Schubert String Quintet Concert Program

The A380’s fully flat Skybed.

What a performance.

Qantas A380 Business.

We’ve been working flat out on our mission to create the world’s most comfortable A380 Business cabin.

See what you think.

Fully horizontal, extra long Skybed so you arrive in great shape for your meeting. An onboard lounge with sofa for relaxing with colleagues and friends. Delicious Neil Perry designed menu with an award-winning Australian wine list. And over a thousand entertainment options to distract you from the work you meant to do on the flight.

The Qantas A380 by Airbus. Comfort that comes from experience.

Qantas is proud to be the official airline of the Australian Chamber Orchestra.

qantas.com Qantas Airways Limited ABN 16 009 661 901

CBS0185

Handcrafted in 1759. Rockin’ out in 2011.

The rare and beautiful Guadagnini violin has been on tour with the ACO since 1996.

It’s on loan from our art collection so that thousands can enjoy its remarkable sound.

To find out more about our proud sponsorship of the arts, visit commbank.com.au/arts

A/¿ @ / 2/6: / . > 2 /

+?=><+63+8 -2+7,/< 9<-2/=><+

19 A3 < /6/==

BT_S _SP ?PW^_]L 9Pc_ 2 YP_bZ]V LYO T_^ bT]PWP^^ ^ZW`_TZY^ _SP ,`^_]LWTLY .SLXMP] :]NSP^_]L NLY YZb NZYO`N_ M`^TYP^^ ZY _SP ]ZLO MZ_S LN]Z^^ ,`^_]LWTL LYO _SP bZ]WO

CALL 1300 TELSTRA | VISIT TELSTRA.COM/ENTERPRISE ?02: #

Music for your Palate At Cellarmasters we appreciate sumptuous treasures that are expertly crafted and ďŹ nely tuned with sublime results.

We hope you do too.

cellarmasters.com.au

Building a smarter planet:

On a smarter planet, answers are hidden in the data.

Here’s a bold prediction: the biggest leaps forward in the next several decades will come from insights gleaned through perpetual, real-time data analysis. With nearly 2 billion people already on the Internet, and more of the world’s systems and processes being embedded with sensors and cameras, we’re generating more data at faster speeds than ever before. Through smarter data we can make sense of information, identify challenges and plan solutions, all in real time.

For instance, healthcare providers in Australia are using predictive health systems with advanced telemetry to monitor elderly patients in their homes, sharing data instantly. A world of smarter data offers enormous hope.

Let’s build a smarter planet. Join us, and see what others are doing, at ibm.com/smarterplanet/au

IBM, the IBM logo, Smarter Planet and the planet icon are trademarks of International Business Machines Corp., registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or service marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade/shtml © Copyright IBM Australia Limited 2011 ABN 79 000 024 733 © Copyright IBM Corporation 2011. All rights reserved.

IBMNCA0604/DATA/ACO

NATIONAL TOUR PARTNER

IBM sees our three decades of supporting the ACO as an investment in one of Australia’s most powerful forces for creativity. Ours is one of the longest-standing sponsorships in the Australian arts community — and it works because it is based on a mutual hunger for innovation and progress.

Just as the ACO has always pushed the boundaries of musical excellence — changing the world’s ideas about music, so IBM has explored the possibilities of technology — shaping the way we live and work.

In our centennial year, IBM is proud to reflect on the many extraordinary projects we have been part of: the origins of computer science; the Apollo missions; the rise of the internet.

Ultimately, it is our experience with the extraordinary that binds us to the ACO. No orchestra in the world takes risks like the ACO. And yet, every time, their vision, audacity and sheer brilliance pay off — delighting and inspiring their audiences.

We hope you enjoy this breathtaking performance.

NATIONAL TOUR & FOUNDING PARTNER

ANDREW STEVENS MANAGING DIRECTOR IBM AUSTRALIA AND NEW ZEALAND

TOUR FIVE SCHUBERT STRING QUINTET RICHARD TOGNETTI Artistic Director & Lead Violin

SPEED READ

BACH

As a genre, chamber music has enjoyed an uninterrupted history from the 16th century to the present. Its flourishing stems from the development of domestic amateur music-making in the Renaissance period as the domination of church and court over musical performance gradually abated. The intimacy and directness of chamber music, and the possibilities for intricate musical conversation it provides, have appealed to composers ever since.

The Musical Offering (excerpts)

Bach’s The Musical Offering is something of a chamber music compendium combined with a riddle book, including all manner of musical puzzles designed to fox — or at least to challenge — performers, as well as some delightfully-realised and in some ways atypical works for small ensemble, including a 4-movement Trio Sonata.

Alongside several selections from the Offering, in this concert we can hear echoes across the centuries in Stravinsky’s spiky, tense works for string quartet, as well as the anachronistically Romantic yearnings of a composer deeply influenced by Bach’s contrapuntal writings, Anton Webern. These works move in and out of each other in a somewhat disorienting yet very deliberate fashion.

Schubert’s String Quintet is one of the most enduring of all chamber works. W.W. Cobbett, whose chamber music encyclopaedia remains deeply influential, wrote of it, “from the lyrical and dramatic point of view, nothing so ideally perfect has ever been written for strings as this inexpressibly lovely work.”

It’s difficult to disagree.

STRAVINSKY Concertino Double Canon “Raoul Dufy in Memoriam” Three Pieces for string quartet

WEBERN (arr. Ross) Two Pieces for cello I N T E R VA L

SCHUBERT String Quintet, D956 Approximate durations (minutes): 40 – INTERVAL – 55 The concert will last approximately 2 hours, including interval.

WOLLONGONG

NEWCASTLE

ADELAIDE

IPAC Fri 5 Aug 7.30pm

City Hall Thu 11 Aug 7.30pm

Town Hall Tue 16 Aug 8pm

BRISBANE

CANBERRA

PERTH

QPAC Mon 8 Aug 8pm

Llewellyn Hall Sat 13 Aug 8pm

Concert Hall Wed 17 Aug 7.30pm

SYDNEY

MELBOURNE

SYDNEY

City Recital Hall Angel Place Tue 9 Aug 8pm Wed 10 Aug 7pm Sat 20 Aug 7pm

Town Hall Sun 14 Aug 2.30pm Mon 15 Aug 8pm

Opera House Sun 21 Aug 2pm

Pre-concert talks take place 45 minutes prior to the concerts.

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

Cover photo: Timo-Veikko Valve © Gary Heery

AUSTRALIAN CHAMBER ORCHESTRA 3

6RODU 3RZHU 6SDLQ

,QIUDVWUXFWXUH SLRQHHUV

APN Outdoor proudly supports the Australian Chamber Orchestra www.apnoutdoor.com.au

Think Outside...

MESSAGE FROM THE GENERAL MANAGER FREE PROGRAMS To save trees and money, we ask that you share one program between two people where possible.

PREPARE IN ADVANCE A free PDF and e-reader version of the program are available at aco.com.au and on the ACO iPhone app one week before each tour begins, together with music clips, videos and podcasts.

HAVE YOUR SAY We invite your feedback about this concert at aco.com.au/yoursay or by email to aco@aco.com.au.

ACO COMMUNITY For behind-the-scenes news, sign up for the ACO’s free monthly enewsletter or become an ACO Facebook fan or Twitter follower.

ACO ENEWSLETTER Sign up to the ACO enewsletter and receive everything from videos and concert programs to special offers including invitations to meet the musicians.

Visit aco.com.au for details.

ACO ON THE RADIO ABC Classic FM: Sat 8 Oct 1pm Schubert String Quintet concert Mon 19 Sep 8pm Direct to air: Viennese Serenade concert

NEXT TOUR Viennese Serenade 12 – 25 September

There’s a wonderful story about how the ACO commenced our now long-standing relationship with Founding Partner IBM. In the first chapter of the ACO’s history, the indefatigable Janet McDonald was running the fledgling ACO company and sought advice from a senior arts administration figure about where to start looking in the relatively unchartered territory of corporate sponsorship for the performing arts. “Step out of the office, go outside on to York St and look up at the biggest neon signs – there you’ll find some clues,” came the sage’s response. IBM’s logo was burning bright above the CBD that evening and a great relationship was launched.

This year we are especially proud of this partnership, as IBM celebrates the centenary of its founding and its 78th year in Australia. We salute IBM for its great contribution to Australian businesses and individuals, and for its faith in the vision of the ACO for three decades.

