Danielle de Niese Program by Australian Chamber Orchestra

2012 NATIONAL CONCERT SEASON DANIELLE DE NIESE

NATIONAL TOUR PARTNER

Universal Music Australia welcomes

DANIELLE DE NIESE “A voice seductive enough to woo gods as well as mortals” The New York Times

THE MOZART ALBUM

BEAUTY OF THE BAROQUE

Mozart’s most beautiful and thrilling arias for soprano, personally selected by Danielle, conducted by Sir Charles Mackerras, and featuring Danielle’s stunning performance of Exsultate, jubilate.

Favourite arias from the English, German, and Italian traditions, including Handel’s “Ombra mai fu” and highlights from Bach Cantatas are contrasted with solo songs by Purcell and Dowland, much loved Italian arias and sacred works.

MONTEVERDI: L'INCORONAZIONE DI POPPEA (DVD)

HANDEL ARIAS

Following on from her tremendous success in Giulio Cesare, Danielle De Niese returns to Glyndebourne as the title role of Monteverdi’s masterpiece, in a brand new production by acclaimed director Robert Carsen.

Danielle love affair with Handel’s vocal music is showcased in this selection of arias which perfectly display her wide dramatic range, charisma and freshness. Revered Handel specialist William Christie conducts Les Arts Florissants.

Available at the venue and from all good music retailers

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NATIONAL TOUR PARTNER

On behalf of BNP Paribas, I’m delighted to welcome you to the Danielle de Niese tour by the Australian Chamber Orchestra (ACO). At BNP Paribas, we have a long tradition of supporting performing arts around the world and encouraging those, such as the ACO, who embody our core values of ambition, creativity and commitment. Each year that we continue to support the ACO, we are inspired by their individuality, unique artistic style and creative vision. BNP Paribas is a leader in global banking and financial services and is recognised as one of the strongest banks in the world (rated AA- by Standard & Poor’s). We have been supporting Australian enterprise for over 130 years, as the first major foreign bank in the country. Today, we provide leading Australian corporates, financial Institutions and multinational companies with customised solutions in Corporate and Investment Banking, Asset Management and Securities Services. We are delighted to bring you this ACO tour and welcome Danielle de Niese back to Australia for her professional debut in her home country. We trust that you will enjoy it immensely.

NATIONAL TOUR PARTNER

DIDIER MAHOUT CEO, BNP PARIBAS AUSTRALIA & NEW ZEALAND

TOUR THREE DANIELLE DE NIESE RICHARD TOGNETTI Artistic Director & Lead Violin DANIELLE DE NIESE Soprano

SPEED READ Today’s program offers a melding of auspicious, memorialising, and mournfully prescient, yet poignant themes. 2012 marks the centennial of the late Australian author Patrick White’s birth, and lauded composer Carl Vine’s The Tree of Man was composed with text from the final chapter of the Nobel Prize-winning author’s novel of the same title. The novel is considered a towering literary achievement, one that “views man’s life in the wilds of Australia with grandeur and simplicity”. New York Times. Melbourne-born soprano Danielle de Niese is the featured soloist on this work, and makes her Australian debut with these concerts. Mozart’s virtuosic Exsultate jubilate dates from 1773, when the 16-year-old composer travelled to Milan with his father to oversee the production of his opera Lucio Silla. It was only two years later that Mozart’s brief yet theatrical Symphony K.196/121, which opens the program, had its beginnings in a trip the young composer made to Munich (again with his father) to watch over the premiere of his new opera La finta giardiniera. The late Australian composer Richard Meale’s elegiac Cantilena Pacifica is based on the final movement from his second string quartet. The quartet originated as a memorial to Meale’s very close friend Stephen Wilson, who passed away quite unexpectedly after a sudden onset of cancer. Schubert composed over 60 solo songs in 1817, and “Death and the Maiden”, D.531 is perhaps one of the most mournfully gorgeous among them, with a poetic dialogue recounting a dying young woman’s acceptance of death. Schubert’s terminal ailments undoubtedly influenced his String Quartet in D Minor, D.810 (1824). In the quartet’s second movement, he directly quotes musical material from his earlier song, yet in this instance it is the composer himself who is grappling with his fate. Both of these works are performed with string orchestra with arrangements by artistic director Richard Tognetti. © Alan J Benson

MOZART Symphony in D major, K.196/121, “La ﬁnta giardiniera”

VINE The Tree of Man [WORLD PREMIERE]

MEALE Cantilena Paciﬁca

MOZART Exsultate jubilate, K.165 I N T E R VA L

SCHUBERT (arr. Tognetti) Death and the Maiden, D.531

SCHUBERT (arr. Tognetti) String Quartet No.14 in D minor, D.810 “Death and the Maiden” Approximate durations (minutes): 8 – 11 – 8 – 17 – INTERVAL – 3 - 39 The concert will last approximately two hours including a 20-minute interval. WOLLONGONG

ADELAIDE

Town Hall Thu 7 Jun 7.30pm

Town Hall Wed 20 Jun 8pm

SYDNEY

City Recital Hall Angel Place Sat 9 Jun 7pm Tue 12 Jun 8pm Wed 13 Jun 7pm

Opera House Sun 24 Jun 2pm

MELBOURNE

BRISBANE QPAC Mon 25 Jun 8pm

Town Hall Sun 17 Jun 2.30pm Mon 18 Jun 8pm

Danielle de Niese will be signing CDs in the foyer after the these concerts: City Recital Hall – Sat 9 & Tue 12 Jun | Melbourne – Sun 17 Jun Adelaide – Wed 20 Jun | Sydney Opera House – Sun 24 Jun Brisbane – Mon 25 Jun The Australian Chamber Orchestra reserves the right to alter scheduled artists or programs as necessary. Cover photo: Christopher Moore © Jamie Williams

AUSTRALIAN CHAMBER ORCHESTRA 3

MESSAGE FROM THE GENERAL MANAGER ACO.COM.AU VISIT THE WEBSITE TO: Prepare in advance A PDF and e-reader version of the program are available at aco.com.au one week before each tour begins, together with music clips, videos and podcasts.

Have your say Let us know what you thought about this concert at aco@aco.com.au.

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ACO ON THE RADIO 2MBS FM Wed 4 July — Interview with a musician from the Trout Quintet & Quartet for the End of Time concert

NEXT TOUR Trout Quintet & Quartet for the End of Time 11—24 July

The Australian Chamber Orchestra is thrilled to present the professional Australian debut of soprano Danielle de Niese. Danielle won Young Talent Time at the age of nine before moving with her family to Los Angeles. Now a highly sought after artist with a huge international career, Danielle brings a specially tailored program to this national tour, encompassing Mozart, Schubert and the world premiere of Carl Vine’s The Tree of Man, using a text by Patrick White, whose centenary falls this year. We are deeply grateful to BNP Paribas for supporting this national subscription tour. On this occasion, BNP Paribas’s generosity enables us to bring the superb artistry of Danielle de Niese to audiences at nine concerts in Adelaide, Brisbane, Melbourne, Sydney and Wollongong, fulfilling our goal to be Australia’s truly national orchestra. Somehow, in between rehearsals and performances with Danielle de Niese, Richard Tognetti is also finding time this month to put the finishing touches on music and footage for The Reef – the next instalment in a series of projects combining surf and oceanic imagery with live music. Last month, Richard and a film crew spent two weeks at the Ningaloo Reef on the north coast of Western Australia, filming wave and surf action, underwater scenes and arid landscapes while simultaneously creating the accompanying score. The result is about to go on the road, with Richard leading ACO2 on an extraordinary tour from Darwin, around the northwest of the country to Perth and finally to the Sydney Opera House. Plans are in place for The Reef to be performed in other capital cities in 2013 as well as on tour internationally, but in the meantime we are especially thrilled that ABC TV is capturing the Perth performance for a national telecast later in the year. Visit our new website at aco.com.au

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TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue. AUSTRALIAN CHAMBER ORCHESTRA 5

MOZART Mozart in brief

Wolfgang Amadeus MOZART (b. Salzburg 1756 — d. Vienna 1791) Mozart, who began as one of history’s most gifted child prodigies, quickly developed into one of history’s greatest composers; though he only lived to age 35, he mastered virtually every compositional genre of his time. Today, he is recognised both as the epitome of the Classical style and one of music’s great innovators.

