák adhered insistently to the combination of folk and art music throughout his career, both controversial and convenient as it was for him. “There is such a thing as nationality in music in the sense that it may take on the character of its locality,” he wrote for an American newspaper years later. Playing the nativist role so useful in the States, he continued somewhat disingenuously, “I myself have gone to the simple, half-forgotten tunes

29

of the Bohemian peasants in my most serious work.” For Dvořák to compose, title and present a work called the Dumky in 1891 is of no small significance.

The Dumky piano trio was conceived in full consciousness of the national significance of every note, and every letter of its title. Its unusual number of six movements are all in the “dumka” principle, and yet they integrate the Slavic implications in an elegant “German” landscape. Steven Osborne, who is coming new to the work, muses, “In a way I think Dvořák had something which Brahms aspired to, and struggled to find.” He hesitates. “Dvořák very naturally marries the folk tune element with

The master Brahms died in 1897, a hero to Dvořák and the German nation. In the more than hundred years since, the various ways in which Brahms has been posed and promoted track the arc of German self-image, claiming him first as the uber-German meister, heir to Beethoven and Deutschtum poster-boy of the Volksgeist movement of the late 19th century. In following decades, he was claimed as part of a cultural “healing balm” to German dignity following defeat in the First World War, then as a nationalist icon of the emerging National Socialist and Nazi mythos. Later, he was rehabilitated as a progressive, purely musical figure, aloft from the lamentable politics of the

“For Dvořák to compose, title and present a work called the Dumky in 1891 is of no small significance.” classical structures. In this piece, very easily the folk material dominates, and pushes the work outside of the normal classical restraints like three movements or four movements – it ends up being six – and it very naturally works out like that.”

It was the following year, 1892, that a confident and acclaimed Dvořák and his family were enticed to New York for a prestige directorial position and the experiences that inspired his Symphony No.9 (From the New World) and American Quartet.

Probably the most beloved works of his repertoire, they were composed on the foundations of a music enriched by both the German and Slavic past and mindful of the international new, a music very much of his own creation.

Reich. His passionate music, like Dvořák’s, is as adored as ever, but Richard Taruskin and others remind us how and where and why it was made, and we may find it deeper and richer for the knowledge.

When a Scottish pianist sits on a stage with an Australian violinist and a Finnish cellist to play the music of German Brahms, originally premiered in the Hungarian capital, and the Ukrainian-titled work of his friend, the Czech Dvořák, who both consolidated their reputation in Vienna, we might reflect on how much nation and origin endow or diminish a music made by individuals, to be shared in common, dissolved into the lovely air.

Sources. See page 32.

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Myoung Ho Lee Tree…#3, 2014 Archival Inkjet Print © Myoung Ho Lee, Courtesy Yossi Milo Gallery, New York

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Sources Beckerman, Michael (ed.). Dvořák and his World.

Princeton: Princeton University Press, 1993.

Beller-McKenna, Daniel. “The rise and fall of Brahms the German.” Journal of Musicological Research, 20:3, 2001, pp.187–210.

Beveridge, David. “Dvořák’s ‘Dumka’ and the concept of nationalism in music historiography.” Journal of Musicological Research, 12:4, 1993, pp.303–325.

Branda, Eva. “Speaking German, Hearing Czech, Claiming Dvořák.” Journal of the Royal Musical Association, 142:1, 2017, pp.109–36.

Brincker, Benedikte. “The role of classical music in the construction of nationalism: a cross-national perspective.” Nations & Nationalism, 20:4, Oct 2014, pp.664–682.

Brodbeck, David. “Dvořák's reception in Liberal Vienna: language ordinances, national property, and the rhetoric of Deutschtum.” Journal of the American Musicological Society, 60:1, Spring, 2007, p.71.

Bujic, Bojan. “Nationalist sentiments as factors determining some nineteenth-century critical standards in music.” History of European Ideas, 16:4–6, 1993, pp.677–682.

Gelbart, Matthew. The Invention of ‘Folk Music’ and ‘Art Music’: Emerging Categories from Ossian to Wagner. Cambridge and New York: Cambridge University Press, 2007.

Leerssen, Joep. “Romanticism, music, nationalism.”

Nations and Nationalism, 20:4, 2014, pp.606–627.

Loges, Natasha. “How to make a ‘Volkslied’: Early models in the songs of Johannes Brahms.”

Music & Letters, 93:3, 2012, pp.316–349.

Steinberg, Michael P. Listening to Reason: Culture, Subjectivity and Nineteenth-Century Music. Princeton and Oxford, Princeton University Press, 2004.

