Sonatas for Strings Concert Program

SONATAS FOR STRINGS DECEMBER 2018

Tonight's Program

Program in Short

By Special Arrangement

Listing and concert timings

Your five-minute read before lights down

Bernard Rofe on arrangements for strings

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PRINCIPAL PARTNER

COMING HOME IS NICE BUT

TA K I N G OFF IS WHERE THE EXCITEMENT LIVES

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

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

INSIDE: Welcome

Program

Musicians

From the ACO’s Managing Director Richard Evans

Listing and concert timings

Players on stage for this performance

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About the ACO

Program in Short

By Special Arrangement

Explosive performances and brave interpretations

Your five-minute read before lights down

Bernard Rofe on arrangements for strings

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COVER PHOTO. JULIAN KINGMA | PRINTED BY. ELLIKON FINE PRINTERS

NATIONAL CONCERT SEASON 2018

“Music gives me joy and has helped me in my life.

I always enjoy the opportunity to share music with family, friends, and all music-lovers!”

– AIKO GOTO

The experience of a live concert is like no other. It invigorates, inspires, and transports you from the everyday.

Help share this journey with future generations by leaving a gift in your will.

Aiko Goto – Violin

To join our Continuo Circle, or for information on leaving a gift in your will, please contact Lillian Armitage via email Lillian.Armitage@aco.com.au or call (02) 8274 3827.

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WELCOME Welcome to Melbourne Recital Centre for the ACO’s final concert for 2018, Sonatas for Strings.

This evening you will hear Richard Tognetti and the Orchestra perform a collection of pieces, each of which have become ACO favourites over the years. These include Elgar’s adored Serenade for Strings, Peter Sculthorpe’s Sonata for Strings No.1, so wonderfully evocative of the Australian landscape, and Ravel’s Deux Mélodies Hébraïques, presented in one of Richard Tognetti’s signature arrangements.

2018 has been an action-packed year for the ACO, and we are delighted to be closing the Season with this beautiful program in this most magnificent Melbourne venue.

On behalf of Richard Tognetti, and all the staff and musicians here at the ACO, I wish you a joyous and rejuvenating festive season. We look forward to joining you in the Melbourne Recital Centre once again in 2019.

Richard Evans Managing Director Join the conversation

#ACO18

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Levante GranLusso

When luxury has no limits

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PROGRAM Richard Tognetti Director and Violin Australian Chamber Orchestra PRE-CONCERT TALK

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With Robert Murray at 6.45pm (45 mins prior to the performance)

SCULTHORPE Sonata for Strings No.1

I. Sun Song

II. Chorale –

III. Interlude

IV. Chorale –

V. Sun Song

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Préludes, Book I DEBUSSY (arr. Richard Tognetti)

VIII. La fille aux cheveux de lin

IX. La sérénade interrompue

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Deux Mélodies Hébraïques RAVEL (arr. Richard Tognetti)

I. Kaddish

II. L’énigme éternelle

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INTERVAL ELGAR

Serenade for Strings in E minor, Op.20 I. Allegro piacevole II. Larghetto III. Allegretto

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WALTON

Sonata for Strings I. Allegro II. Presto III. Lento IV. Allegro molto

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

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

ACO concerts are regularly broadcast on ABC Classic FM.

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MUSICIANS The musicians on stage for this performance.

Helena Rathbone Principal Violin

Helena plays a 1759 Giovanni Battista Guadagnini violin kindly on loan from the Commonwealth Bank Group. Her Chair is sponsored by Kate & Daryl Dixon.

Richard Tognetti Director and Violin

Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. His Chair is sponsored by Wendy Edwards, Peter & Ruth McMullin, Louise Myer & Martyn Myer ao, Andrew & Andrea Roberts.

Glenn Christensen Violin

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

Satu Vänskä Principal Violin

Satu plays the 1726 ‘Belgiorno’ Stradivarius violin kindly on loan from Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis.

Her Chair is sponsored

by Kay Bryan.

AUSTRALIAN CHAMBER ORCHESTRA

Mark Ingwersen Violin

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

ACO PLAYERS DRESSED BY SABA

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Timo-Veikko Valve Principal Cello

Maja Savnik Violin

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

Maja plays the 1714 ‘ex-Isolde Menges’ Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. Her Chair is sponsored by Alenka Tindale.