6 AUSTRALIAN CHAMBER ORCHESTRA

In the broadest terms, Mozart’s brief life can be divided into two general periods. In his first 25 years, the young composer chafed under the influence of his conservative father and the unsympathetic and constrictive rule of his employer, the Prince-Archbishop of Salzburg. Feeling that his talents and originality were being wasted in an unsophisticated musical backwater, Mozart was filled with wanderlust and resentment. He made multiple tours of Europe hoping to find more fulfilling employment (and even resigned his Salzburg position briefly) but in every case returned to his hometown unsuccessful. In 1781, the frustrated composer finally left Salzburg for good (given a fond farewell by way of a literal “kick in the ass” as decreed by the Archbishop) and settled in Vienna, a cosmopolitan paradise by comparison, where he would take the revolutionary step of establishing himself as an independent artist, relying solely on the incomes of his work rather than the support of a patron. Mozart would soon learn that his newfound freedom was a double-edged sword. Though he did indeed receive significant acclaim and achieve many successes, the public was fickle, and Mozart often found himself scraping by, hoping that the next piece or the next concert would be enough to keep him out of debt. We remember him now as a master of virtually every significant musical genre of his time, but in Vienna his livelihood rested chiefly on his works for the theatre and his renown as a composer of and soloist in keyboard concertos. By the end of the 1780s, Mozart’s star had waned, and the economic conditions of the city had declined with the outbreak of the AustroTurkish War. He began borrowing heavily from friends, and though he continued to compose works of genius—albeit at a slower pace – he was unable to make ends meet. By the time his financial woes finally began to lessen in 1791, bringing renewed creative energy and productivity, he had just months left to live. Mozart fell ill in September, and his health grew steadily worse until his death in the earlymorning hours on December 5, at age 35.

Symphony in D Major, K.196/121, La ﬁnta giardiniera (Composed 1774–1775)

Allegro molto Andantino grazioso Allegro

Glossary opera buffa: term applied to the genre of comic opera during its prevalence throughout Italy and Europe in the 18th century.

Mozart’s two works on this program date from when the composer was still a teenager, before his move to Vienna. The succinct D Major Symphony, K.196/121, has its roots in a trip Mozart and his father, Leopold, made to Munich in 1775 to oversee the production of the young composer’s new opera La finta giardiniera (The Pretended GardenerGirl). Rarely performed now, La finta giardiniera is an opera buffa telling the convoluted story of the Marchesa Violante, disguised as a gardener, who hopes to reconcile with her ex-lover, Count Belfiore, who stabbed her in the midst of an argument and believes her dead. Shenanigans ensue, including a scene in which both lovers go mad and become convinced they are Greek gods, but of course they resolve their differences and all ends well. Mozart’s trip, too, ended happily, as he explained enthusiastically in a letter detailing the reception of the opera: “After each aria there was a terrific noise, clapping of hands, and cries of ‘Viva Maestro.’ People kept on clapping all the time and shouting ‘Bravo.’ ” The present symphony evolved from La finta giardiniera’s two-part overture, which supplied the music for the first two movements – not at all a surprising leap, considering the concert symphony genre (young at this time) itself began as an expansion of the theatre overture, which was often called a sinfonia. Mozart wrote the third and final movement for the symphony at a different time, most likely later in 1775. There is some doubt about this date, as scholars discovered that the paper used for the final movement was acquired by Mozart in Milan during a journey two years earlier – during which he composed Exsultate jubilate to be performed later on this program – but the most likely scenario is that he simply had some left over. Lightly scored for pairs of oboes and horns, strings, and continuo, this sprightly, youthful work, which proudly shows its theatrical roots, is a natural curtain raiser.

ACO performance history This subscription tour marks the ﬁrst ACO performance of Mozart’s Symphony in D Major, K.196/121. AUSTRALIAN CHAMBER ORCHESTRA 7

VINE The Tree of Man (Composed 2012) The composer writes:

Carl VINE (b. Perth, 1954)

Eminent Australian composer Carl Vine began his musical life as an instrumentalist, playing cornet, piano and organ, as well as composing from age 10. Vine won his first composition competition at age 16, and was commissioned by the West Australian Ballet while still studying in school. Throughout his career, Vine has written for a wide range of ensemble types and mediums: his earlier style was marked by an interest in electronics and with ensemble culture in Australia, and he has produced a number of works for dance, theatre, television, film, and concert performance. Vine was composer in residence with the Sydney Dance Company, during which time he composed the music for Poppy (1978), the first full-length dance work produced wholly within Australia. He has also held residencies with the London Contemporary Dance Theatre, NSW State Conservatorium, the Western Australia Conservatorium, and the Australian Chamber Orchestra. Vine has previously penned numerous commissions for the ACO, including: XX (2009), Pipe Dreams (2003) and Smith’s Alchemy (2001).

I was delighted when the Australian Chamber Orchestra invited me to compose something to celebrate the centenary of Patrick White’s birth in 2012. I came to know Patrick while writing music for several of his stage plays in the 1980’s. At that time I also composed a concert aria, prosaically titled Aria (1984), using text White wrote as a preliminary essay for an opera that he dearly wanted to create, but which never materialised. My favourites among White’s novels are The Vivisector and The Tree of Man. Both sit for me near the pinnacle of English literature, but the latter kindly provides, in its short ﬁnal chapter, a concise summary, not of the action of the rest of the book, but somehow of its very essence. Old Stan Parker has died, leaving his estranged, curious and imaginative grandson wandering through the unmistakably ‘Australian’ patch of land that infused the old man’s life. Both characters represent aspects of White. The elder spent a lifetime navigating the terrible complexities arising from the simplest human interactions; the younger seeks to convert the inexpressibility of life into words. The language of chapter 26 is stunningly evocative while using remarkably simple vocabulary. It symbolises in prose the very poem that the boy vows to write. I wanted to avoid setting the whole thing as ‘Recitative’, the operatic form that uses staggering rhythms to denote words spoken ‘naturally’. Fortunately, the text is full of lilting, natural and repetitive rhythms, which I have heightened with simple step-wise melody and accompaniment that emphasises its regularities. Although this setting contains little plain triadic harmony, I have endeavoured to reﬂect, in every aspect of the music, the simplicity and sincerity of the novel’s language. It is dedicated to Danielle de Niese, and was written in memory of Patrick White (1912–1990).

Carl Vine has been artistic director of Musica Viva since 2000. 8 AUSTRALIAN CHAMBER ORCHESTRA

CARL VINE, JANUARY 2012

The Tree of Man In the end there are the trees. These still stand in the gully behind the house, on a piece of poor land that nobody wants to use. There is the ugly mass of scrub, full of whips and open secrets. But there are the trees, quite a number of them that have survived the axe, smooth ones, a sculpture of trees. On still mornings after frost these stand streaming with light and moisture, the white and the ashen, and some the colour of ﬂesh. …There is silence, and a stone lizard. And a dog that has died recently. …The dusty dog lying with his muzzle turned sideways on his paws in perfect simplicity of death. The rather leggy, pale boy comes down later into the bush. He is mooning there, and rubbing his forehead against the bark of trees. He is breaking twigs, and making little heaps of sticks in various patterns. He is writing in the sand, and expecting precious stones in the surfaces of rocks. …He would write a poem, he said, dragging his head from side to side in the sand. …He would write a poem of life, of all life, of what he did not know, but knew. Of all people, even the closed ones, who do open on asphalt and in trains. He would make the trains run on silver lines, the people still dreaming on their shelves, who will wake up soon enough and feel for their money and their teeth. Little bits of coloured thought, that he had suddenly, and would look at for a long time, would go into his poem, and urgent telegrams, and the pieces of torn letters that fall out of metal baskets. …His poem was growing. It would have the smell of bread, and the rather grey wisdom of youth, and his grandmother’s kumquats, and girls with yellow plaits exchanging love-talk behind their hands, and the blood thumping like a drum, and red apples, and a little wisp of white cloud that will swell into a horse and trample the whole sky once it gets the wind inside it. As his poem mounted in him he could not bear it, or rather, what was still his impotence. And after a bit, not knowing what else to do but scribble on the already scribbled trees, he went back to the house in which his grandfather had died, taking with him his greatness, which was still a secret. So that in the end there were the trees. The boy walking through them with his head drooping as he increased in stature. Putting out shoots of green thought. So that, in the end, there was no end. © PATRICK WHITE 1956 AUSTRALIAN CHAMBER ORCHESTRA 9

MEALE Cantilena Paciﬁca (Composed 1979)

Richard MEALE (b. Sydney 1932 — d. Sydney 2009)

Richard Meale was one of Australia’s leading advocates for and composers of avant-garde music in the 20th century. Educated in performance and musicology in Sydney and at University of Callifornia, Los Angeles, Meale remained a self-taught composer and explored a broad range of musical styles, from neo-Romanticism to serialism to Balinese gamelan, over the course of his 40+ years at the forefront of Australia’s music scene.