Taruskin, Richard. The Danger of Music and Other AntiUtopian Essays. California: University of California, 2008.

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Kate Holden meets Steven Osborne

HONING THE CHARACTER

AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. BEN EALOVEGA

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“Every player is so totally committed to what they’re doing, and it’s really inspiring...”

“I’m not sure there’s an orchestra in the world that takes greater pleasure in the act of performing than they do,” Steven Osborne laughs.

The celebrated pianist is talking about the Australian Chamber Orchestra, with whom he has played before. This program is a return to familiar ground after previous collaborations, and he’s enthused. “Every player is so totally committed to what they’re doing, and it’s really inspiring to play with.”

Osborne is well acquainted with guest performance, and the pressures on contemporary musicians and ensembles.

Many orchestras, he divulges, are too heavily directed; in some, he says, “a quiet cynicism builds up over the years, and it becomes almost a taboo to express real enthusiasm. It’s much easier with chamber orchestras, because each person contributes more to the overall sound than [in] a symphony orchestra.”

The zest of the ACO is “partly because in the rehearsal process everyone’s welcome to contribute. It’s not Richard Tognetti simply telling everyone what to do. He doesn’t insist that his way of doing things has to be paramount: he listens to other people’s views.

It’s partly that — that there’s a lot of discussion — and it’s partly that they go unusually far in trying to characterise things. So most orchestras in the world

could give a performance without even a rehearsal—they could simply play through something and it would be a fairly generic, normally received way of playing something. But with the ACO, it’s a process of honing the character, they go so far to be extremely specific, and I think that’s part of what gives pleasure.

That they’re saying something really, really clear and thought-about and heartfelt, which gives you much more pleasure as a performer than a performance that’s going the way it normally goes, and is nice, and maybe a bit bland.”

Osborne is a Scot and lives in Edinburgh. In this time of devolution referendums and Brexit, how does he see the idea of nationalism, so much a theme of the repertoire he is playing with the ACO? He acknowledges that nationalism can be a celebration of shared values, but jumps straight to the more recent, malign associations of the word. “How common it is for people to hate their neighbours. I do think it’s important to take responsibility for one’s own situation. It’s easy to say, ‘Okay, it’s their fault.’ For me, when nationalism becomes a thing which is against neighbouring nations, I’m always suspicious of it. All of that emotion? ‘If only we could get past ‘them’, then things would be better’?” He pauses. “I don’t know, but I think that’s rarely the case.”

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ACO NEWS News, highlights and upcoming events to add to your calendar.

Chairman’s Council and Major Patrons’ Cocktail Parties Earlier this year we held our annual cocktail parties in Sydney and Melbourne to thank our Chairman’s Council members and Major Patrons for their support.

We had the privilege of holding our Melbourne event in April at the recently opened Buxton Contemporary gallery, and in Sydney we took over the fantastic Eternity Playhouse in Darlinghurst.

Thank you so much to our patrons for your continued support of the ACO. (Above) Daniel and Helen Gauchat, Peter Shorthouse.

(Right) Richard Evans and Kerry Gardner am

AUSTRALIAN CHAMBER ORCHESTRA

ACO Next ACO Next members recently attended a private performance at Peter Wilson and James Emmett’s beautiful home in Woolloomooloo.

Liisa Pallandi described the program as being similar to a degustation meal – some courses might be liked more than others, but in the end it is the full experience that lingers. Guests enjoyed music ranging from Haydn to Sufjan Stevens before meeting with the musicians.

To find out about joining ACO Next, please contact Sarah Morrisby on (02) 8274 3803.

The ACO returns to Darwin In addition to the performance of Vivaldi’s Four Seasons in Darwin, ACO musicians engaged the local music community in a workshop for members of the Darwin Symphony Orchestra and students from the Centre for Youth and Community Music, at Charles Darwin University.

(Top and Left) ACO Next Members enjoy an intimate performance by ACO Musicians. (Above) Julian Thompson conducts a string workshop for the Darwin local community.

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COMING UP...

ACO Collective at Crescendo 9 September Sydney Opera House Matthew Truscott directs ACO Collective for Sydney Opera House’s Crescendo, a celebration of Australia’s emerging classical artists.

AUG

Transforming Strauss & Mozart

2–16 August Newcastle, Canberra, Melbourne, Adelaide, Sydney, Brisbane and Wollongong.

8–19 September Canberra, Melbourne, Adelaide, Wollongong and Sydney.

2019 Season Launch

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

SEP

Goldberg Variations

An illuminating journey through Bach’s keyboard masterpiece, directed by Richard Tognetti.