Maxime Bibeau Principal Bass

Julian Thompson Cello

Danusha Waskiewicz Guest Principal Viola

Chair sponsored by peckvonhartel architects.

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

by Darin Cooper Foundation.

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

His Chair is sponsored by The Grist & Stewart Families.

Discover more

Elizabeth Woolnough

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

Elizabeth appears courtesy of Melbourne Symphony Orchestra.

aco.com.au

Viola

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ACO ON STAGE

Wiener Konzerthaus, Vienna

AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. WOLTER PEETERS

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

– The Australian, 2017

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

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

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

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

ACO MUSICIAN PHOTOS. BEN SULLIVAN

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PROGRAM IN SHORT Your five-minute read before lights down

Peter Sculthorpe (1929 – 2014)

Claude Debussy (1862 – 1918)

Sonata for Strings No.1

Preludes, Book 1: VIII. La fille aux cheveux de lin IX. La sérénade interrompue Arranged by Richard Tognetti

Peter Sculthorpe’s first Sonata for Strings is based on his 10th string quartet, commissioned in 1983 by the Kronos Quartet. In composing for the American quartet, Sculthorpe writes that it seemed fitting to use material associated with the United States. Drawing on materials from the other side of the Pacific rim for the first time, the outer movements and Interlude incorporate transformations and rhythms found in the music of the Pueblo Indians.

At the same time, the music suggests the breadth of the Australian landscape and its different rates of change. Sculthorpe writes that “My overriding intention in writing this work was to fashion music of straightforward line and structure. Such a music, I believe, relates easily to Australia.”

AUSTRALIAN CHAMBER ORCHESTRA

Debussy published two books of piano preludes in 1910 and 1913. Each set contains 12 stand-alone pieces that paint a specific scene described in titles placed at the end of each piece. “La fille aux cheveux de lin” (The girl with the flaxen hair) refers to a poem by Charles Marie Leconte de Lisle. In the poem, a beautiful girl with cherry-red lips is singing to herself in an alfalfa field in the fresh morning air.

Her lover urges her not to speak while he kisses her hair. “La sérénade interrompue” (The interrupted serenade) evokes a Spanish scene in which a serenade of song accompanied by Andalusian guitar is interrupted by some unknown disturbance.

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Maurice Ravel (1875 – 1937)

Sir William Walton (1902 – 1983)

Deux Mélodies Hébraïques

Sonata for Strings

Arranged by Richard Tognetti

Ravel maintained a long-held interest in traditional melodies from varied cultures, avidly transcribing them. After the publication of an anthology of Jewish Folk Music in Russia, Ravel transcribed these two songs in 1914. The first, Kaddish, is a version of a Jewish prayer used in synagogues and also during funeral rites.

The second, The Eternal Enigma, is a simple song taken from a text that is in the Yiddish vernacular. Richard Tognetti’s arrangements for strings give the solo violin the vocal lines, while the orchestra brings its range of textural possibilities to Ravel’s accompaniment.

Sir Neville Marriner, founder and conductor of the Academy of St Martin in the Fields, happened upon Sir William Walton in a London hotel, and immediately tried to convince him to write a work for his orchestra. Walton initially declined, but changed his mind just enough to re-arrange his String Quartet No.2 in A minor. The resulting work, whose 4th movement transcription was also assisted by Sir Malcolm Arnold, was premiered by the Academy of St Martin in the Fields in Perth, Australia, during an overseas tour. Walton’s arrangement adds symphonic weight and drama to the original quartet, and is virtuosic for all involved, such that Christopher Palmer has suggested the alternative title “Concerto for String Quartet and String Orchestra.”

Sir Edward Elgar (1857 – 1934) Serenade for Strings in E minor, Op.20

Elgar’s first instrument was the violin, and he maintained a love for the string family throughout his career. This love resulted in his ever-popular violin and cello concertos, as well as Introduction and Allegro and Sospiri. The Serenade for Strings of 1892 seems to have received its premiere with the Ladies’ Orchestral Class of Worcester, which Elgar trained.

It is short but perfectly formed, and a distinctly English work. Serene and noble, Elgar often regarded it as his favourite.