Australian composer Richard Meale received a wealth of formal music education, having studied piano, clarinet, harp, history, and theory at the NSW State Conservatorium of Music, and non-Western music – chiefly Japanese court music and Javanese and Balinese gamelan – at University of California, Los Angeles, but as a composer, he remained self-taught. Throughout his career, Meale was a prominent advocate for new music in Australia, giving early performances of works by many avant-garde composers, including Boulez, Messiaen, Busoni, and Schoenberg; for seven years in the 1960s, he curated Asian and contemporary music radio programs for the ABC. Meale’s own music embraced a broad range of musical styles, from his neo-Romantic early works, to increasingly daring and modernistic music from the late 50s and early 60s, through atonal, serial, and experimental pieces in the late 60s and 70s, and finally a late period largely characterised by a simplification in style and rediscovery of lyrical melody. Cantilena Pacifica, performed here as a free-standing concert work for violin and strings, originated as the final movement of Meale’s String Quartet No.2, a work that emerged from the dilemma – a growing sense that his devotion to edgy, self-conscious modernism had begun to overshadow honest artistic expression – that led to the composer’s stylistic softening later in his life. “The problem that I was encountering was brought to a head in 1979 when I began my Second String Quartet. Sadly, my best friend, Stephen Wilson, died after a sudden onset of cancer. It now became a matter of necessity to write a piece that would be a memorial to him. So it became clear that the work could not be based on any artifice; its existence had to lie in its emotional truth.” Cantilena Pacifica became that memorial, and it exudes emotional truth. An extended outpouring of elegiac melody, the work unfolds at a funeral pace and seems at times to meander aimlessly in its grief. The juxtaposition of the solo violin’s straight 4/4 meter with the accompaniment’s 12/8 (breaking each beat into three parts) sets the mournful melody against a slowly swaying undercurrent of muffled sobs.

ACO performance history The ACO has performed Cantilena Paciﬁca once before, in 2006 with Helena Rathbone as soloist. 10 AUSTRALIAN CHAMBER ORCHESTRA

MOZART Exsultate jubilate, K.165 (Composed 1773)

Allegro Andante Molto allegro

Mozart, 1770

Like the D Major Symphony, K.196/121, Mozart’s Exsultate jubilate owes its existence to one of the composer’s operas, but this time it was a singer’s voice rather than the composer’s own music that provided the inspiration. The piece emerged in January 1773 – when the composer was just shy of his 17th birthday – at the tail end of an earlier trip made by Wolfgang and Leopold, once again to preside over the premiere of one of the young composer’s operas. This time, the destination was Milan, and the opera was Wolfgang’s third in Italian, Lucio Silla, which had its premiere the day after Christmas, 1772. It was a busy visit. When Mozart arrived in Milan in early November, he had written the recitatives but had to wait for the arrival of the cast to compose the arias, which were to be tailored specifically to the particular strengths of the singers. The most important of these was the famous castrato Venanzio Rauzzini, who played the title character and was not only an accomplished singer, but also a pianist and composer. Over the course of the production, Mozart’s working relationship with Rauzzini evolved into a friendship that was to last many years. Inspired by the castrato’s singing – which Leopold described as being like that of an angel – in the premiere of Lucio Silla, Mozart immediately began work on Mozart’s Exsultate, a motet once again designed specifically for Rauzzini’s voice. (It is also quite possible that Rauzzini provided the text for the piece, as it is written in a Bavarian style of Latin that matches what was used in Munich, where Rauzzini was the leading court singer.) The two men did not leave themselves much time for composition and rehearsal; though they had not begun work by the turn of the year, the first performance was scheduled for January 17 at Milan’s Theatine Church of San Antonio. As usual, Mozart made the deadline by the skin of his teeth.

ACO performance history The ACO has performed Mozart’s Exsultate jubilate only once before, in a 2004 subscription tour, featuring soprano Emma Matthews.

The term motet is one of the most slippery of musical labels, changing drastically and often in meaning since its ﬁrst use in 13th-century France. But according to Johann Quantz, a musical scholar of Mozart’s time, “In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives, concluding with an Hallelujah, and sung during the Mass following the Credo, generally by one of the best singers.” Mozart’s motet is short AUSTRALIAN CHAMBER ORCHESTRA 11

one recitative, but otherwise fulfils these expectations. And judging by the music of Exsultate jubilate, Rauzzini was considerably more than “one of the best singers” at your average 18th-century church. The work demands much of its soloist: a full soprano range (including exposed, sustained notes at both extreme ends), wide leaps of pitch, intricate coloratura, and long-breathed legato passages. In short, the music asks for no less than what would be required of the leading role in one of Mozart’s early Italian operas – not surprising considering the origin of the work and Mozart’s penchant for theatrical writing even in sacred music. Exsultate jubilate also points the way toward a genre that Mozart would revolutionise and in which he would write much of his finest music: the instrumental concerto. With its three movements in fast-slow-fast arrangement (treating the extremely brief recitative as a prelude to the middle movement), the motet already conforms to the most familiar concerto structure, and Mozart utilises the capabilities of the voice as comprehensively as he would any other solo instrument in his later concertos. Exsultate jubilate even provides the singer with a cadenza at the end of the first movement, just where one would expect to find it in a concerto. Listening to the combination of beautiful melody, virtuosic display, formal ingenuity, and cheerful enthusiasm, it is not difficult to hear the sounds of Mozart’s five violin concertos, all of which would be written within the next three years. Exsultate jubilate Aria Exsultate, jubliate o vos animae beatae, dulcia cantica canendo cantui vestro repondendo psallant aethera cum me.

Rejoice, shout, O you blessed souls, singing sweet hymns; responding to your song the skies sing psalms with me.

Recitativo Fulget amica dies, iam fugere et nubile et procellae;

The friendly daylight shines, both clouds and storms have now ﬂed; extorus est iustis for the righteous inexpectata quies. an unexpected calm has come. Undique obscura regnabat nox, Everywhere dark night reigned; surgite tandem laeti, rise up at last in gladness, qui timuistis adhuc, you who were afraid till now, et iucundi aurorae fortunatae and joyfully present frondes dextera plena to the happy dawn et lilia date. handfuls of lilies. Aria Tu virginum corona, tu nobis pacem dona. Tu consolare aﬀectus, unde suspirat cor.

Crown of all virgins, grant us peace. You console the griefs which make the heart sigh.

Alleluia

12 AUSTRALIAN CHAMBER ORCHESTRA

SCHUBERT Death and the Maiden, K.531 (Composed 1817)

Arranged by Richard Tognetti

Franz SCHUBERT (b. Vienna 1797 — d. Vienna 1828)

Schubert’s death at age 31 was one of music history’s great tragedies. Despite his short life, Schubert somehow managed to leave behind more than 600 art songs, an extensive catalogue of ingenious piano and chamber music, and several masterpieces in large-scale genres. Shockingly underappreciated in his own day, Schubert now receives due recognition as one of the ﬁrst Romantics and has assumed his rightful place in the musical pantheon.

Schubert was a dizzyingly gifted composer who wrote a seemingly impossible amount of music over the course of his tragically abbreviated 31-year life. In 1813, the 16-yearold composer finished his studies at the Choir School of the Imperial Chapel in Vienna, and having no way to support himself, reluctantly moved back in with his father, a school director, who gave him a job as a teacher. Unfortunately, Schubert had no interest in the profession and was thoroughly miserable. Still, he found time to compose and somehow managed to produce nearly 400 works – songs, string quartets, choral pieces, chamber music, and symphonies – in the three years he spent teaching full time. In the fall of 1816, when Schubert finally made the decision not to return to work at his father’s school, he found lodging with his well-to-do friend Franz von Schober, who lived in luxurious apartments with his mother and sister in Vienna’s city centre. Paradoxically, during the year he spent with the Schobers, free of the obligations of a fulltime job, Schubert’s miraculous rate of composition slowed significantly: in 1817, Schubert wrote “only” about 60 solo songs. But among these are some of the composer’s most inspired and inspiring creations, including the endearingly simple paean to music “An die Musik” (on a poem by Schober), the evocatively pastoral “Ganymed,” and this haunting musical dialogue between a dying young woman and Death itself, “Der Tod und das Mädchen” (“Death and the Maiden”).

ACO performance history

Just a single page of music lasting barely two and a half minutes, “Death and the Maiden” is a breathtakingly poignant example of what makes Schubert history’s greatest composer of art song: the ability to achieve maximum dramatic impact with minimal means. The text is based on a poem of the same name by Matthias Claudius (1740–1815), in which a maiden panics at the sight of Death and begs him to spare her life. But Death, here, is not a cruel and unfeeling spectre, rather replying to the young lady that he has come to comfort and guide her to peaceful, eternal rest.

Richard Tognetti’s arrangement of Schubert’s song “Death and the Maiden” was ﬁrst heard in 2004, performed by the ACO and soprano Dawn Upshaw.