While Schubert’s String Quintet is ringing in our ears on this National Subscription Tour, Ac O 2, our regional touring ensemble, is performing in Northern NSW, Queensland and at the Darwin Festival, presented by APN News & Media and the Queensland Government.

Ac O 2 ’s young string players have been in intensive coaching sessions with the ACO’s core musicians and have prepared a brilliant program directed by the exciting young British violinist Thomas Gould. Qantas, as Principal Partner of Ac O 2 and our Emerging Artists Program, makes it possible for this outstanding young ensemble to perform in regional centres all over Australia, simultaneously bringing wonderful music to the whole country and providing an enriching professional experience for these fine young performers.

TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA 5

The Bach, Stravinsky and Webern repertoire in the first half of this concert will be intertwined and played as a single performance piece.

The repertoire order will run as follows: STRAVINSKY Concertino BACH Canon a 2 (Canon Cancrizans) STRAVINSKY Double Canon “Raoul Dufy in Memoriam” BACH Ricercar a 3 WEBERN Two Pieces for cello: II – Langsam WEBERN Two Pieces for cello: I – Langsam BACH Sonata sopr’Il Soggetto Reale: II – Allegro STRAVINSKY Three Pieces for string quartet: III – Canticle STRAVINSKY Three Pieces for string quartet: I – Dance BACH Canon a 4 STRAVINSKY Three Pieces for string quartet: II – Eccentric BACH Canon a 2 per motum contrarium BACH Canon a 2 violini in unisono BACH Canon a 2 Quaerendo invenietis (A) BACH Canon a 2 Quaerendo invenietis (B) BACH Fuga canonica in Epidiapente

J S BACH The Musical Offering, BWV1079 (Composed 1747)

Johann Sebastian BACH (b. Eisenach, 1685 — d. Leipzig, 1750) Bach is one of the greatest, if not the single greatest, of all composers. A working musician his entire life, his composition ranges from the deeply spiritual to the flamboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.

6 AUSTRALIAN CHAMBER ORCHESTRA

Excerpts as follows: Canon a 2 (Canon Cancrizans) Ricercar a 3 Sonata sopr’Il Soggetto Reale: II – Allegro Canon a 4 Canon a 2 per motum contrarium Canon a 2 violini in unisono Canon a 2 Quaerendo invenietis Fuga canonica in Epidiapente In May of 1747, Johann Sebastian Bach paid a visit to his son Carl Phillip Emmanuel at his workplace, the Potsdam court of Frederick the Great of Prussia (1712–1786). Frederick was a model philosopher king, possessing a brilliant, if merciless, military mind (annexing much of Poland), and a deep interest in music and ideas. He played host to Enlightenment luminaries such as Voltaire and the mathematicians Lagrange and Euler, he was a talented flautist and maintained an orchestra to accompany him in CPE’s or Joachim Quantz’s flute concertos, and even his own compositions (which are rather pedestrian, but probably better than anything composed by royalty since). He was responsible for bringing Germany, and his capital Berlin, into the gloriously modern 18th century. Accordingly, his Potsdam palace was decked

out with the latest inventions, including fifteen experimental pianofortes built by Gottfried Silbermann. Frederick dropped hints to CPE that he’d very much like to meet Johann Sebastian and hear what he thought of the pianoforte but nothing had come of it, until: One evening, just as he was getting his flute ready, and his musicians were assembled, an officer brought [Frederick] a list of the strangers who had arrived. With his flute in hand he ran over the list, but immediately turned to the assembled musicians, and said, with a kind of agitation, “Gentlemen, old Bach is come”.

[Johann Nikolaus Forkel, On Johann Sebastian Bach’s Life, Genius and Works, 1802] After the necessary protocols, the King ushered Bach around the palace as he improvised on this or that piano. Bach asked Frederick for the subject of a fugue for Bach to work out, extempore. The King, perhaps cruelly, provided an especially knotty theme and requested that Bach attempt to improvise in six parts, but here the composer demurred because the subject wouldn’t work, and instead played a six-part fugue on a theme he’d prepared earlier. The next day, Forkel relates, Bach was taken to all the organs in Potsdam so that Frederick could enjoy his performance on them.

Bach returned to Leipzig and worked on the theme that Frederick had supplied, including a three- and a six-part treatment, plus assorted canons and a sonata for flute, violin and continuo and sent them to the King in a set he called The Musical Offering.

ACO performance history The ACO performed Schubert’s String Quintet as part of a national tour in 2002 and Stravinsky’s Three Pieces for string quartet, in an arrangement for full string orchestra, as part of a 1998 tour. This is the first time the ACO has toured performances of these Webern and Bach pieces.

The King’s copy of the Offering was preceded by a page bearing the motto Regius Iussu Cantio Et Reliqua Canonica Arte Resoluta, “At the King’s Command Theme and Remainder Resolved by Canonic Art” which sharp-eyed readers (and Dan Brown fans) will notice forms an acrostic: RICERCAR. Bach is punning on two senses of canonic[al]: i.e. “perfectly” and the musical meaning of the word, a strictly imitative composition. Ricercar (from the Italian for “to find”) is another name for fugue (which is from the Italian for “to fly”). Ricercars generally have a more serious or learned affect than fugues, which by Bach’s time could be fantasialike and free. The Musical Offering’s ricercars are based on the Thema Regium, the “Royal Theme” that Frederick provided. Its first four notes outline the chord of C minor before beginning a striking chromatic descent – rather like the sighing lamento bassline of Dido’s aria from Purcell’s opera – and then looping back to its starting note. Bach exploited this characteristic in two perpetual canons, which could potentially repeat into infinity.

AUSTRALIAN CHAMBER ORCHESTRA 7

Further reading and listening Bach’s The Musical Offering lends itself to all manner of interpretations. Two very different approaches are those of Igor Markevitch, whose full-blown orchestration of the work has been recorded by the Arnhem Philharmonic and Christopher Lyndon-Gee (Marco Polo 8.225120) and Jordi Savall, whose gentle, understated reading on period instruments (with Les Concerts des Nations) brings out all the sensitivity and chiaroscuro of this extraordinary work (Alia Vox AV9817). Webern’s orchestration of the 6-part Ricercar offers another opinion again (try the Munich Chamber Orchestra on ECM New Series 1774). James Gaines’ Evening in the Palace of Reason (Fourth Estate, 2005) tells the story of the meeting between JS Bach and Frederick the Great that led to The Musical Offering.

It’s worth considering here the challenge of writing even a simple canon or fugue. For a canon to work, the melody must be able to provide its own pleasing harmony when played simultaneously but staggered in time, like, for example, the schoolyard canon (or round) Row, Row, Row Your Boat. But Bach was not content with layering the melody just once, his canons fold over on themselves up to four times or work when one part is played backwards (cancrizans – crab-like) or upside down (inverted) or backwards and upside down, or the other part(s) might be transposed to start on a different note, or with one theme stretched out (augmented) or compressed (diminished) so that the canon works on different timescales too. A fugue is less demanding – it must begin with imitation in the various voices but these can be interspersed with free “episodes”. That Bach wrought these intricate, ingenious mechanisms out of a theme that was not even of his own devising is astonishing, but what’s more, many of the canons in the Offering are puzzles – that is, they’re presented in a kind of shorthand with a clue such as Quaerendo invenietis (“seek and ye shall find”), where the performer needs to work out the timing of the entries, or Notulis crescentibus crescat Fortuna Regis (“may the fortunes of the King increase like the length of these notes”), an augmenting canon. The Quaerendo canon requires one musician to read in the bass clef, forwards, and the other player to turn the music upside down and play the same line in the alto clef. In modern editions the puzzles are worked out, or at least one solution is, but there may be many ways to realise these enigmatic masterpieces.

The Sonata sopr’Il Soggetto Reale for flute, violin and continuo (keyboard and cello) provides respite from (or perhaps prelude to) the more cerebral pleasures of the canons, but it too is pervaded with the Royal Theme and concludes with a fugue. It is composed in the trendy and relaxed “style galant”, the precursor to Classicism, that CPE Bach perfected. It was here that Bach was perhaps demonstrating to the King and company that he wasn’t such an old fogey. In this concert, one movement of this trio sonata is adapted for trio of two violins and cello.