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By Arrange

AUSTRALIAN CHAMBER ORCHESTRA

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Special ment ACO Librarian Bernard Rofe on arrangements for strings.

PHOTO. NIC WALKER

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“Bad poets deface what they take, and good poets make it into something better, or at least something different”

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here is an old saying: “Good artists copy; great artists steal.” The very phrase itself has, with no shortage of irony I might add, been subject to that very style of appropriation over the course of the last century. In 1920 the poet T. S. Eliot published The Sacred Wood, writing that “Immature poets imitate; mature poets steal”. Funnily enough, he wasn’t the first to use the phrase, nor was he the last.

In 1967, Los Angeles based music critic and lecturer Peter Yates published Twentieth Century Music, in which he claimed he heard Igor Stravinsky, when discussing his Three Songs by William Shakespeare and how they epitomised his discovery of Webern’s music, say that “A good composer does not imitate; he steals”. In 1988 the Sydney Morning Herald discussed lawsuits in the computer industry and the development of the Macintosh computer system, reporting that Steve Jobs had kept in mind a quote from Pablo Picasso: “Good artists copy. Great artists steal.”

Whether you believe the phrase originated with T. S. Eliot, Stravinsky or Picasso, you have likely heard it before, and would therefore have considered its truth within the creative arts. I would argue that it doesn’t really matter who originally came up with it, nor does Left. T.S. Eliot (1888-1965). Oil on canvas, 1949,

by Patrick Heron.

the phrase on its own do justice to the plethora of artworks, in diverse genres, that are inspired, borrowed or “stolen” from an original source. To quote T. S. Eliot’s version with a little more context: “One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.”

The most important idea here is not that mature artists steal, but that they take something and turn it into something better. This certainly does not imply that what they are taking is lacking in some way, rather, that under the right circumstances, something new and of value can be added by an artist of considerable skill and talent.

In music, there are two acts of “stealing” that fall within the spirit of what T. S. Eliot was stipulating: The first involves direct quotations of musical material from a pre-existing source. If you attended the ACO’s most recent national tour, Tognetti’s Beethoven, you will know exactly what I’m talking about: the opening theme of Beethoven’s fifth symphony has been quoted, ad nauseam, in pieces ranging from Mahler’s fifth symphony and Charles Ives’s Concord Sonata to Walter Murphy’s funky 1976 disco treatment, appropriately titled A Fifth of Beethoven.

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“Arranging and transcribing music was an important compositional practice that pervaded the work of the best and most famous of composers”

This kind of stealing, whilst often satisfying to the listener, comes with inevitable complications: that is, accusations of plagiarism. Eric Carmen’s 1975 single All By Myself, based on the second movement of Rachmaninoff’s second piano concerto, became the subject of a dispute from the Russian composer’s estate, who went on to earn 12 percent of royalties from Eric Carmen’s release. A more recent example involves a court’s decision to award Marvin Gaye’s family 50 percent of all royalties from Pharrell Williams and Robin Thicke’s song Blurred Lines, which was found to have infringed upon Gaye’s song Got to Give It Up. If this all sounds concerning, fear not. The second, much nobler act of stealing is totally transparent in the use of its source material: the arrangement of an existing piece of music for new instrumental forces. If you are a regular attendee of ACO concerts, you will have heard many pieces of music presented in arrangements for string orchestra.

One famous example is Samuel Barber’s Adagio for Strings, arranged from the second movement of his String Quartet in B minor, and subsequently re-arranged into his Agnus Dei for a cappella choir.

Another mainstay of the ACO’s repertoire, Edvard Grieg’s Holberg Suite, was originally composed for solo piano.

The practice is not confined to the realms of music. Stroll into a major AUSTRALIAN CHAMBER ORCHESTRA

art gallery and you might just come across one of Francis Bacon’s 50 or so frightening variants of Diego Velázquez’s much more realistic 1650 Portrait of Pope Innocent X. William Shakespeare’s most famous tragedy, Romeo and Juliet, is itself based on an Italian tale translated

by Arthur Brooke in 1562 and retold in prose in 1567. Visit any cinema and there is a very good chance you will be watching a re-make of an old classic.