Schubert divides his song in three sections. In the ﬁrst, for piano (or in this case, orchestra) alone, we hear Death approaching. If the music sounds vaguely (or very) familiar, there is good reason. This dark, tolling hymn evokes a long AUSTRALIAN CHAMBER ORCHESTRA 13

line of funereal music, including the Dies irae theme (which originated in Medieval sacred music but has inspired composers and appeared in their works ever since) and at least three themes by Beethoven: the main tunes of the slow movements from the Op.26 and “Appassionata” piano sonatas, as well as the opening theme from the funeral march second movement of the “Eroica” Symphony, all three of which were composed in the previous 15 or so years and would have been frequently heard in Vienna. (The theme also points toward the funeral march from Chopin’s Piano Sonata No.2 – itself inspired by Beethoven – which wouldn’t be written for another 20 years.) After a brief pause, the music becomes highly agitated – with fast groupings of notes that emphasise the off beat and seem to recoil from the steady, implacable chords of Death’s theme. The maiden enters, sensing Death’s approach and begging for reprieve (“I am still young… do not touch me”). Then, in the final section, the mood of the opening bars returns, and we hear Death’s voice. His words are largely monotone but are soothing in their gentle, regular pace, and beneath the soloist, Death’s theme slowly brightens, until with his final words (“You shall sleep gently in my arms”) we find ourselves in the major mode. For a brief, tranquil coda – perhaps as Death slowly leads the maiden away – the theme is transformed into a peaceful chorale.

Death and the Maiden Das Mädchen:

The Maiden:

Vorüber, ach vorüber! Geh, wilder Knochenmann! Ich bin noch jung, geh Lieber! Und rühre mich nicht an.

Pass by, oh pass by! Savage bone man! I am still young, go, devoted one! And do not touch me.

Der Tod:

Death:

Gib deine Hand, du schön und zart Gebild! Bin Freund und komme nicht zu strafen. Sei gutes Muts! Ich bin nicht wild, Sollst sanft in meinem Armen schlafen!

Give me your hand, you fair and tender form. I am a friend and come not to punish. Be of good cheer! I am not savage. You shall sleep softly in my arms!

14 AUSTRALIAN CHAMBER ORCHESTRA

SCHUBERT String Quartet in D Minor, D.810, “Death and the Maiden” (Composed 1824)

Allegro Andante con moto Scherzo Presto Arranged by Richard Tognetti Schubert by Rieder, 1825

My Prayer With a holy zeal I yearn Life in fairer worlds to learn; Would this gloomy earth might seem Filled with love’s almighty dream. Sorrow’s child, almighty Lord, Grant Thy bounty for reward. For redemption from above Send a ray of endless love. See, abased in dust and mire, Scorched by agonising fire, I in torture go my way, Nearing doom’s destructive day. Take my life, my flesh and blood, Plunge it all in Lethe’s flood, To a purer, stronger state Deign me, Great One, to translate. – Franz Schubert, May 8, 1823 (trans. Eric Blom)

ACO performance history In 1987 the ACO played Schubert’s Death and the Maiden Quartet in an arrangement by Gustav Mahler. Richard Tognetti’s arrangement of the work was ﬁrst performed by the ACO as part of the Orchestra’s 2001 season.

“I find myself to be the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair continually makes things worse and worse instead of better; imagine a man, I say, whose most brilliant hopes have perished, to whom the felicity of love and friendship have nothing to offer but pain at best, whom enthusiasm (at least of the stimulating variety) for all things beautiful threatens to forsake, and I ask you, is he not a miserable, unhappy being? ‘My peace is gone, my heart is sore, I shall find it nevermore,’ I might as well sing every day now, for upon retiring to bed each night I hope that I may not wake again, and each morning only recalls yesterday’s grief.” – Franz Schubert, March 1824, in a letter to Leopold Kupelwieser “O imagination! thou greatest treasure of man, thou inexhaustible wellspring from which artists as well as savants drink! O remain with us still, by however few thou are acknowledged and revered…” “What I produce is due to my understanding of music and to my sorrows.” – Franz Schubert, two journal entries, March 1824 Schubert’s own words above illustrate just how drastically the young composer’s life circumstances had changed in the seven short years between the composition of “Death and the Maiden” 1817 and the D Minor String Quartet of 1824 (which takes the title of the song for its nickname due to Schubert’s use of Death’s theme as the basis for the second movement). In early 1823, Schubert first began suffering the symptoms of syphilis – exactly when and from whom he contracted the disease is unclear; opinions about the orientation of his sexual appetite differ, but all agree it was prodigious – so by the time he began work on the D Minor Quartet, he knew very much how “the Maiden” felt. In the 19th century, syphilis was a death sentence. But as with so many composers, the more dire Schubert’s personal situation became, the greater artistic heights he climbed. Deprived of his health and often confined from social interaction, his AUSTRALIAN CHAMBER ORCHESTRA 15

work became his only outlet. The “Great” C Major Symphony, the A Minor and D Minor quartets, the Octet in F, the extraordinary song cycles Die schöne Müllerin and Winterreise, and the B flat Piano Sonata, among much else, all date from these last five years of his life when he was constantly struggling against physical and emotional deterioration. When it became Schubert himself confronting impending death, he took a much less peaceful, obliging view than when he had been speaking on behalf of his fictional maiden; the D Minor Quartet is uncompromisingly tragic. All four movements are in the minor mode (very unusual in Schubert’s day), moments of emotional respite are few and short-lived, and the entire work has the same implacable forward motion of the song, but without its soothing undertone. This is desperate, fearful music. The opening theme of the first movement has something of the accompaniment to the maiden’s panicked pleading to it, with Schubert’s beloved triplets standing in for the song’s straight quavers. After the introduction of a tender, lyrical second theme, the movement becomes an almost brutal dialogue between the two, with the second theme repeatedly being shoved aside by fiercely articulated returns of the opening motif in several varied forms. The movement concludes with the triplets losing momentum and fading away, their job, for the moment, done. The Andante second movement – a series of five variations on Death’s music from “Death and the Maiden” – makes the link to the song explicit. The movement begins with a straightforward statement of the hymn-like theme, slightly faster than the song, which insistently gains volume then recedes once more. The first variation props fractured figurations for the first violin atop a restless triplet- and pizzicato-infused accompaniment, then a mournful tune for cello takes the lead for the second variation. The third variation, characterised by a repetitive driving rhythm of quaver and semi-quaver notes, breaks from the lyricism of the previous section and presses the movement forward. Schubert’s triplets return in the fourth variation, which, despite being the only one of the five written in the major mode, is more wistful than reassuring. The final variation, which finds the instruments restlessly trading motifs, forms a single extended crescendo-diminuendo and ushers in the hushed coda, for which – as in the song – Schubert transitions to the major mode. But here, the dynamic is quieter, the harmony more hollow, the motion more halting, and the duration (compared to what came before) much more brief; Schubert’s music of peaceful resignation is transformed into a tremulous admission that letting go of fear is not so easy. 16 AUSTRALIAN CHAMBER ORCHESTRA

The succinct Scherzo that follows begins and ends with the athletic and incisive rhythms of the ďŹ rst movement, joined with an extensive use of chromaticism that gives the movement an unsteady, teetering quality. The ďŹ&#x201A;ittering trio at the Scherzoâ&#x20AC;&#x2122;s center, with its soft gliding melody kept aloft by the ďŹ rst violinâ&#x20AC;&#x2122;s quietly ďŹ&#x201A;apping wings, in one of the workâ&#x20AC;&#x2122;s few escapes from gloom. The quartet concludes with a frenzied ďŹ nale in the style of a tarantella â&#x20AC;&#x201C; an exhausting Italian folk dance said to have originated as a cure for sickness or to be performed after being bitten by a tarantula in order to sweat out the venom and avoid otherwise certain death. This macabre subtext, as well as a chorale-like quotation near the beginning of the movement of Schubertâ&#x20AC;&#x2122;s ErlkĂśnig â&#x20AC;&#x201C; another song featuring an encounter with a deathly ďŹ gure â&#x20AC;&#x201C; and the fact that the frenzied dance ends tumultuously, never having arrived, as traditionally expected, in the major mode, gives the movement an appropriately disturbing tint. PROGRAM NOTES ÂŠ JAY GOODWIN New York-based annotator Jay Goodwin is on the editorial staďŹ&#x20AC; at Carnegie Hall and writes for organisations across the United States, including the Metropolitan Opera, the Boston Symphony Orchestra, the St. Louis Symphony, and The Juilliard School.