If The Art of Fugue was the summa of Bach’s career as a composer, The Musical Offering is surely his magnum opus as a mathematician. The full depth of the musical geometry Bach exploited in this work is still being sounded. The Offering has even inspired thinking about artificial intelligence and the nature of consciousness (Douglas Hofstaeder’s Gödel, Escher, Bach). It wasn’t until the 20th century that anything close to the intricacies of Bach’s contrapuntal transformations were approached by

8 AUSTRALIAN CHAMBER ORCHESTRA

composers such as Schoenberg, Webern and Stravinsky who used strict canons in their atonal works to imbue them with a kind of deep, almost subliminal, inner logic*. That Bach and the Musical Offering loomed large in their imaginations is evidenced by Webern’s iridescent orchestration of the sixpart Ricercar, which is a kind of x-ray analysis of the piece where Webern illuminates the flow and intermeshing of the parts with instrumental colour. The last piece Stravinsky played on his piano before his death was the E-flat Prelude and Fugue from The Well-Tempered Clavier. For those who seek, there is still much to find. *The cynic might (rightly) ask what’s the point of writing a canon that studiously avoids consonance? After all, the main “trick” of a canon is that it sounds musical and pleasing even when folded back on itself in various ingenious ways. In fact, Schoenberg, a master of conventional counterpoint, was well aware of the irony of atonal canonic writing, and in 1912 composed an incredibly elaborate (non-serial) atonal canon in the “Der Mondfleck” number of Pierrot lunaire. The futility of a canon that is barely recognisable as a canon is a metaphor for the futility of the increasingly demented Pierrot trying to rub a glint of moonlight off his coat. Atonal canonic writing can still feel satisfying and contain the tension and release that makes music move forward even without the traditional “functional” harmony.

STRAVINSKY Concertino for string quartet (Composed 1920)

Three Pieces for string quartet (Composed 1914)

Double Canon “Raoul Dufy in Memoriam” (Composed 1959)

Igor STRAVINSKY (b. Oranienbaum, Russia, 1882 — d. New York, 1971) Stravinsky encompasses radical fervour and reactionary austerity in the one personality perhaps more than any other composer.

His Rite of Spring stood the musical world on his head, before he settled into a neo-classical phase which dominated more than half of his career. With Schoenberg and Webern, though, he is essential to an understanding of 20th-century music.

WEBERN Two Pieces for cello and piano (Composed 1899)

Arranged for cello and string quartet by Graham Ross In the late 1940s, now settled in Hollywood, Igor and Vera Stravinsky adopted the brilliant but green young conductor Robert Craft, who acted as Stravinsky’s amanuensis, chronicler, teacher, friend and finally, musical executor. He was engaged to help Stravinsky with Wystan Auden and Chester Kallman’s florid libretto for The Rake’s Progress.

Craft would read out the words and note the scansion and rhythm. In between, Craft and Stravinsky would talk, Craft AUSTRALIAN CHAMBER ORCHESTRA 9

sharing his enthusiasm for contemporary music – much of which Stravinsky was oblivious to or frankly dismissed.

After the opera’s premiere, Stravinsky tinkered with even more archaic-sounding music for a while – setting mediaeval lyrics – before grinding creatively to a halt.

For the first time, Stravinsky acknowledged the other great contemporary composer and technique, Arnold Schoenberg and serialism, and decided that his own music was wanting. On a roadtrip to the Mojave Desert, he wept that he was finished. This crisis, the worst block that Stravinsky had ever endured, led the composer down a path that nobody could have predicted.

Anton WEBERN (b. Vienna, 1883 — d. Mittersill, 1945) Webern started studying with Schoenberg in 1904 and, with him, transformed Western music.

His influence is extraordinary considering the meagreness of his output — he published just 30 works in his lifetime — but his development both of free atonality and of the 12-tone method were pivotal progressions in 20thcentury music.

Schoenberg and his two students, Alban Berg and Anton Webern, had dominated the musical avant-garde since the 1920s – at around the time Stravinsky had opted out of shocking the bourgeoisie. The system that Schoenberg had devised to “liberate” dissonance from the weak flesh of composers (who might yearn to gravitate towards this or that chord, key, or resting place), is called serialism.

Simply put, the guiding principal is that all 12 notes of the chromatic scale must be heard in a certain order before they can be sounded again. The order is up to the composer, who devises a “row” (really just a melody but independent of rhythm or register). To generate different levels of tension and dissonance, the row can be heard at any speed, forwards, backwards, upside down, upside down and backwards and transposed to any starting note as long as the intervallic relationships are retained. Perhaps you can see the resonances between serial composition and the art of canon: inversion, cancrizans, augmentation and diminution. Serial music is canonic writing stretched to its most extreme point.

At Craft’s suggestion Stravinsky orchestrated some earlier pieces, reworked some of those mediaeval lyrics with rudimentary serial techniques (the resulting Cantata sounds as if it was composed last week or 600 years ago).

He started practising counterpoint, writing canons and delving forwards and backwards into musical history.

The works which followed have an ancient monumentality but are composed in the most up-to-date fashions of the musical elite (led by Pierre Boulez who embraced him after mocking his neoclassical works for so long). The works have Latinate titles – Threni, Requiem Canticles, Agon, Canticum Sacrum – and have a bracing asperity that makes them difficult to love though very much worthy of admiration. Schoenberg and Stravinsky’s musical philosophies were not so different either: both wanted a music that was objective, rational and possessed

10 AUSTRALIAN CHAMBER ORCHESTRA

purely musical meaning. Well into his 60s, Stravinsky had discovered a new voice, but in truth, it didn’t sound so very different from his old one. It is perhaps, a matter of accents.

This is best demonstrated by Stravinsky’s modest output of string quartet music, composed over the course of his career. The Three Pieces come from the end of his Russian period, the year after The Rite of Spring, and are unusually programmatic, later earning descriptive names. The first, “Dance”, is a kind of miniature Rite of Spring made of semiindependent musical “planes” which collide haphazardly: a drone, a folk tune, a bass-line and the surprising off beat interjection from the second violin. On a grander scale, this collage effect is one of the most striking features of The Rite. The second piece, “Eccentric”, was inspired by the music hall clown Little Tich, whose spasmodic jerking and squeaking reveals him as a cousin of Petrushka.

Poet Amy Lowell heard the pieces in 1915 or 1916 and composed three responses to them, capturing the emotional timbre and even the rhythms. Of the second piece she somehow read Stravinsky’s mind when she evoked the archetypal clown, Pierrot (the French Petrushka or Pulcinella): Pale violin music whiffs across the moon A pale smoke of violin music blows across the moon Cherry petals fall and flutter And the white Pierrot Wreathed in the smoke of the violins Splashed with cherry petals falling, falling, Claws a grave for himself in the fresh earth With his fingernails The final piece “Canticle” is a sombre chant recalling the moments of The Rite of Spring that gain terrifying power from eerie stasis. There is also a premonition of the slow, Baroque laments of the neoclassical ballets like Orpheus, and the rituals of the late serial pieces. On paper, the three pieces look almost “Viennese”, but their sound is pure Stravinsky (in fact, he probably hadn’t heard Webern or much Schoenberg when he wrote them). It’s not surprising that the Three Pieces were one of the few post-Rite works that composers such as Boulez permitted themselves to like.

The Concertino was another one, for its nervy, compressed style still sounds contemporary today. It was composed in 1920, partly during a stay at Coco Chanel’s villa Bel Respiro in the Paris suburb of Garches, at the behest of violinist Alfred Pochon for his Flonzaley Quartet. In his Chronicles Stravinsky notes, “M. Pochon wished to introduce a AUSTRALIAN CHAMBER ORCHESTRA 11

contemporary work into their almost exclusively classical repertoire… So it was for them that I composed my Concertino, a piece in one single movement, treated in the form of a free sonata allegro with a definitely concertante part for the first violin.” It is indeed a “little concerto” in one movement, where the other three instruments act – sometimes – in an accompanying role. Its quirky metrical displacements and generally anti-lyrical writing place this piece among the musical contraptions that Stravinsky favoured around this time. He dreamed of writing music for pianolas, removing the subjective personal element as much as possible.

Further reading and listening — Stravinsky Stravinsky’s chamber music for other combinations of instruments is well represented on the fascinating collection Chamber Music and Historical Recordings (Sony 46297) which includes such works as the Octet for wind instruments, the Ebony Concerto, the Duo Concertante and the Concertino for 12 instruments — including several world premiere recordings and featuring Stravinsky himself as performer.