Hush 18 Launch

An emotional, moving program featuring music

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

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 of the violin.

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

15 August We'll be announcing our 2019 Season on Wednesday 15 August.

Sign up to our newsletter to be the first to know: aco.com.au/signup

NATIONAL CONCERT SEASON 2018

Myoung Ho Lee Tree #2, 2006 Archival Inkjet Print © Myoung Ho Lee, Courtesy Yossi Milo Gallery, New York

Australia’s News Channel providing instrumental support to the ACO

David Speers Sky News Political Editor and (amateur) trumpet player

Foxtel magazine/Simon Taylor

skynews.com.au

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

Perth Concert Hall

QPAC, Brisbane

Marilyn Phillips Wed 25 July, 6.45pm

Angela Turner Sun 29 July, 1.45pm

Melbourne Recital Centre

Lucy Rash Fri 27 July, 6.45pm Pre-concert speakers are subject to change.

Venue Support PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000 PO Box 3041, East Perth WA 6892 Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager

MELBOURNE RECITAL CENTRE 31 Sturt Street, Southbank Victoria 3006 Telephone +613 9699 3333 Email mail@melbournerecital.com.au Web melbournerecital.com.au Kathryn Fagg Chair Euan Murdoch CEO

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 Professor Peter Coaldrake ao Chair John Kotzas Chief Executive

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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Behind the scenes

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 Anna McPherson Director of Corporate 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

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

AUSTRALIAN CHAMBER ORCHESTRA

Web aco.com.au

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Acknowledgments ACO Medici Program Medici Patron

Core Chairs

CELLO

The late Amina Belgiorno-Nettis

VIOLIN

Melissa Barnard

Principal Chairs

Glenn Christensen

Richard Tognetti ao

Aiko Goto

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

Helena Rathbone Principal Violin Kate & Daryl Dixon

Satu Vänskä Principal Violin Kay Bryan

Principal Viola

Terry Campbell ao & Christine Campbell Anthony & Sharon Lee Foundation

Mark Ingwersen Prof. Judyth Sachs & Julie Steiner

Ilya Isakovich Liisa Pallandi

Dr & Mrs J. Wenderoth

Julian Thompson The Grist & Stewart Families

ACO Collective Pekka Kuusisto Artistic Director & Lead Violin Horsey Jameson Bird

The Melbourne Medical Syndicate

Guest Chairs

Maja Savnik

Brian Nixon

Alenka Tindale

Ike See

Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

Di Jameson

peckvonhartel architects

VIOLA

Timo-Veikko Valve

Nicole Divall

Principal Cello Peter Weiss ao

Ian Lansdown

Ripieno Viola

Maxime Bibeau

Philip Bacon am

Principal Double Bass Darin Cooper Foundation

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 We would like to thank the following people who have remembered the Orchestra in their wills.

Please consider supporting the future of the ACO through leaving a gift. For more information on making a bequest, or to join our Continuo Circle by alerting the ACO to your intention to leave a bequest, please contact Jill Colvin, Director of Philanthropy on (02) 8274 3835.

Continuo Circle 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

AUSTRALIAN CHAMBER ORCHESTRA

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)

The late Charles Ross Adamson The late Kerstin Lillemor Anderson The late Mrs Sybil 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

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ACO Special Initiatives Special Commissions Patrons

2017 European Tour Patrons

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

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

ACO Academy 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.

2017 Jewish Museum Patrons LEAD PATRON

PATRONS Marc Besen ac & Eva Besen ao 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

The Dame Margaret Scott ac Fund for International Guests and Composition

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

NATIONAL CONCERT SEASON 2018

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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 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

ACO Next 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.

Members 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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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

NATIONAL CONCERT SEASON 2018

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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)

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$1,000–$2,499 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 Mudalair 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

NATIONAL CONCERT SEASON 2018

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National Patrons’ Program (continued) $500–$999 (Continued) 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 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

AUSTRALIAN CHAMBER ORCHESTRA

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 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 In memory of H. St. P. Scarlett 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)

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ACO Government Partners We thank 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.

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

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)

Mr Daniel Gauchat 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

Ms Gretel Packer 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 Director, Tolarno Galleries

Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Rowena Danziger am & Kenneth G. Coles am

Mr Jim & Mrs Averill Minto

Mr Peter Young am &

Mr Alf Moufarrige ao

Mrs Susan Young

Mr Michael Chaney ao

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

Chief Executive Officer, Servcorp

Mr John P Mullen Chairman, Telstra

Mr Martyn Myer ao

NATIONAL CONCERT SEASON 2018

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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