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AUSTRALIAN CHAMBER ORCHESTRA 17

DANIELLE DE NIESE

Decca/Chris Dunlop

SOPRANO

Danielle de Niese, the Australian-born American singer, regularly appears on the world’s most prestigious opera and concert stages. Through a combination of her recordings, live performances, and television exposure de Niese has gained wide recognition as a highly respected, and popular classical artist, who combines eﬀortless grace and class with the ability to communicate on every level. Ms de Niese’s 2011–12 season included the role of Ariel in The Metropolitan Opera’s world premiere production of The Enchanted Island – which was shown in movie theatres worldwide as part of The Met’s HD Broadcast series. She also appeared as Atalanta in Handel’s Xerxes at Theatre an der Wien, and made her San Diego Opera debut as Norina in Don Pasquale.

Danielle de Niese appears by arrangement with IMG Artists, 152 West 57th Street, 5th Floor, New York, NY 10019. Tel: 212/994-3500. Danielle de Niese records exclusively for Decca/London. Danielle de Niese’s gowns are by Donna Karan and Vivienne Westwood. Danielle de Niese’s jewellery is by Van Cleef & Arpels. danielledeniese.com

Ms de Niese’s orchestral engagements have included appearances with the New York Philharmonic, Cleveland Orchestra, National Symphony, San Francisco Symphony and the Academy of St. Martin in the Fields. She has performed with conductors including Sir Charles Mackerras, Kurt Masur, Seiji Ozawa, Nicola Luisotti, Sir Andrew Davis, William Christie, Christophe Rousset, Marc Minkowski and Emmanuelle Haïm. Ms de Niese’s career got oﬀ to a prestigious start when, at age 18, she became the youngest singer ever to enter the Metropolitan Opera’s Lindemann Young Artist Development Program. A year later she made her Met debut as Barbarina in Le nozze di Figaro in Jonathan Miller’s production with James Levine. Soon after came operatic debuts with the Netherlands Opera, the Saito Kinen Festival, and the Paris Opéra, but it was her portrayal of Cleopatra in a David McVicar production of Handel’s Giulio Cesare for her 2005 Glyndebourne Festival debut that brought her true international acclaim. Ms de Niese has enjoyed continued successes on the stages of the Paris Opéra, Zurich Opera, Royal Opera House Covent Garden, Netherlands Opera, Teatro Real, San Francisco Opera and Lyric Opera of Chicago, among others. For her debut solo album, Handel Arias, de Niese was named New Artist of the Year at the 2008 ECHO Awards, received the Orphée D’Or by the Academie Du Disque Lyrique, and was nominated for the 2009 Classical Brit Award for Female Artist of the Year. This album was followed by The Mozart Album in 2009 and Diva in 2010. Beauty of the Baroque, de Niese’s latest Decca release of favourite arias from the English, German and Italian traditions, accompanied by The English Concert under Harry Bicket, was released in summer 2011. Born to parents of Sri Lankan and Dutch heritage, Danielle de Niese was born in Melbourne and grew up in Los Angeles. The soprano has been captivating audiences since childhood, when she was a ﬁxture of Los Angeles local television hosting a weekly arts showcase for teenagers, for which she won an Emmy Award at the age of 16. This subscription tour with the Australian Chamber Orchestra marks Danielle de Niese’s Australian debut.

18 AUSTRALIAN CHAMBER ORCHESTRA

RICHARD TOGNETTI AO

Paul Henderson-Kelly

ARTISTIC DIRECTOR AUSTRALIAN CHAMBER ORCHESTRA Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Maribor Festival in Slovenia.

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.” THE DAILY TELEGRAPH (UK)

Select Discography As soloist: BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surﬁca (DVD) Best Feature, New York Surf Film Festival As director: VIVALDI Flute Concertos, Op.10 Emmanuel Pahud, Flute EMI Classics 0946 3 47212 2 6 Grammy Nominee PIAZZOLLA Song of the Angel Chandos CHAN 10163 All available from aco.com.au/shop.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig. In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, co-created The Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa. As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005. Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor. AUSTRALIAN CHAMBER ORCHESTRA 19

AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI AO ARTISTIC DIRECTOR ACO MUSICIANS Richard Tognetti Artistic Director and Lead Violin Helena Rathbone Principal 2nd Violin Satu Vänskä Assistant Leader Madeleine Boud Violin Rebecca Chan Violin Alice Evans Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello

Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality and energy unmatched by other ensembles. The ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia. The ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-artform projects and a vigorous commissioning program. Under Richard Tognetti’s inspiring leadership, the ACO has performed as a flexible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience. Several of the ACO’s principal musicians perform with spectacularly fine instruments. Tognetti plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri filius Andreæ cello, on loan from Peter Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments. Fifty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein. This year, the ACO tours to the USA and Europe.

The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

The ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI and Chandos and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop. Highlights include the three-time ARIA Award-winning Bach recordings and the complete set of Mozart Violin Concertos. The ACO appears in the television series Classical Destinations II and the award-winning ﬁlm Musica Surﬁca, both available on DVD and CD. In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres.

20 AUSTRALIAN CHAMBER ORCHESTRA

MUSICIANS ON STAGE

RICHARD TOGNETTI AO§ HELENA RATHBONE* Artistic Director and Lead Violin Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

Principal 2nd Violin Chair sponsored by Hunter Hall Investment Management Limited

Photos: Paul Henderson-Kelly, Helen White

SATU VÄNSKÄ≈

MADELEINE BOUD

Assistant Leader Violin Chair sponsored by Robert & Kay Bryan

Violin Chair sponsored by Terry Campbell AO & Christine Campbell

REBECCA CHAN

ALICE EVANS

AIKO GOTO

MARK INGWERSEN

Violin Chair sponsored by Ian Wallace & Kay Freedman

Violin Chair sponsored by Jan Bowen, The Davies and The Sandgropers

Violin Chair sponsored by Andrew & Hiroko Gwinnett

Violin Chair sponsored by Runge

ILYA ISAKOVICH

NICOLE DIVALL

TIMOVEIKKO VALVE+

MAXIME BIBEAU

Violin Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

Viola Chair sponsored by Ian Lansdown

Principal Cello Chair sponsored by Mr Peter Weiss AM

Principal Bass Chair sponsored by John Taberner & Grant Lang

VERONIQUE SERRET

TEIJE HYLKEMA

JONATHAN WILLIAMS

Players dressed by

Violin

Cello

Horn

AKIRA ISOGAWA

CHAIM STELLER#

SHEFALI PRYOR*

HEATH PARKINSON≠

Guest Principal Viola

Oboe

Horn

CERIDWEN DAVIES

NGAIRE DE KORTE

Viola

Oboe

EVE SILVER^ Cello §

# Courtesy of Orchestra Mozart, Bologna ^ Courtesy of West Australian Symphony Orchestra * Courtesy of Sydney Symphony ≠ Courtesy of Tasmanian Symphony Orchestra

Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. + Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andræ cello kindly on loan from Peter Weiss AM.

AUSTRALIAN CHAMBER ORCHESTRA 21

BEHIND THE SCENES BOARD Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman Bill Best Liz Cacciottolo Chris Froggatt

Janet Holmes à Court AC John Taberner Andrew Stevens Peter Yates AM

Richard Tognetti AO Artistic Director

ADMINISTRATION STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager and Development Manager Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO ARTISTIC & OPERATIONS Luke Shaw Head of Operations and Artistic Planning Alan J. Benson Artistic Administrator Erin McNamara Tour Manager Elissa Seed Travel Coordinator Jennifer Powell Librarian EDUCATION Vicki Stanley Education and Emerging Artists Manager Sarah Conolan Education Assistant

FINANCE Steve Davidson Chief Financial Oﬃcer Cathy Davey Senior Accountant Shyleja Paul Assistant Accountant DEVELOPMENT Alexandra Cameron-Fraser Corporate Relations and Public Aﬀairs Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Lillian Armitage Philanthropy Manager Sally-Anne Biggins Patrons Manager Stephanie Ings Investor Relations Manager Julia Glass Development Coordinator

AUSTRALIAN CHAMBER ORCHESTRA

MARKETING Georgia Rivers Marketing & Digital Projects Manager Rosie Rothery Marketing Executive Chris Griffith Box Office Manager Mary Stielow Publicist Dean Watson Customer Relations Manager David Sheridan Office Administrator & Marketing Assistant INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist

ABN 45 001 335 182

Australian Chamber Orchestra Pty Ltd is a not for proﬁt company registered in NSW.