Eric Walter White’s Stravinsky: the composer and his works (U of California Press, 1985) is the towering account of Stravinsky’s life and work.

Further reading and listening — Webern Kathryn Bailey’s The life of Webern (Cambridge UP, 1998) and Malcolm Hayes’ more technical Anton von Webern (Phaidon, 1995) are two excellent introductions to the life and work of this extraordinary composer. The complete Webern Edition on Deutsche Grammophon includes a performance of the Two Pieces by cellist Clemens Hagen and pianist Oleg Maisenberg (DG 4576372).

The ultimate musical machine is the canon, where the form, melody and harmony of the piece unfold to strictly predetermined rules, free of human agency. The Double Canon to the memory of artist Raoul Dufy was sketched on 10 October 1959, perhaps in response to a request for a composition to demonstrate Dufy’s love of music in a book about him. Stravinsky didn’t know Dufy personally and the artist’s spirited and chic watercolours of boats on the Mediterranean are nothing like the austere canon which commemorates him. Stravinsky unfolds a sighing serial theme: the violins play it in crotchets, violin II following a tone lower, four notes after the first, and the viola and cello play it backwards. The time signature changes often in each of the independent lines, so each time the canon restarts, it’s in a different alignment with the other parts.

Stravinsky arranges for a series of suspensions to more or less resolve, leading towards a sense of closure on (or around) the note D. Anton Webern became the most terse and concentrated of Second Viennese School composers. His complete œuvre – highly epigrammatic and mysterious – fits on six CDs. By the end of his tragically brief career (he stepped out for a smoke one night and was shot by an American soldier) he had perfected a style where just one sounding of each of the notes of the tone row was sufficient for the piece. However, unlike those scratches and wisps of sound, his early Two Pieces for cello are robustly Romantic, almost Brahmsian. The only thing that might betray their author is their brevity and paradoxical expansiveness. They are short stories that pack the punch of a novel. The cello sings high in its range over what are, by late 19th-century standards, very tame harmonies. It’s the melody which is fascinating, arcing and falling in unexpected but always satisfying ways. Even after Webern moved on to explore new worlds of sound, this sense of song remained, though splintered and scattered across the page.

12 AUSTRALIAN CHAMBER ORCHESTRA

SCHUBERT String Quintet in C Major D.956 (Composed 1828)

I. Allegro ma non troppo II. Adagio III. Scherzo (Presto) – Trio (Andante sostenuto) – Scherzo IV. Allegretto

Franz SCHUBERT (b. Vienna, 1797 — d. Vienna, 1828) Schubert transformed our understanding of the art song, but in life he was considered largely a domestic composer; indeed, he was a master of all forms of chamber music.

His fame increased after his premature death, however, and he is now one of the most highly-regarded composers.

Given that only two of Schubert’s chamber music works were published during his short lifetime, his pieces for small ensembles punch well above their weight. While it seems incredible that pieces like the “Trout” Quintet or the “Death and the Maiden” String Quartet were played only

by Schubert’s inner circle, the composer had pragmatically concentrated on getting his real money-spinners, the songs, to market. But after Schubert’s death, the riches of his unknown back-catalogue were released to a public that quickly realised that even though Schubert was justly acclaimed and loved for his songs, his true genius had been vastly underestimated: the lieder were just the tip of the iceberg, here were symphonies, quartets, operas... all virtually unheard. This posthumous recognition secured Schubert a place in the imagination of the Romantics, ticking all their boxes: introversion, unknown genius, tragically early demise (to syphilis, perhaps, or its toxic “cure”, mercury), and, like no music before, could wordlessly convey a subjective inner experience.

And it’s this inner experience that we most prize in music now – we seek out what musicologist Richard Taruskin calls “the music trance” – the moments of suspended time that you encounter in songs and arias, where a single thought or mood is spun out at length. A sensation that might flicker in our consciousness for a second is stretched out for minutes in a song by Schubert, for example, in the eerie, existentialist song “Der Leiermann”, from Die Winterreise, where the stasis of the harmony and the repetitive groaning of the organ-grinder’s tune evoke the singer-narrator’s morbidly frozen psychological state.

Schubert’s entrancing qualities extend far beyond the musical descriptions of the songs: he could also achieve equally powerful effects without words, using harmony alone, with a curiously oblique style of modulation to different keys. Where usually composers had exploited the strong intervals of fourths and fifths to change keys (these intervals want to cadence – fall – in certain ways) allowing composers to modulate through a “circle of AUSTRALIAN CHAMBER ORCHESTRA 13

fifths”, Schubert liked to use major and minor thirds for restless and surprising changes in harmonic colour.

The musicologist Susan McClary (who has an interest in constructions of gender and sexuality in music) sees Schubert’s use of the “circle of thirds” as a sign of Schubert’s (suspected) homosexuality: the harmony is literally and figuratively “queer”, allowing Schubert to discreetly signal his otherness, but also to allow us to identify with it, holding a mirror up to our own individuality. If composers like Beethoven wanted to unite us as brothers in an ode to joy, Schubert wants us to rediscover our secret inner selves. This authentically Romantic program was advanced

by Schumann, Chopin, Liszt and into the 20th century by Schoenberg, Berg and Webern.

Schubert’s String Quintet in C Major was his final chamber work, composed four months before his death in 1828, and perhaps not performed before 1850. It’s easy to discover retrospective poignancy in “last works”. As you listen, ask yourself if its special vitality is inherent in the music or our projection of what we know about Schubert’s life. Quintets usually double the viola to fill out the middle voices (see Mozart’s K.515), but Schubert opts for the powerful and sonorous combination of two violins, viola and two cellos.

Sometimes the extra cello provides a firm bottom-voice foundation, freeing the first cello to soar with the rest of the quartet, at other times, it’s a soloist in its own right or a duo partner for the other cello. Schubert’s flexible and inventive use of the ensemble makes full use of its colouristic and emotional resources – from quasi-orchestral force to hushed intimacy.

The melodic and rhythmic material of the relaxed first movement is spun out of a lyrical introduction, yielding the cello “heart beats” which gently power the movement’s exposition. What at first seemed like a slow introduction is revealed to be the predominant mood and tempo of the movement. The rhetorical pauses and flourishes of this movement add an operatic drama that might have come from Rossini (a composer whose influence pops up in such surprising places as the “Unfinished” Symphony). Schubert moves to the mediant key of E flat (related to the tonic of C major by a minor third), then to G (a major third above E flat, and the expected fifth above – the dominant – of C major), a strange plan for a sonata-form movement.

When the opening material returns, the viola plays the bass line as the two cellos sing the melody above.

Schubert uses the circle of thirds to create the larger pattern of key relationships between movements – the 14 AUSTRALIAN CHAMBER ORCHESTRA

E major of the second movement Adagio is built on the third degree of the C-major scale – and it is here that the otherworldly quality of Schubert’s harmonic scheme is at its most entrancing. The simple violin melody, accompanied by a slow-moving melody in the other instruments plus pizzicati (plucked notes) in the second cello, is, in the words of one critic, “a lyric creation of unparalleled clarity and originality, one whose uniqueness is self-evident yet somehow mysterious at the same time”. The blissful stasis breaks with a ferocious trill into a troubled and troubling excursion in F minor, returning only gradually to daylight, with a more and more elaborately embroidered revision of the original violin line. However, the final moments are haunted by the F-minor mood sketched in two intense chords before the serene closure.

The Scherzo third movement is propelled by a series of oblique harmonic movements and a vigorous full-throated fiddling, presenting a perfect contrast to the elegant tranquility of the Adagio. This is the most orchestral of the movements, but while more extrovert than the others, it is not without its own moments of subjective oddness. The trio which interrupts the chase is set, daringly, in D flat major, the key related to the home tonality by a half-step but a world away in mood and colour. This experience of this strange intrusion of rich innerness alters our perception of the dancing scherzo when it returns.

Further reading and listening One of the best introductions to Schubert’s chamber music is the chapter in Stephen Efling and David Tartakoff’s Nineteenth-Century Chamber Music (Schirmer, 1998). Of all the all-star combinations that have recorded the Schubert Quintet, perhaps one of the finest is the pairing of the Emerson Quartet with cellist Mstislav Rostropovich (Deutsche Grammophon 4317922).