In music, the act of arranging is an art in itself. During Johann Sebastian Bach’s time, arranging and transcribing music was an important compositional practice that pervaded the work of the best and most famous of composers.

Bach’s oeuvre includes arrangements of concertos by Antonio Vivaldi and Georg Philipp Telemann, both important influences on his own concertos. Of Bach’s original output, there exist both lute and orchestral arrangements of his works for unaccompanied violin and cello, vocal cantata arrangements of the Brandenburg Concertos, re-imaginings of violin concertos as harpsichord concertos, and large-scale works such as the Mass in B minor and Christmas Oratorio – both re-worked from existing Cantata material.

In turn, Bach has become one of the most arranged composers in history, receiving treatment from the likes of Johannes Brahms, Igor Stravinsky, György Kurtág, Jacques Loussier and Wendy Carlos.

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Wolfgang Amadeus Mozart created small-scale string arrangements of Bach’s Well-Tempered Clavier, as well as a full-blown re-orchestration of Handel’s Messiah. By Beethoven’s time, arrangements had become an important means of ensuring a piece of music was profitable and playable beyond its original conception, and Beethoven produced his own piano arrangements of his string quartets (including the Grosse Fuge, an ACO specialty) and violin concerto.

Approaching the 20th century, there is no shortage of excellent arrangements in the form of orchestrations of smallerscale works: The popularity of Erik Satie’s Gymnopédies was significantly boosted when his friend Claude Debussy arranged them for orchestra in 1896.

Arnold Schoenberg’s 1899 string sextet Verklärte Nacht is now most frequently performed and recorded in the composer’s arrangement for string orchestra. Modest Mussorgsky’s Pictures at an Exhibition, originally composed for solo piano, is today almost exclusively heard in Maurice Ravel’s 1922 orchestration. Ottorino Respighi turned obscure Renaissance lute pieces into popular concert items in his Ancient Airs and Dances. And Ralph Vaughan Williams’s The Lark Ascending, beloved

by ACO audiences, originally existed as a piece for violin and piano before the composer arranged it for orchestra.

Top Portrait photograph of Pablo Picasso, in front of his painting The Aficionado, France 1912.

Middle Bach’s Sinfonia to Cantata No.29, arranged from his Partita for Solo Violin in E major Above Portrait of Claude Debussy by Marcel Baschet, painted in 1884.

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“The clean, expressive lines of Sculthorpe’s quartet turn more rugged, earthy and expansive in his arrangement for strings”

Top Peter Sculthorpe.

Middle Artistic Director, Richard Tognetti.

Above Manuscript of Richard Tognetti’s arrangement of Ravel’s Kaddish, dated April 1993.

AUSTRALIAN CHAMBER ORCHESTRA

As you peruse the program listing for this concert of evergreens for strings, you may not realise that every piece is an arrangement of a smaller scale work. It’s not immediately apparent – only Debussy’s Préludes and Ravel’s Deux Mélodies Hébraïques bear an arrangement credit. But, as the backgrounds of the other pieces are revealed, it becomes clear that they didn’t always exist in the form you will be hearing them during this concert.

Peter Sculthorpe’s first Sonata for Strings, commissioned for and premiered by the ACO in 1983, is based on his String Quartet No.10, commissioned in the same year by the Kronos Quartet. The clean, expressive lines of Sculthorpe’s quartet turn more rugged, earthy and expansive in his arrangement for strings, and it is these exact qualities that so perfectly serve his overriding intentions: to form a piece that “relates easily to Australia”, particularly by “suggesting the breadth of the Australian landscape.”

English composer Sir William Walton’s Sonata for Strings, like Sculthorpe’s, is an arrangement of an earlier string quartet.

He had been asked to compose a new work for the Academy of St Martin in the Fields by its conductor, Sir Neville Marriner, and although Walton initially declined Marriner’s proposal, he later decided to arrange his second string quartet for the orchestra. He was assisted PHOTO OF TOGNETTI. BEN SULLIVAN

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by Sir Malcolm Arnold, who carried out the transcription of the final movement under Walton’s supervision, and the premiere was given in 1972 in Perth during the orchestra’s visit to Australia.

Today, the work is most frequently heard in this arrangement for string orchestra.