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Oﬃce: 1800 444 444 Email: aco@aco.com.au Website: aco.com.au

22 AUSTRALIAN CHAMBER ORCHESTRA

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

VENUE SUPPORT We are also indebted to the following organisations for their support:

LLEWELLYN HALL School of Music Australian National University William Herbert Place (oﬀ Childers Street) Acton, Canberra VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: music.venues@anu.edu.au

AEG OGDEN (PERTH) PTY LTD PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briﬀa Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

24 AUSTRALIAN CHAMBER ORCHESTRA

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444 Chair Henry Smerdon AM Deputy Chair Rachel Hunter Trustees Simon Gallaher Helene George Bill Grant Sophie Mitchell Paul Piticco Mick Power AM Susan Street Rhonda White EXECUTIVE STAFF Chief Executive John Kotzas Director – Marketing Leisa Bacon Director – Presenter Services Ross Cunningham Director – Development Jacquelyn Malouf Director – Corporate Services Kieron Roost Director – Patron Services Tony Smith ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government The Honourable Rachel Nolan MP Minister for Finance, Natural Resouyrces and The Arts Director-General, Department of the Premier and Cabinet John Bradley Deputy Director-General, Arts Queensland Leigh Tabrett PSM Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

ACKNOWLEDGEMENTS VENUE SUPPORT

SYDNEY OPERA HOUSE TRUST

A City of Sydney Venue

Mr Kim Williams am (Chair)

Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Bronwyn Edinger General Manager CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Oﬃce 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com

Ms Catherine Brenner Ms Helen Coonan Mr Wesley Enoch Ms Renata Kaldor ao Mr Robert Leece am rfd Mr Peter Mason am Dr Thomas (Tom) Parry am Mr Leo Schofield am Mr John Symond am EXECUTIVE MANAGEMENT Acting Chief Executive Officer Jonathan Bielski Director, Theatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia Pucci Chief Financial Officer Claire Spencer SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Office: 02 9250 7777 Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

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AUSTRALIAN CHAMBER ORCHESTRA 25

MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti AO

Helena Rathbone

Satu Vänskä

Lead Violin

Principal 2nd Violin

Assistant Leader

Michael Ball AM & Daria Ball Joan Clemenger Wendy Edwards Prudence MacLeod

Robert & Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

Tony Shepherd

Peter Weiss AM

John Taberner & Grant Lang

Ilya Isakovich Violin Australian Communities Foundation – Connie & Craig Kimberley Fund

Nicole Divall Viola Ian Lansdown

CORE CHAIRS Aiko Goto Violin Andrew & Hiroko Gwinnett Mark Ingwersen Violin

Madeleine Boud Violin Terry Campbell AO & Christine Campbell Alice Evans Violin Jan Bowen The Davies The Sandgropers

Rebecca Chan Violin Ian Wallace & Kay Freedman

Viola Chair Philip Bacon AM Melissa Barnard Cello The Bruce & Joy Reid Foundation Julian Thompson Cello The Clayton Family

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon Principal Timpani Mr Robert Albert AO & Mrs Libby Albert

Mr R. Bruce Corlett AM & Mrs Ann Corlett

26 AUSTRALIAN CHAMBER ORCHESTRA

ACO INSTRUMENT FUND The ACO has established its Instrument Fund to oﬀer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s ﬁrst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Assistant Leader of the Orchestra. The ACO pays tribute to its Founding Patrons of the Fund, who have made donations or pledges to the Orchestra to assist the Fund in its acquisition of the Stradivarius violin. PETER WEISS AM, PATRON VISIONARY $1m+

OCTET $100,000 – $199,000

ENSEMBLE $10,000 – $24,999

Peter Weiss AM

Amina Belgiorno-Nettis

Leslie & Ginny Green

LEADER $500,000 – $999,999

QUARTET $50,000 – $99,000

SOLO $5,000 – $9,999

CONCERTO $200,000 – $499,000 Naomi Milgrom AO

John Leece OAM & Anne Leece

PATRONS $500 – $4,999

SONATA $25,000 – $49,999

June & Jim Armitage Angela Roberts

2011 EUROPEAN TOUR PATRONS The ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour. Graeme & Jing Aarons Samantha Allen John & Philippa Armﬁeld Steven Bardy Isla Baring Linda & Graeme Beveridge BG Group Paul Borrud Ben & Debbie Brady Kay Bryan Massel Group Terry Campbell AO & Christine Campbell Jenny & Stephen Charles The Clayton Family Penny Clive & Bruce Neill John Coles Commonwealth Bank Robin D’Alessandro & Noel Philp Jennifer Dunstan Bridget Faye AM

Ann Gamble Myer Rhyll Gardner Alan & Joanna Gemes Tony Gill Global Switch Limited Andrew & Hiroko Gwinnett Peter Henshaw & Fargana Karimova Peter & Sandra Hofbauer Janet L Holmes à Court AC Catherine Holmes à CourtMather Brendan & Bee Hopkins P J Jopling QC Lady Kleinwort Wayne Kratzmann Prudence MacLeod Bill Merrick P J Miller Jan Minchin Justin Raoul Moﬃtt Alf Moufarrige

Louise & Martyn Myer Foundation Sir Douglas Myers Marianna & Tony O’Sullivan peckvonhartel architects Diana Polkinghorne Rio Tinto Limited Gregory Stoloﬀ & Sue Lloyd David Stone Andrew Strauss Tim & Sandie Summers John Taberner & Grant Lang Patricia Thomas OBE Beverley Trivett Loretta van Merwyk Malcolm Watkins Michael Welch Wesfarmers Limited Gillian Woodhouse Ms Di Yeldham Anonymous (3)

AUSTRALIAN CHAMBER ORCHESTRA 27

ACO SPECIAL COMMISSIONS The ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2011 and 2012.

THE REEF LEAD PATRONS Tony & Michelle Grist

PATRONS Euroz Charitable Foundation Don & Marie Forrest Tony & Rose Packer Nick & Claire Poll

Gavin & Kate Ryan Jon & Caro Stewart Simon & Jenny Yeo

CREATIVE MUSIC FUND COMMISSION  Qinoth by Paul Stanhope Jane Albert Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin T Cavanagh & J Gardner Anne Coombs & Susan Varga Amy Denmeade

Toni Frecker John Gaden AM Cathy Gray Susan Johnston & Pauline Garde Brian Kelleher Andrew Leece

Kate Mills & Sally Breen Martin Portus Janne Ryan Barbara Schmidt & Peter Cudlipp Richard Steele Stephen Wells & Mischa Way

OTHER COMMISSIONS Jan Minchin Robert & Nancy Pallin

ACO RECORDINGS PROGRAM  MENDELSSOHN The ACO pays tribute to our generous donors who have supported the ACO’s 2012 recording of glorious music by Mendelssohn – his Double Concerto for Violin, Piano and Orchestra featuring Richard Tognetti and renowned Russian pianist, Polina Leschenko; and his renowned Octet Op. 20. The ACO’s recording program preserves the essence of the ACO as it is today and allows people to hear the ACO again and again, for many years to come. Edmund & Joanna Capon Mr R. Bruce Corlett AM & Mrs Ann Corlett Leslie & Ginny Green

Angela Isles Ian Lansdown in memory of Nina Lansdown Mr Anthony & Mrs Sharon Lee

Bernard & Barbara Leser Ross Steele AM Victoria Taylor Evan Williams

ACO DONATION PROGRAM The ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

PATRONS  NATIONAL EDUCATION PROGRAM Janet Holmes à Court AC Marc Besen AO & Eva Besen AO 28 AUSTRALIAN CHAMBER ORCHESTRA

ACO DONATION PROGRAM TRUSTS AND FOUNDATIONS

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE NEILSON FOUNDATION Annie Hawker Keith Kerridge Wayne N Kratzmann Philip A Levy The Abercrombie Family Lorraine Logan Hon Dr Kemeri Foundation Murray AO Mr Robert Albert AO & Marianna & Tony Mrs Libby Albert O’Sullivan Daria & Michael Ball Sandra & Michael Paul Steven Bardy Endowment Guido & Michelle John Rickard Belgiorno-Nettis Roberts Family Liz Cacciottolo & A J Rogers Walter Lewin Paul Schoff John & Janet Ian Wilcox & Mary Calvert-Jones Kostakidis Darin Cooper Family Anonymous (1) John B Fairfax AO Chris & Tony Froggatt Australian Communities MAESTRO Foundation–Ballandry $2,500$4,999 Michael Ahrens (Peter Griffin Family) Jane Allen Fund Will & Dorothy Bailey PJ Jopling QC Bequest Miss Nancy Kimpton Virginia Berger Paula Kinnane Patricia Blau Jeff Mitchell Drs Alex & Pam Reisner Jon Clark & Lynne Springer John Taberner & Grant Caroline & Robert Lang Clemente Ian Wallace & Kay Leith & Darrel Conybeare Freedman M Crittenden Peter Weiss AM John & Gloria Darroch Anonymous (1) Kate Dixon Professor Dexter DIRETTORE Dunphy AM $5,000$9,999 Leigh Emmett Geoff Alder Rhyll Gardner The Belalberi Goode Family Foundation Jenny & Stephen Charles Maurice & Tina Green Philip Griffiths Ross & Rona Clarke Architects Bridget Faye AM Nereda Hanlon & Ian & Caroline Frazer Michael Hanlon AM Edward C Gray Liz Harbison