The Allegretto finale begins in C minor, in the echtViennese mode of a dance, taking to the major key 19 bars in and then moving kaleidoscopically through moods and keys – joyful, sad and a peculiarly Schubertian place somewhere in between. The main argument of the movement comes from a densely worked out “fugato” – a contrapuntal interweaving of voices – intensifying and speeding up into a breakneck climax. Even this uninhibited finale isn’t without its flicker of strangeness: the harmony curdles as a strongly dissonant D flat intrudes with profound otherness against the prevailing C major.

Schubert’s Quintet entranced the next generation of composers, especially Brahms, whose first attempt at a quintet (in F minor, with two cellos, from 1862), is practically an homage. As Brahms’ friend, Hermann Levi said, it was “a masterpiece of chamber music of a kind of which we have had no other example since ’28”.

PROGRAM NOTES ROBERT WESLEY MURRAY © 2011 AUSTRALIAN CHAMBER ORCHESTRA 15

RICHARD TOGNETTI AO

Photo © Paul Henderson-Kelly

ARTISTIC DIRECTOR AND LEADER 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.

Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

“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.

18 AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI AO ARTISTIC DIRECTOR “You’d have to scour the universe hard to find another band like the ACO.” THE TIMES, UK

“The energy and vibe of a rock band with the ability of a crack classical chamber group.”

WASHINGTON POST

Select Discography Bach Violin Concertos ABC 476 5691 Vivaldi Flute Concertos with Emmanuel Pahud EMI 3 47212 2 Bach Keyboard Concertos with Angela Hewitt Hyperion SACDA 67307/08 Tango Jam with James Crabb Mulberry Hill MHR C001 Song of the Angel Music of Astor Piazzolla with James Crabb Chandos CHAN 10163 Sculthorpe: works for string orchestra including Irkanda I, Djilile and Cello Dreaming Chandos CHAN 10063 Giuliani Guitar Concerto with John Williams Sony SK 63385

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 crossartform 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.

Forty 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, Japan and Europe.

These and more ACO recordings are available from our online shop: aco.com.au/shop or by calling 1800 444 444.

The ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI, Chandos and Orfeo 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.

To be kept up to date with ACO tours and recordings, register for the free e-newsletter at aco.com.au.

In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of AC O2, an elite training orchestra which tours regional centres.

AUSTRALIAN CHAMBER ORCHESTRA 19

SATU VÄNSKÄ Assistant Leader & Violin

Photo: Paul Henderson-Kelly

Chair sponsored by Robert & Kay Bryan

Satu Vänskä was appointed Assistant Leader of the ACO in 2004.

Satu was born to a Finnish family in Japan where she began violin lessons at the age of three. Her family moved back to Finland in 1989 where she studied at the Sibelius Academy and with Pertti Sutinen at the Lahti Conservatorium. From 1997, Satu studied with Ana Chumachenco at the Hochschule für Musik in Munich.

At age eleven, Satu was selected for the Kuhmo Violin School in Finland where she attended masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov, and performed at the Kuhmo Chamber Music Festival with the Kuhmo Virtuosi Chamber Orchestra.

In 1998, Sinfonia Lahti named Satu the Young Soloist of the Year, and in 2000, she was a prize-winner of the Deutsche Stiftung Musiklebe. In Germany, Satu played with the Munich Philharmonic and the Bavarian Radio Symphony Orchestra.

Satu has performed solos in Finland, Germany, Spain, Australia and Canada. As a chamber musician, she has played at festivals in Finland and Germany, including the Tuusulanjärvi Festival and the Festivo Aschau. Satu has recorded chamber music for BIS Records.

Satu performs on a 1728/29 Stradivarius, lent to her by the ACO Instrument Fund.

CHRISTOPHER MOORE Principal Viola Photo: Paul Henderson-Kelly

Chair sponsored by Tony Shepherd

Born in Newcastle, Christopher Moore’s strongest childhood memory was seeing his mother Patricia (a long time ACO Newcastle subscriber) pulling into the driveway of his Valentine home with a tiny blue violin case on the back seat. Pat was and still is a dedicated amateur musician and took Chris to concerts long before he learned to tie his shoelaces. After studying with prominent Sydney Suzuki teachers, Marjorie Hystek and the late Harold Brissendon, he completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell.

After working with the Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highly strung instrument and moved his musical focus and energy to the viola. He had always thought the violin made his head look big! He accepted a position as violist with the Melbourne Symphony Orchestra – a position he held for eighteen months before successfully auditioning for the position of Associate Principal Viola with the same orchestra.

During the 2006 ACO season, Chris appeared as Guest Principal Violist and then accompanied the ACO on their Malaysian tour.

It was during this time that Chris successfully auditioned for the ACO’s Principal Viola position.

Christopher plays on a 1937 Arthur E. Smith viola (Sydney).

20 AUSTRALIAN CHAMBER ORCHESTRA

TIMOVEIKKO VALVE Principal Cello Photo: Paul Henderson-Kelly

Chair sponsored by Mr Peter Weiss AM

Timo-Veikko Valve began his studies at the age of 6 at the WestHelsinki Music Institute. He then studied at the Sibelius Academy with Heikki Rautasalo, Marko Ylönen and Teemu Kupiainen, and in Edsberg, Stockholm, with Torleif Thedéen and Mats Zetterqvist. He graduated from both institutions focusing on Chamber Music.

Timo-Veikko has performed as a soloist in Europe, Asia, Australia and the US with the Helsinki Filharmonia, Finnish Radio Symphony Orchestra, Sinfonia Lahti, Tampere Filharmonia and the Ostrobothnian Chamber Orchestra among others.

Valve has performed at festivals including the Helsinki Festival, Kemiö Music Festival, Musica Nova Helsinki, Kuhmo Chamber Music, Lahti Sibelius-festival and Järvenpää Sibelius-festival. He records regularly for the Finnish Broadcasting Company and has given world premiere performances of works by Jean Sibelius and others.

In 2006 he was appointed Principal Cello of the ACO. Valve is a guest teacher at the Australian National Academy of Music and a founding member of Jousia Ensemble and Jousia Quartet.

Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello kindly on loan from Mr Peter Weiss AM.

JAN ERIK GUSTAFSSON Cello Finnish cellist Jan-Erik Gustafsson is much admired for his multi-faceted career as a recitalist, concerto soloist, chamber musician and festival director. Describing a Prokofiev performance, the Washington Post wrote that he “set the work ablaze with fury and grandeur”.

As a soloist, Gustafsson has appeared with orchestras in the USA, Asia and Europe, including the London Symphony, National Symphony, Helsinki Philharmonic and St Petersburg Philharmonic Orchestras. As a recitalist, he has performed at such prestigious venues as the Kennedy Center in Washington, Suntory Hall in Tokyo, the Musikverein in Vienna and Wigmore Hall in London.

Gustafsson won the 1986 EBU Young Musician of the Year Competition, 1994 Young Concert Artists International Auditions and Second Prize in the 1993 Leonard Rose International Cello Competition.

Gustafsson is the Director of Loviisa Sibelius Festival in Finland.

Players dressed by

AKIRA ISOGAWA

Ondine Records has released three of Gustafsson’s recordings, including a disc of sonatas named Recording of the Year by the Finnish Broadcasting Company.

Gustafsson plays a Carl Giuseppe Testore cello made in Milan in 1718 and lent to him by the Finnish Cultural Foundation.