It benefits greatly from the symphonic nature of Walton’s orchestration, which enhances the dramatic effect of each musical idea, whilst also emphasising the intimacy of sections that are pared back to the original quartet.

Sandwiched between Sculthorpe and Walton’s sonatas for strings are Elgar’s short but perfectly formed Serenade for Strings, itself a re-working of a suite

girl becomes a character in Tognetti’s arrangement, singing to herself as a solo violin in a field of lush strings. In “La sérénade interrompue” (The interrupted serenade), Debussy’s kaleidoscope of song, Spanish patterns and Andalusian guitars gets shared out between the members of the orchestra, highlighting the sense of exotic colour, rhythmic frenzy and dramatic interruption.

Ravel’s Deux Mélodies Hébraïques, on the other hand, becomes haunting and unbearably moving in Tognetti’s arrangement for violin and strings, such that I’ve heard this particular arrangement – which is now in demand worldwide as a concert piece –

“Ravel’s Deux Mélodies Hébraïques … become haunting and unbearably moving in Tognetti’s arrangement for violin and strings” Elgar had written years earlier, as well as arrangements of four short pieces by Debussy and Ravel. For an orchestra such as the ACO, the rationale for arranging is simple: there is only so much music out there composed for string orchestra, and so we must, in Richard Tognetti’s words, “pillage” from the broader repertoire.

Tognetti, who has produced more than 150 arrangements in his time as Artistic Director of the ACO, has expressed a sense of frustration that the so-called “Impressionist” composers, despite their fascination with orchestral colour, wrote very few works for strings.

Debussy’s Préludes for solo piano are too evocative not to suggest orchestral colour. In “La fille aux cheveux de lin” (The girl with the flaxen hair), the titular

described by a fellow composer as “something very perfect”.

And so the old saying goes: “Good artists copy; great artists steal”.

As you sit through this concert of quintessential works for string orchestra, ask yourself: Do you hear the earthy expanse of Peter Sculthorpe’s Australia?

Does the orchestra paint the scenes in Debussy’s Préludes, or exhilarate you with its energy and power in Walton’s Sonata for Strings? Does Ravel’s Kaddish move you to tears?

If you answered “Yes”, then there isn’t any doubt that creating arrangements of music is the most poetic form of musical thievery – by which a great artist can take a piece of music and, as T. S. Eliot said, make it into something even better.

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Behind the scenes Board

Learning & Engagement

Philanthropy

Guido Belgiorno-Nettis am

Tara Smith

Jill Colvin

Learning & Engagement Manager

Director of Philanthropy

Caitlin Gilmour

Lillian Armitage

Emerging Artists and Education Coordinator

Capital Campaign & Major Gifts Manager

Chairman

Liz Lewin Deputy

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

Artistic Director Richard Tognetti ao

Administrative Staff Executive Office Richard Evans Managing Director

Alexandra Cameron-Fraser Chief Operating Officer

Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

Finance Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

Market Development Antonia Farrugia Director of Market Development

Caitlin Benetatos

Christie Brewster

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

Telephone (02) 8274 3800 Box Office 1800 444 444

CRM and Marketing Executive

Leigh Brezler

Kay-Yin Teoh

Luke Shaw

Partnerships Executive

Director of Artistic Operations

Colin Taylor

Artistic Administrator

Ticketing Sales & Operations Manager

Lisa Mullineux

Dean Watson

Tour Manager

Customer Relations & Access Manager

Ross Chapman

Mel Piu

Touring & Production Coordinator

Box Office Assistant

Stephanie Dillon

Robin Hall

AUSTRALIAN CHAMBER ORCHESTRA

Australian Chamber Orchestra

Cristina Maldonado

Artistic Operations

Multimedia, Music Technology & Artistic Assistant

Investor Relations Manager

Lead Creative

Partnerships Manager

Joseph Nizeti

Yeehwan Yeoh

PO Box R21, Royal Exchange NSW 1225 Australia

Digital Marketing Manager

Penny Cooper

Librarian

Philanthropy Manager

By Mail

HR Manager

Bernard Rofe

Sarah Morrisby

Rory O’Maley

Director of Partnerships

Travel Coordinator

Events & Special Projects Manager

Communications Manager

Claire Diment

Anna Melville

Tom Tansey

Archival Administrator

Email aco@aco.com.au

Web aco.com.au

Venue Support

MELBOURNE RECITAL CENTRE

Cnr Southbank Blvd & Sturt St, Southbank VIC 3006 Telephone +613 9699 3333 Web melbournerecital.com.au Kathryn Fagg Chair Euan Murdoch CEO

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

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

by Helena Rathbone, the ACO’s Principal Violin.