EMERGING ARTISTS & EDUCATION PATRONS $10,000+

G Byrne & D O’Sullivan Elizabeth & Nicholas Callinan J & M Cameron Sandra Cassell Ann Cebon-Glass Georg & Monika Chmiel Angela & John Compton Alan Fraser Cooper Judy Croll Betty Crouchley Diana & Ian Curtis Marie Dalziel June Danks Michael & Wendy Davis Anne & Tom Dowling Jennifer Dowling Anne-Maree Englund Peter Evans Julie Ewington H E Fairfax Elizabeth Finnegan Nancy & Graham Fox Colonel Tim Frost Anne & Justin Gardener Colin Golvan SC VIRTUOSO Warren Green $1,000$2,499 Paul Harris Lyndsey Hawkins Annette Adair Patagonian Enterprises Peter & Cathy Aird Pty Ltd Rae & David Allen Michael Horsburgh AM Andrew Andersons & Beverley Horsburgh Sibilla Baer Doug & Alison Battersby Wendy Hughes The Beeren Foundation Pam & Bill Hughes Phillip Isaacs OAM Ruth Bell D & I Kallinikos Victoria Beresin Len La Flamme Ben & Debbie Brady John Landers & Linda Vicki Brooke Sweeny In memory of Elizabeth Mrs Judy Lee C. Schweig Greg Lindsay AO & Jasmine Brunner Jenny Lindsay Sally Bufé Joanne Frederiksen & Neil Burley & Jane Paul Lindwall Munro Angela James & Phil McMaster David & Megan Laidlaw Alastair Lucas AM Jan McDonald P J Miller Donald & Jane Morley Louise & Martyn Myer Foundation Jennie & Ivor Orchard S & B Penfold Ralph & Ruth Renard D N Sanders Greg Shalit & Miriam Faine Ms Petrina Slaytor Amanda Staﬀord Tom Thawley Dr & Mrs R Tinning Laurie Walker Ralph Ward-Ambler AM & Barbara WardAmbler Karen & Geoﬀ Wilson Janie & Neville Wittey Anonymous (3)

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATION PROGRAM Bronwyn & Andrew Lumsden Mr & Mrs Greg & Jan Marsh Jennifer Marshall Roderick & Leonie Matheson Jane Mathews AO Deidre & Kevin McCann Brian & Helen McFadyen J A McKernan Mrs Helen Meddings Nola Nettheim Anne & Christopher Page peckvonhartel architects Prof David Penington AC Tomasz Rawdanowicz Mark Renehan Dr S M Richards AM & Mrs M R Richards Warwick & Jeanette Richmond In Memory of Andrew Richmond Em Prof A W Roberts AM Julia Champtaloup & Andrew Rothery Diana Snape & Brian Snape AM Maria Sola & Malcolm Douglas Cisca Spencer Peter & Johanna Stirling Benson Geoﬀrey Stirton John & Jo Strutt Dr Charles Su & Dr Emily Lo Rob Thomas Colin & Joanne Trumble Ngaire Turner Kay Vernon Ellen Waugh M W Wells Sir Robert Woods Nick & Jo Wormald Anna & Mark Yates Mark Young William Yuille Anonymous (13)

Deborah James Brian Jones Mrs Caroline Jones Antoinette Ackermann Mrs Angela Karpin Mrs Lenore Adamson Bruce & Natalie Kellett in memory of Tony Kynaston & Mr Ross Adamson Jenny Fagg Elsa Atkin Sydney & Airdrie Lloyd Jeremy Ian Barth Peter Lovell & Baiba Berzins Michael Jan Brian Bothwell Judy Lynch Denise Braggett Alexandra Martin Diana Brookes Donald C Maxwell Morena Buffon & Pamela McGaw Santo Cilauro Dr Hamish & Mrs Darcey Bussell Rosemary McGlashan Graham & Cosette Patricia McGregor Canning Mrs Robyn McLay Cam & Helen Carter Jan Minchin Stephen Chivers John Mitchell & Carol John Clayton Farlow Joan Clemenger Graeme L Morgan Sam Crawford Helen & Gerald Moylan Architects J Norman Dr Julie Crozier Graham North Professor John Daley Robin Offler Lindee Dalziell Ted & Christine Dauber Allegra & Giselle Overton Josephine Paech Mari Davis Leslie Parsonage Martin Dolan In Memory of Raymond Deborah Pearson Kevin Phillips Dudley Michael Power Professor Peter Ebeling Sophie Rothery & Mr Gary Plover Team Schmoopy M T & R L Elford Manfred & Linda Mirek Generowicz Salamon Peter & Valerie Gerrand Paul Gibson & Gabrielle Robert Savage AM Garry E Scarf Curtin In Memory of Brian Goddard H. St. P. Scarlett Katrina Groshinski Jeff Schwartz Matthew Handbury Jennifer Sindel Lesley Harland Dr Fiona Stewart Virginia Henry Mr Tom Story Dr Penny Herbert Prof Robert Sutherland in memory of Mrs Eva Sweet Dunstan Herbert M John Higgins & Jodie Shaun Tan Master William Taylor Maunder Peter & Ann Hollingworth Leslie C Thiess Joy Anderson & Neil Penelope Hughes Thomas Dr & Mrs Michael David Walsh Hunter John & Pamela Hutchinson John & Pat Webb G C & R Weir Stephanie & Michael Gordon & Christine Hutchinson Windeyer Philip & Sheila Jacobson

CONCERTINO $500$999

30 AUSTRALIAN CHAMBER ORCHESTRA

Mr Hugh Wyndham Don & Mary Ann Yeats Anonymous (27)

CONTINUO CIRCLE BEQUEST PROGRAM The late Kerstin Lillemor Andersen Dave Beswick Ruth Bell Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes The late Mr Geoﬀ Lee AM OAM Mrs Judy Lee The late Richard Ponder Margaret & Ron Wright Mark Young Anonymous (10)

LIFE PATRONS IBM Mr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM

CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at Lillian. Armitage@aco.com.au.

ACO INSTRUMENT FUND BOARD MEMBERS John Leece OAM John Taberner

Bill Best (Chairman) Jessica Block Janet Holmes à Court AC

ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Bill Best (Chairman) Guido BelgiornoNettis AM Chairman ACO & Joint Managing Director Transﬁeld Holdings

Leigh Birtles Executive Director UBS Wealth Management Liz Cacciottolo Senior Advisor UBS Australia

Ian Davis Managing Director Telstra Television Chris Froggatt Tony Gill Rhyll Gardner

Tony O’Sullivan Managing Partner O’Sullivan Partners John Taberner Consultant Freehills

MELBOURNE DEVELOPMENT COUNCIL Peter Yates AM (Chairman) Chairman Royal Institution of Australia Director AIAA Ltd

Debbie Brady Ben Brady Stephen Charles

Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan SC

Jan Minchin Director Tolarno Galleries Susan Negrau

Sydney Helene Burt Liz Cacciottolo (Chair) Judy Crawford Dr Dee Debruyn Di Collins Judy Anne Edwards Chris Froggatt Elizabeth Harbison Susan Harte Bee Hopkins Sarah Jenkins

Vanessa Jenkins Charlotte Mackenzie Prue MacLeod Julianne Maxwell Mariana O’Sullivan Julia Pincus Amanda Purcell David Stewart Tom Thawley Nicky Tindill

EVENT COMMITTEES Bowral Elsa Atkin Michael Ball AM (Chairman) Daria Ball Cam Carter Linda Hopkins Judy Lynch Karen Mewes Keith Mewes

Bowral Tony O’Sullivan Marianna O’Sullivan The Hon Michael Yabsley Brisbane Ross Clarke Steﬃ Harbert Elaine Millar Deborah Quinn

ACO CAPITAL CHALLENGE The ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble. We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:

CONCERTO $250,000 – $499,000

OCTET $100,000 – $249,000

Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-Nettis Mrs Barbara Blackman

Mr Robert Albert AO & Mrs Libby Albert Mrs Amina Belgiorno-Nettis The Thomas Foundation

QUARTET $50,000 – $99,000 The Clayton Family Mr Peter Hall Mr & Mrs Philip & Fiona Latham