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 Brendan Hopkins Tony Shepherd Andrew Stevens John Taberner Peter Yates AM

EXECUTIVE OFFICE

FINANCE

MARKETING

Timothy Calnin General Manager

Steve Davidson Chief Financial Officer

Georgia Rivers Marketing & Digital Projects Manager

Jessica Block Deputy General Manager and Development Manager

Cathy Davey Senior Accountant

Rosie Rothery Marketing Executive

Shyleja Paul Assistant Accountant

Chris Griffith Box Office Manager

DEVELOPMENT

Mary Stielow Publicist

Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO ARTISTIC & OPERATIONS

Alexandra Cameron-Fraser Corporate Relations and Public Affairs Manager

Dean Watson Customer Relations Manager

Kate Bilson Events Manager

Lachlan Wright Office Administrator & Marketing Assistant

Tom Carrig Senior Development Executive

INFORMATION SYSTEMS

Gabriel van Aalst Orchestra Manager

Lillian Armitage Philanthropy Manager

Ken McSwain Systems & Technology Manager

Erin McNamara Tour Manager

Kylie Anania Patrons Manager

Emmanuel Espinas Network Infrastructure Engineer

Elissa Seed Travel Coordinator

Liz D’Olier Development Coordinator

Richard Tognetti AO Artistic Director Michael Stevens Head of Artistic Planning & Operations

Jennifer Collins Librarian EDUCATION Vicki Stanley Education and Emerging Artists Manager Sarah Conolan Education Assistant

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not for profit company registered in NSW. In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000

By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Office: 1800 444 444 Email: aco@aco.com.au Website: aco.com.au

22 AUSTRALIAN CHAMBER ORCHESTRA

ARCHIVES John Harper Archivist

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

VENUE SUPPORT

PO Box 3567 South Bank, Queensland 4101 Telephone: 07 3840 7444 Chair Henry Smerdon AM Deputy Chair Rachel Hunter Trustees

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:

Simon Gallaher Helene George Bill Grant Sophie Mitchell Paul Piticco Mick Power AM Susan Street Rhonda White EXECUTIVE STAFF

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

Chief Executive John Kotzas Director – Presenter Services Ross Cunningham Director – Corporate Services Kieron Roost Acting Director – Patron Services Deborah Murphy Executive Manager – Human Resources Alicia Dodds Executive Manager – Production Services Bill Jessop Acting Executive Manager – Marketing Stefan Treyvaud 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 Anna Bligh MP Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet Ken Smith Deputy Director-General, Arts Queensland Leigh Tabrett 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.

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

AUSTRALIAN CHAMBER ORCHESTRA 23

ACKNOWLEDGEMENTS VENUE SUPPORT

SYDNEY OPERA HOUSE TRUST Mr Kim Williams AM (Chair)

A City of Sydney Venue Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Management and Staff Bronwyn Edinger General Manager Gina Anker Sales & Marketing Manager Cally Bartley Technical Manager Paul Berkeley Functions & Bar Manager Donald Brierley Technician Kim Bussell Marketing Assistant Katie Christou Event & Production Coordinator James Cox Venue Services Manager Kerry Johnston Accounts Coordinator Barbara Keffel Duty Manager Cassie Lawton Publicist Graham Parsons Building Services Manager Rosemary Penman Executive Assistant Vico Thai Operations Assistant Craig Thurmer Box Office Manager Jeff Todd Technician Rachel Walton Box Office Assistant Stephanie Wise Event Assistant CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001

Ms Catherine Brenner Rev Dr Arthur Bridge AM Mr Wesley Enoch Ms Renata Kaldor AO Mr Robert Leece AM RFD Ms Sue Nattrass AO Dr Thomas (Tom) Parry AM Mr Leo Schofield AM Mr Evan Williams AM EXECUTIVE MANAGEMENT Chief Executive Officer Richard Evans Chief Operating Officer David Antaw Chief Financial Officer Claire Spencer Director, Building Development & Maintenance Greg McTaggart Director, Marketing, Communications & Customer Services Victoria Doidge Director, Venue Partners & Safety Julia Pucci Executive Producer, SOH Presents Jonathan Bielski 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

Administration 02 9231 9000 Box Office 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com

This is a PLAYBILL / SHOWBILL publication.

Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Chairman Brian Nebenzahl OAM, RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie Clarke Manager—Production—Classical Music Alan Ziegler

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899.

New Zealand — Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz.

UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253.

Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618.

Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2—E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998.

Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690.

South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details.

ACO—115— 16493 — 1/050811

24 AUSTRALIAN CHAMBER ORCHESTRA

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 Melbourne Community Foundation – Connie & Craig Kimberley Fund

Nicole Divall Viola Ian & Nina Lansdown

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

Alice Evans Violin Jan Bowen The Davies The Sandgropers

Madeleine Boud Violin Terry Campbell AO & Christine Campbell

Melissa Barnard Cello The Bruce & Joy Reid Foundation Julian Thompson Cello The Clayton Family

Stephen King Viola Philip Bacon AM

GUEST CHAIRS

FRIENDS OF MEDICI

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

Mr & Mrs R Bruce Corlett

AUSTRALIAN CHAMBER ORCHESTRA 25

ACO INSTRUMENT FUND The ACO has established its Instrument Fund, to offer patrons and investors the opportunity toparticipate 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 to the Orchestra to assist the Fund to acquire the Stradivarius violin.

PETER WEISS AM, PATRON VISIONARY $500,000 – $1m

OCTET $100,000 – $199,000

Peter Weiss AM

Amina Belgiorno-Nettis

CONCERTO $200,000 – $499,000

QUARTET $50,000 – $99,000

Naomi Milgrom AO

John and Anne Leece

SONATA $25,000 – $49,999

SOLO $5,000  $9,999

ENSEMBLE $10,000  $24,999

PATRONS $500  $4,999

Leslie & Ginny Green

June & Jim Armitage Angela Roberts

2010 TRANSATLANTIC TOUR PATRONS The ACO would like to pay tribute to the following donors who supported our highly successful 2010 Trans-Atlantic Tour.

MRS AMINA BELGIORNONETTIS, PATRON TOUR PATRONS Mr Barry Humphries AO CBE Sir Michael Parkinson CBE

LEAD PATRONS $50,000+ The Belgiorno-Nettis Family The Bruce & Joy Reid Foundation Mrs Janet L Holmes à Court AC Connie & Craig Kimberley Jan Minchin Dame Elisabeth Murdoch AC DBE

MAJOR PATRONS $20,000 – $49,999 Mr Robert Albert AO & Mrs Libby Albert Philip Bacon AM Liz Cacciottolo & Walter Lewin

Rowena Danziger & Ken Coles Mr Peter Hall Anthony & Sharon Lee Louise & Martyn Myer Foundation Harry Triguboff AO & Rhonda Triguboff Ian Wallace & Kay Freedman Anonymous (1)

ENSEMBLE PATRONS $10,000 – $19,999 Mr Bill & Mrs Marissa Best Jenny & Stephen Charles Mr & Mrs Robin Crawford Martin Dickson AM & Susie Dickson Chris & Tony Froggatt Ann Gamble Myer Leslie & Ginny Green Brendan & Bee Hopkins PJ Jopling QC Prudence MacLeod

26 AUSTRALIAN CHAMBER ORCHESTRA

Macquarie Group Foundation Donald McGauchie Mr Andrew Messenger Gretel Packer peckvonhartel architects Julien & Michelle Playoust John Taberner & Grant Lang Michael & Eleonora Triguboff Peter Weiss AM

SOLO PATRONS $5,000 – $9,999 Antoinette Albert Tony & Carol Berg Robert & Kay Bryan Ross & Rona Clarke Wendy Edwards Chris & Judy Fullerton Phillip Isaacs OAM Wayne N Kratzmann Ian & Nina Lansdown Irene Lee Justice Jane Mathews AO Carole & Peter Muller Craig Ng Graham J Rich

Dr Gillian Ritchie Vivienne Sharpe Tony Shepherd Beverley Trivett Anonymous (2)

PATRONS $500 – $4,999 Isla Baring Jan Bowen The Hon. Mr Laurie Brereton & The Hon. Justice Trisha Kavanagh Edmund Capon David & Jane Clarke Jillian Cobcroft Ann & Bruce Corlett Terry & Lynn Fern Bill & Lea Ferris Alan & Joanna Gemes Peeyush & Shubura Gupta Michael & Anna Joel Nicky McWilliam Susan & Garry Rothwell Peter Yates AM & Susan Yates

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.

CREATIVE MUSIC FUND COMMISSION Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin Austin Bell & Andrew Carter T Cavanagh & J Gardner Chin Moody Family Anne Coombs & Susan Varga Greg Dickson

John Gaden AM Cathy Gray Brian Kelleher Penny Le Couteur Andrew Leece Scott Marinchek & David Wynne Kate Mills Janne Ryan

Barbara Schmidt & Peter Cudlipp Jane Smith Richard Steele Peter Weiss AM Cameron Williams Anonymous (1)

OTHER COMMISSIONS Robert & Nancy Pallin

NATIONAL EDUCATION PROGRAM PATRONS Janet Holmes à Court AC Marc Besen AO & Eva Besen AO

TRUSTS AND FOUNDATIONS

HOLMES À COURT FAMILY FOUNDATION

THE ROSS TRUST

THE THYNE REID FOUNDATION THE NEILSON FOUNDATION LIMB FAMILY FOUNDATION THE SUNJOTO FOUNDATION — ‘The Spirit of Giving’

AUSTRALIAN CHAMBER ORCHESTRA 27

ACO DONATION PROGRAM The ACO pays tribute to all of our generous donors who support our many activities, including our National and International touring, recordings, and our National Emerging Artists and Education Programs.