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Acknowledgments ACO Medici Program Medici Patron The late Amina Belgiorno-Nettis

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

Helena Rathbone

Core Chairs VIOLIN

CELLO

Glenn Christensen

Melissa Barnard

Terry Campbell ao & Christine Campbell

Dr & Mrs J Wenderoth

Aiko Goto

Julian Thompson

Anthony & Sharon Lee Foundation

The Grist & Stewart Families

Mark Ingwersen

Principal Violin Kate & Daryl Dixon

Prof Judyth Sachs & Julie Steiner

ACO Collective

Satu Vänskä

Liisa Pallandi The Melbourne Medical Syndicate

Pekka Kuusisto

Principal Violin Kay Bryan

Principal Viola peckvonhartel architects

Timo-Veikko Valve Principal Cello Peter Weiss ao

Maxime Bibeau Principal Double Bass Darin Cooper Foundation

Maja Savnik Alenka Tindale

Ike See

Artistic Director & Lead Violin Horsey Jameson Bird

Guest Chairs

Di Jameson

Brian Nixon

VIOLA

Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

Nicole Divall Ian Lansdown

Ripieno Viola Philip Bacon am

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

Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson The late John Harvey ao

Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao

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

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

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

The late Charles Ross Adamson The late Kerstin Lillemor Anderson The late Mrs Sibilla Baer The late Prof. Janet Carr The late Mrs Moya Crane The late Colin Enderby The late Neil Patrick Gillies The late John Nigel Holman The late Dr S W Jeffrey am The late Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller The late Geraldine Nicoll

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

Dame Margaret Scott ac dbe Fund for International Guests and Composition Special Commissions Patrons

Luminous The ACO thanks the following people for their generous support of the revival of Luminous, the ACO's collaboration with artist Bill Henson, in 2019.

For details on how you can be involved, please contact Jill Colvin, Director of Philanthropy, (02) 8274 3835.

PATRONS Leslie & Ginny Green

Darin Cooper Foundation Mirek Generowicz David & Sandy Libling

SUPPORTERS Connie & Craig Kimberley Naomi Milgrom ao Peter & Victoria Shorthouse

ACO Academy LEAD PATRONS Walter Barda & Thomas O’Neill Louise Myer & Martyn Myer ao

FRIENDS Andrew Clouston Detached Hobart Peter Jopling am qc Patricia Mason & Paul Walker

PATRONS Peter Jopling am qc Naomi Milgrom ao Tom Smyth

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

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

Patron

Investors

Peter Weiss ao

Stephen & Sophie Allen John & Deborah Balderstone Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Sam Burshtein & Galina Kaseko Carla Zampatti Foundation Sally Collier Michael Cowen & Sharon Nathani Marco D'Orsogna Dr William F Downey Garry & Susan Farrell Gammell Family Adriana & Robert Gardos Daniel & Helen Gauchat Edward Gilmartin Lindy & Danny Gorog Family Foundation Tom & Julie Goudkamp Laura Hartley & Stuart Moffat Philip Hartog Peter & Helen Hearl Brendan Hopkins Angus & Sarah James Paul & Felicity Jensen Jos Luck Mangala SF

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

Founding Patrons VISIONARY $1M+ Peter Weiss ao CONCERTO $200,000–$999,999 The late Amina Belgiorno-Nettis Naomi Milgrom ao OCTET $100,000–$199,999 John Taberner QUARTET $50,000–$99,999 Mr John Leece am

Media Super Nelson Meers Foundation Daniel & Jacqueline Phillips Jo Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven John Taberner & Grant Lang The late Ian Wallace & Kay Freedman

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Chairman’s Council The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra. For more information please call Tom Tansey, Events & Special Projects Manager, on (02) 8274 3828.