Mr John Taberner & Mr Grant Lang Mr Peter Yates AM & Mrs Susan Yates

AUSTRALIAN CHAMBER ORCHESTRA 31

ACO PARTNERS 2012 CHAIRMAN’S COUNCIL MEMBERS The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra. Mr Guido Belgiorno-Nettis AM Chairman Australian Chamber Orchestra & Joint Managing Director Transﬁeld Holdings Mr Philip Bacon AM Director Philip Bacon Galleries Mr David Baﬀsky AO

Mr Richard Freudenstein Chief Executive Oﬃcer FOXTEL Mr John Grill Chief Executive Oﬃcer WorleyParsons Mr Colin Golvan SC & Dr Deborah Golvan Mrs Janet Holmes à Court AC

Mr Brad Banducci General Manager (acting) Mr & Mrs Simon & Katrina Holmes à Court Woolworths Liquor Observant Pty Limited Mr Jeﬀ Bond Mr John James General Manager Managing Director Peter Lehmann Wines Vanguard Mr Michael & Ms Catherine Mrs Helen Carapiet Livingstone AO Chairman Mr Stephen & Telstra Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger AM & Kenneth G. Coles AM Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance Mr Angelos Frangopoulos Chief Executive Oﬃcer Australian News Channel

Mr Andrew Low Chief Executive Officer RedBridge Grant Samuel Mr Steven Lowy AM Chief Executive Officer Westfield Group Mr Didier Mahout CEO Australia & NZ BNP Paribas Mr David Mathlin Senior Principal Sinclair Knight Merz Mrs Julianne Maxwell Mr Michael Maxwell

32 AUSTRALIAN CHAMBER ORCHESTRA

Mr Geoﬀ McClellan Partner Freehills Mr Donald McGauchie AO Chairman Nufarm Limited Mr John Meacock Managing Partner NSW Deloitte

Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Paul Sumner Director Mossgreen Pty Ltd

Ms Naomi Milgrom AO Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Clark Morgan Vice Chairman UBS Wealth Management Australia Mr Alf Moufarrige OAM Chief Executive Oﬃcer Servcorp Mr Scott Perkins Head of Global Banking Deutsche Bank Australia/New Zealand Mr Oliver Roydhouse Managing Director Inlink Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Mitsuyuki (Mike) Takoda Managing Director & CEO Mitsubishi Australia Ltd Mr Alden Toevs Group Chief Risk Officer Commonwealth Bank of Australia Mr Michael Triguboff Managing Director MIR Investment Management Ltd Ms Vanessa Wallace Director Booz & Company Mr Kim Williams AM Chief Executive Officer News Limited Mr Geoff Wilson Chief Executive Officer KPMG Australia Mr Peter Yates AM Chairman, Royal Institution of Australia & Director, AIAA Ltd

ACO CORPORATE PARTNERS The ACO would like to thank its corporate partners for their generous support.

FOUNDING PARTNER

ACO2 PRINCIPAL PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES & WA REGIONAL TOUR PARTNER

CONCERT AND SERIES PARTNERS

Peter Weiss AM Daryl Dixon

ACCOMMODATION AND EVENT PARTNERS

AUSTRALIAN CHAMBER ORCHESTRA 33

ACO NEWS • JUNE 2012

news NORTH AMERICAN TOUR 12 April – 3 May 2012 Touring North America is nothing if not gruelling. Distances are vast, ﬂights are rarely direct because airline hubs are scattered randomly over the continent and bus trips span state-lines and time-zones. In between the major musical centres of Chicago, Toronto and New York, our North American tour included performances in beautiful venues in a number of smaller cities and university towns; the Norton Center in Danville, Kentucky; the DeBartolo Performing Arts Center at Notre Dame University in Southbend, Indiana; and Bailey Hall at Cornell University in upstate New York were outstanding. Teddy Tahu Rhodes caused a gasp every time he strode on-stage making his dramatic entry while the Orchestra crescendoed through the last chord of Robert Saxton’s short prelude before launching attacca into Richard Rodney Bennett’s Songs before sleep.

In the other program of this tour, soprano Dawn Upshaw sang the beguiling song cycle Winter Morning Walks by jazz composer Maria Schneider. It was an especially memorable collaboration between this superb singer, a distinctive composer, the ACO strings and three musicians from Maria’s jazz orchestra. Immediately following the ﬁnal concert at Carnegie Hall, Dawn, Richard and the musicians went into a recording studio in Manhattan to capture this ravishing song cycle for future CD release. Several concerts on this tour opened with the interleaving of Webern’s Five Pieces for String Orchestra and four movements from Black Angels by George Crumb, a bold concept which struck The New York Times: “The unusual suite received a dynamic, detailed performance by this excellent ensemble, admired for its adventurous programming.”

But it was the ACO’s performances of Schoenberg’s Transﬁgured Night and Richard’s arrangements of Grieg and Ravel’s string quartets which had audiences on their feet at every concert. Far from the applause/exodus that greets many symphonic concerts in the US (known in New York as the “standing evacuation”), the ACO’s audiences stood and cheered until encores were offered. We received invitations to so many cities that our future US plans have expanded to include annual visits in the next few seasons, starting with concerts in California next March and an extensive tour taking in Los Angeles, Boston and New York in March 2014.

ACO in rehearsal — Orchestra Hall, Chicago.

ACO and Dawn Upshaw in the recording studio, New York.

ACO in rehearsal — Bailey Hall, Cornell University, Ithaca, New York.

34 AUSTRALIAN CHAMBER ORCHESTRA

ACO in rehearsal — Koerner Hall, Toronto, Canada.

CHAIRMAN’S COUNCIL & MEDICI PATRONS COCKTAILS In March we held our annual Chairman’s Council and Medici Patrons Cocktail events in Sydney and Melbourne, to honour our most valued patrons and supporters. A quartet led by Satu Vänskä thrilled guests in Melbourne with the music of Vivaldi and Paganini and in Sydney they were joined by surprise guest Jim Moginie, former Midnight Oil guitarist. Naomi Milgrom AO hosted the Melbourne event at the Sussan Headquarters in Cremorne. Naomi is a Founding Patron of the ACO Instrument Fund, so it was ﬁtting that the performance featured Satu playing the ACO’s Stradivarius violin.

ACO Board Member Liz Cacciottolo and Walter Lewin hosted the Sydney event at their spectacular home in Vaucluse. In the intimate surroundings of these two stunning venues guests experienced an evening that combined fine music, fine wine and fine food.

Judy Crawford, Skye Leckie

Mandie Purcell, Susan Harte, Charlotte Mackenzie

Our warmest thanks go to Naomi, Liz and Walter for their warm and generous hospitality. Averill & Jim Minto, Geoff & Alison Wilson

Wendy Edwards, Helen & Michael Carapiet, Michelle Belgiorno-Nettis

Todd Buncomb, Paris Neilson, Beau Neilson, Jeffrey Simpson

Mark Ingwersen, Jim Moginie, Christopher Moore, Madeleine Boud, Satu Vänksä, TimoVeikko Valve

WE DANCE TO A DIFFERENT TUNE. Event Emporium orchestrates events like no other. From gala dinners and corporate parties to conferences and product launches, our repertoire is original, daring and different, inspiring audiences to engage, celebrate, applaud and delight. Pictured: ACO Gala Dinner Fundraiser, Out Of Africa

Event Emporium. Making beautiful music with the ACO as ofﬁcial event partner. p: 02 9955 7107 | w: www.eventemporium.com.au

AUSTRALIAN CHAMBER ORCHESTRA 35

YOUR SAY Feedback from our March tour with the Hilliard Ensemble: “This was one of your best! A sublime concert in all facets, not least, in the programming. Thank you to the Hilliard Ensemble not only for its excellence but also for including the mind-boggling Raskatov/Pärt. The singing and playing throughout the entire evening was breathtaking. Thank you.” Margaret & Ron Wright

“Today’s concert was a mixed bag of audacious programming. The highlight was the Veni, Creator Spiritus work – loved, loved, loved the Edwards against its much earlier predecessors. The lowlight, Raskatov, was played well but just not my thing…Otherwise all good and Helena did an ace job as leader.” Gail Chrisfield

“The concert last night with the Hilliard Ensemble and the ACO led by Helena Rathbone contained enough to challenge, charm and cosset us.” Jan Larson & Colin Marstin

“Thank you so much for the most beautiful concert on Tuesday night. I heard it in Adelaide, the whole concert was a unity.” Lisa Maeorg “I LOVED the Raskatov!” Janine Harris

Let us know what you thought about this concert at aco@aco.com.au

IT’S ALL ABOUT LOVE ... 2 SHOWS ONLY

HHISENSE ARENA, M MELBOURNE PARK SSATURDAY 8 SSEPTEMBER: 111AM & 5PM WWW.EDUCATION.VIC.GOV.AU/SPECTACULAR WWW.EDUCATION 36 AUSTRALIAN CHAMBER ORCHESTRA

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