This year, our donors have generously 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.

EMERGING ARTIST PATRON & EDUCATION PATRONS $10,000+ The Abercrombie Family Foundation Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin John & Patti David Pamela Duncan Australian Communities Foundation – Ballandry (Peter Griffin Family) Fund Brendan & Bee Hopkins Roger Massy-Greene & Belinda Hutchinson AM Miss Nancy Kimpton Julianne Maxwell Andrew P Messenger Jeff Mitchell Louise & Martyn Myer Foundation John Taberner & Grant Lang Ian Wallace & Kay Freedman Peter Weiss AM Anonymous (1)

DIRETTORE $5,000$9,999 The Belalberi Foundation Elizabeth & Nicholas Callinan John & Lynnly Chalk Ross & Rona Clarke Bridget Faye AM Ian & Caroline Frazer Dr & Mrs E C Gray

Keith Kerridge Wayne N Kratzmann Philip A Levy Fiona & Mark Lochtenberg Lorraine Logan Hon Dr Kemeri Murray AO Marianna & Tony O’Sullivan John Rickard Roberts Family A J Rogers Alden Toevs & Judi Wolf Ian Wilcox & Mary Kostakidis Anonymous (4)

MAESTRO $2,500$4,999 Michael Ahrens Jane Allen Will & Dorothy Bailey Bequest Virginia Berger Michael Cameron Cam & Helen Carter Jon Clark & Lynne Springer Caroline & Robert Clemente Leith & Darrel Conybeare M. Crittenden John & Gloria Darroch Kate Dixon Professor Dexter Dunphy AM Leigh Emmett Suellen Enestrom John & Jenny Green Philip Griffiths Architects Nereda Hanlon & Michael Hanlon AM Don Hart Lindi & John Hopkins Angela James & Phil McMaster Philip Maxwell & Jane Tham Jan McDonald

28 AUSTRALIAN CHAMBER ORCHESTRA

John Marshall & Andrew Michael, Apparel Group Pty Ltd P J Miller Donald Morley J G Osborn Sandra & Michael Paul Endowment S & B Penfold Ralph & Ruth Renard D N Sanders Greg Shalit & Miriam Faine Mrs Carol Sisson Dr Charles Su & Dr Emily Lo Tom Thawley Dr & Mrs R Tinning Laurie Walker Alastair Walton Ralph Ward-Ambler AM & Barbara Ward-Ambler Karen & Geoff Wilson Janie & Neville Wittey Anonymous (12)

VIRTUOSO $1,000$2,499 Annette Adair Peter & Cathy Aird Rae & David Allen Andrew Andersons Peter & Lillian Armitage Sibilla Baer Doug & Alison Battersby The Beeren Foundation Ruth Bell Bruce Beresford Victoria Beresin Bill & Marissa Best Jessica Block Brains Vicki Brooke

ACO DONATION PROGRAM Sally Bufé Neil Burley & Jane Munro Mark Burrows & Juliet Ashworth G Byrne & D O’Sullivan J & M Cameron Sandra Cassell Ann Cebon-Glass Paul Cochrane John & Christine Collingwood Judy Croll Betty Crouchley Diana & Ian Curtis Marie Dalziel June Danks Michael & Wendy Davis Anne & Tom Dowling Jennifer Dowling Anne & Tom Dowling Professor Peter Ebeling & Mr Gary Plover Wendy Edwards Anne-Maree Englund Peter Evans H E Fairfax Elizabeth Finnegan Nancy & Graham Fox Anne & Justin Gardener Rhyll Gardner Colin Golvan SC Cathy Gray Warren Green Elizabeth & Peter Harbison Lesley Harland Annie Hawker Patagonian Enterprises Pty Ltd Pete Hollings Peter & Ann Hollingworth Carrie & Stanley Howard Penelope Hughes Wendy Hughes Pam & Bill Hughes Phillip Isaacs OAM David Iverach Warren & Joan Johns Andrew Johnston D & I Kallinikos Len La Flamme John Landers & Linda Sweeny Mrs Judy Lee

Greg Lindsay AO & Jenny Lindsay Joanne Frederiksen & Paul Lindwall Bronwyn & Andrew Lumsden Clive Magowan Anne Male-Perkins Mr & Mrs Greg & Jan Marsh Deidre & Kevin McCann Brian & Helen McFadyen J A McKernan Marie Morton Nola Nettheim The Hon Mr. Justice Barry O’Keefe AM & Mrs Janette O’Keefe Anne & Christopher Page peckvonhartel architects S & B Penfold Prof David Penington AC Nick & Claire Poll Warwick & Jeanette Richmond In Memory of Andrew Richmond Em Prof A W Roberts AM Pamela Rogers Julia Champtaloup & Andrew Rothery Tony Shepherd Edward Simpson Diana & Brian Snape AM Maria Sola & Malcolm Douglas Peter & Johanna Stirling Benson John & Jo Strutt Leslie C Thiess Colin & Joanne Trumble Ngaire Turner Kay Vernon Ellen Waugh M W Wells Audrey & Michael Wilson Sir Robert Woods Nick & Jo Wormald Anna & Mark Yates Don & Mary Ann Yeats Peter Young William Yuille Dr Lawrie Zion Anonymous (15)

CONCERTINO $500$999 Antoinette Ackermann The late Mr Ross Adamson & Mrs Lenore Adamson Mr L H & Mrs M C Ainsworth A Annand Elsa Atkin Banting Electronics Jeremy Ian Barth Tamara Best Brian Bothwell Denise Braggett Diana Brookes D J Brown Jasmine Brunner Arnaldo Buch Colleen & Michael Chesterman Stephen Chivers Georg and Monika Chmiel John Clayton Angela & John Compton Alan Fraser Cooper P Cornwell & C Rice Dr Julie Crozier Sharlene Dadd Lindee Dalziell Anouk Darling Mari Davis Lucio Di Bartolomeo Jane Diamond Martin Dolan In Memory of Raymond Dudley Rodney Beech & Mariee Durkin-Beech M T & R L Elford Julie Ewington Mr & Mrs R J Gehrig Mirek Generowicz Brian Goddard Steve Gray Kelvin & Rosemary Griffith Tom Griffith & Adrienne Cahalan Richard W Gulley Matthew Handbury John Hibbard

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATION PROGRAM Michael Horsburgh AM & Beverley Horsburgh Bill & Pam Hughes Dr & Mrs Michael Hunter John & Pamela Hutchinson Stephanie & Michael Hutchinson Philip & Sheila Jacobson Davina Johnson Mrs Angela Karpin Dominic & Sophia Kazlauskas Bruce and Natalie Kellett David & Angela Kent Drew Lindsay & Karl Zebel Penelope Little Sydney & Airdrie Lloyd Lorraine Lord Judy Lynch James MacKean Jennifer Marshall Peter Mason AM Donald C Maxwell Dr Hamish & Mrs Rosemary McGlashan Kim & Shirley McGrath Harold & Bertha Milner John Mitchell and Carol Farlow Money Warehouse Marie Morton Helen & Gerald Moylan Sharyn Munro Susan Negrau Maurice Newman AC Ken Nielsen J Norman Graham North Allegra & Giselle Overton Josephine Paech Anne & Christopher Page Leslie Parsonage Deborah Pearson

Kevin Phillips Michael Power Alison Renwick John & Virginia Richardson Michael Ryan Garry E Scarf Jeff Schwartz Alison Scott Vivienne Sharpe Mr Ted Springett Andrew & Pip Stevens Dr Douglas Sturkey CVO AM Master William Taylor Elizabeth Thomas Matthew Toohey Anica Vasic John & Pat Webb G C & R Weir Dr Gwen Woodroofe Woodyatt Family Michael & Susan Yabsley Anonymous (39)

CONTINUO CIRCLE BEQUEST PROGRAM The late Kerstin Lillemor Andersen Ruth Bell Dave Beswick Sandra Cassell The late Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Suzanne Gleeson Lachie Hill Penelope Hughes The late Mr Geoff Lee AM OAM Mrs Judy Lee The late Richard Ponder Dawn Searle & the late Richard Searle 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.

30 AUSTRALIAN CHAMBER ORCHESTRA

ACO CAPITAL CHALLENGE INSPIRE THE FUTURE… The ACO Capital Challenge is a secure fund, which will permanently strengthen the ACO’s future.

Revenue generated by the corpus will provide 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

QUARTET $50,000 – $99,000

SONATA $30,000 – $49,999

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

The Clayton Family Mr Peter Hall Mr & Mrs Philip & Fiona Latham Mr John Taberner & Mr Grant Lang Mr Peter Yates AM & Mrs Susan Yates

Mr Martin Dickson AM & Mrs Susie Dickson Brendan & Bee Hopkins Mr John Leece OAM & Mrs Anne Leece Ilma Peters Mrs Patricia Reid Mr Timothy Samway Steve Wilson

OCTET $100,000 – $249,000 Mr Robert Albert AO & Mrs Libby Albert Mrs Amina Belgiorno-Nettis The Thomas Foundation

ACO INSTRUMENT FUND BOARD MEMBERS Brendan Hopkins (Chairman)

Bill Best Jessica Block

John Leece OAM John Taberner

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

Liz Cacciottolo Senior Advisor UBS Australia Ian Davis Managing Director Telstra Television Chris Froggatt Tony Gill

Rhyll Gardner General Manager Group Strategy St George Bank Brendan Hopkins Tony O’Sullivan Managing Partner O’Sullivan Partners

Tony Shepherd Chairman Transfield Services John Taberner Consultant Freehills

MELBOURNE DEVELOPMENT COUNCIL Chair – Peter Yates AM Debbie & Ben Brady Chairman Libby Callinan Royal Institution Stephen Charles of Australia and Peony Capital

Paul Cochrane Investment Advisor Bell Potter Securities Jan Minchin Director Tolarno Galleries

Susan Negrau Development & Corporate Relations Manager Melbourne International Arts Festival

EVENT COMMITTEES Bowral Elsa Atkin Michael Ball AM (Chairman) Daria Ball Linda Hopkins Karen Mewes Keith Mewes The Hon Michael Yabsley

Brisbane Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn

Sydney Mar Beltran Creina Chapman Suzanne Cohen Patricia Connolly Elaine Davoren Judy Anne Edwards Elizabeth Harbison Bee Hopkins

Sarah Jenkins Vanessa Jenkins Abigail Jones Andrew Laughlin David Stewart Mary Stollery Tom Thawley Rosie Williams

AUSTRALIAN CHAMBER ORCHESTRA 31

ACO PARTNERS 2011 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

Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance

Mr John Marshall & Mr Andrew Michael Apparel Group Limited

Mr Peter Schiavello Managing Director Schiavello Group

Mr Peter Mason AM Chairman AMP Limited & Mrs Kate Mason

Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Michael Andrew Australian Chairman KPMG

Mr Angelos Frangopoulos Mr David Mathlin Chief Executive Officer Australian News Channel Senior Principal Sinclair Knight Merz

Mr Philip Bacon AM Director Philip Bacon Galleries

Mr John Grill Chief Executive Officer WorleyParsons

Mr Michael Maxwell & Mrs Julianne Maxwell Mr & Mrs Clive Smith

Mr Brad Banducci Chief Executive Officer Cellarmasters Group

Mrs Janet Holmes à Court AC

Mr Geoff McClellan Chairman Freehills

Mr Jeff Bond General Manager Peter Lehmann Wines Mr Michael & Mrs Helen Carapiet The Hon. Stephen Charles QC & Mrs Jenny Charles Mr & Mrs Robin Crawford

Mr & Mrs Simon & Mr John Meacock Katrina Holmes à Court Managing Partner NSW Observant Pty Limited Deloitte Mr John James Managing Director Vanguard Investments Australia Mr Warwick Johnson Managing Director Optimal Fund Management

Ms Catherine Rowena Danziger AM Livingstone AO & Kenneth G. Coles AM Chairman Telstra Mr Craig Drummond Chief Executive Officer Mr Steven Lowy AM and Country Head Group Managing Bank of America Merrill Director Lynch Australia Westfield Group Mr Didier Mahout CEO Australia & New Zealand BNP Paribas

32 AUSTRALIAN CHAMBER ORCHESTRA

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 Ray Shorrocks Head of Corporate Finance, Sydney Patersons Security

Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Michio (Henry) Taki 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 FOXTEL Mr Peter Yates AM Chairman Royal Institution of Australia and Peony Capital

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

FOUNDING PARTNER

ACO2 PRINCIPAL PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

QLD/NSW REGIONAL TOUR PARTNER

CONCERT AND SERIES PARTNERS

PREFERRED TRAVEL PARTNER

ACCOMMODATION AND EVENT PARTNERS BAR CUPOLA

SWEENEY RESEARCH

GOVERNMENT PARTNERS

AUSTRALIAN CHAMBER ORCHESTRA 33

STACCATO: ACO NEWS ACO IN THE HIGHLANDS On Saturday 7 and Sunday 8 May, the ACO staged its annual Southern Highlands event, ACO in the Highlands. Now in its seventh year, ACO in the Highlands is a weekend of glorious music and festivities, the highlight of which is a black tie dinner held at Milton Park Country House, nestled in the heart of the Highlands.

At the dinner, guests were treated to an intimate performance by Richard Tognetti and members of the Orchestra, and generously showed their financial support for the ACO’s Education Program.

Nancy Fox, Helen Carter, Anne Nelson and Elsa Atkin

34 AUSTRALIAN CHAMBER ORCHESTRA

The following day, guests gathered at Bowral’s International Cricket Hall of Fame, for brunch by the cricket oval and a masterclass featuring local music students led by ACO violinist Madeleine Boud.

The ACO would like to thank sponsors of ACO in the Highlands, the dedicated ACO Southern Highlands Event Committee, and in particular, Michael and Daria Ball, for their ongoing support of this wonderful event.

Michael Ball AM, Jessica Block and Guido Belgiorno-Nettis

Bach, Mozart, Linnaeus...

Masterpieces for generations to come Linnaeus is a private estate embracing the principles of sustainability and inter-generational equity, where owners share a passion for nature, intellectual stimulation and the creative arts.

Experience Linnaeus - pristine wilderness and luxury in an idyllic coastal environment.

T: +61 2 6687 6670 E : info@linnaeus.com.au

www.linnaeus.com.au

ARTS. POLITICS. BOOKS. LIFE. LAUGHTER.

12 issues for just $24 Subscribe now Visit: www.spectator.co.uk/SADD11F Call: 1800 809 233 quoting SAAD11F

With our direct access to the City Recital Hall and seamless space graced with an impressive oil painting, we offer a unique venue in which to enjoy a relaxing pre-concert dinner.

Browse our menu at www.barcupola.com.au Concert patrons can enjoy a choice of main and dessert plus a glass of house red or white wine for $38 (GST inclusive).

We advise patrons to book early to guarantee a table.

We open for dinner 2 hours prior to concerts.

The connecting door from Bar Cupola to Level 1 of the City Recital Hall will be opened 1 hour prior to performances.

BOOKINGS T 9221 3377 F 9221 1112 E barcupola@ozemail.com.au

Voted Best Casual Restaurant and Best Café in SMH Sydney Magazine’s Readers’ poll.

espresso bar casual restaurant corporate lunches corporate catering private dinners cocktails pre-concert functions post performance functions special events product launches breakfast meetings

123 Pitt Street Sydney 2000, Gallery Level; On Site Parking, Disabled Access Monday to Friday, enter via 123 Pitt Street (before 6.30pm) or L1 Recital Hall.

For Saturdays, enter via Recital Hall only Nearest bus stop: Martin Place (5mins walk). Nearest train station: Wynyard (10mins walk)

Celebrating 30 years as founding partner of the Australian Chamber Orchestra.

IBM® is proud to join Australia’s national orchestra in celebrating our pearl anniversary together.

© Copyright IBM Australia Limited 2011 ABN 79 000 024 733 © Copyright IBM Corporation 2011 All Rights Reserved. TRADEMARKS: IBM, the IBM logos, ibm.com and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade.shtml IBMNCA0569