Rowena Danziger am & Kenneth G. Coles am

Mr Andrew Low

Chairman, ACO

Mr Philip Bacon am

Mr Doug & Mrs Robin Elix

Ms Julianne Maxwell

Chief Operating Officer Maserati Australasia & South Africa

Mr Bruce Fink

Mr Michael Maxwell

Mr Tony Shepherd ao

Ms Naomi Milgrom ao

Mr Peter Shorthouse

Mr Angelos Frangopoulos

Ms Jan Minchin

Chief Executive Officer Australian News Channel

Senior Partner Crestone Wealth Management

Mr Jim & Mrs Averill Minto

Mr Guido Belgiorno-Nettis am

Director, Philip Bacon Galleries

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

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

Mr Michael Chaney ao Chairman, Wesfarmers

Mr Matt Comyn

Executive Chairman Executive Channel Holdings

Mr Daniel Gauchat Principal, The Adelante Group

Mr Robert Gavshon & Mr Mark Rohald Quartet Ventures

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

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

Chief Executive Officer Commonwealth Bank

Mr Simon & Mrs Katrina Holmes à Court

Mr Robin Crawford am & Mrs Judy Crawford

Observant

Mr Glen Sealey

Mr David Mathlin

Director, Tolarno Galleries

Mr Alf Moufarrige ao Chief Executive Officer, Servcorp

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

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Mr John P Mullen Chairman, Telstra

Mr Martyn Myer ao Mr Peter Slattery Managing Partner Johnson Winter & Slattery

Ms Vanessa Wallace & Mr Alan Liddle Mr Rob & Mrs Jane Woods Mr Peter Yates am

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

Mrs Carol Schwartz am

Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young

Ms Margie Seale & Mr David Hardy

ACO Reconciliation Circle The Reconciliation Circle directly supports our music education initiatives for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Colin Golvan am qc & Debbie Golvan Kerry Landman

Peter & Ruth McMullin Patterson Pearce Foundation

Sam Ricketson & Rosie Ayton

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

Adrian Barrett Marc Budge Justine Clarke Este Darin-Cooper & Chris Burgess Anna Cormack Sally Crawford Shevi de Soysa Amy Denmeade Jenni Deslandes & Hugh Morrow Anthony Frith & Amanda Lucas-Frith Sarah & Bill Forde

Rebecca Gilsenan & Grant Marjoribanks The Herschell Family Ruth Kelly Evan Lawson Aaron Levine & Daniela Gavshon Royston Lim Dr Caroline Liow Dr Nathan Lo Pennie Loane Carina Martin Paddy McCrudden Rachael McVean

AUSTRALIAN CHAMBER ORCHESTRA

Pat Miller Barry Mowszowski Lucy Myer James Ostroburski Nicole Pedler & Henry Durack Kristian Pithie Michael Radovnikovic Jessica Read Rob Clark & Daniel Richardson Alexandra Ridout Emile & Caroline Sherman Tom Smyth

Michael Southwell Tom Stack Helen Telfer Sophie Thomas Max Tobin Karen & Peter Tompkins Nina Walton & Zeb Rice Peter Wilson & James Emmett Thomas Wright Anonymous (2)

25

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

Program names as at 15 September 2018

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

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

$10,000–$19,999 Geoff Alder Karen Allen & Dr Rich Allen Allens – in memory of Ian Wallace Steven Bardy & Andrew Patterson Eureka Benevolent Foundation – Belinda Hutchinson am & Roger Massy-Greene Rod Cameron & Margaret Gibbs Jane & Andrew Clifford In memory of Wilma Collie Terry & Lynn Fern Mr & Mrs Bruce Fink Dr Ian Frazer ac & Mrs Caroline Frazer Leslie & Ginny Green John Griffiths & Beth Jackson John Grill ao & Rosie Williams Tony & Michelle Grist Angus & Kimberley Holden G B & M K Ilett Di Jameson John & Lisa Kench Miss Nancy Kimpton Irina Kuzminsky & Mark Delaney Anthony & Sharon Lee Foundation Liz & Walter Lewin Anthony & Suzanne Maple-Brown Jennie & Ivor Orchard James Ostroburski & Leo Ostroburski Bruce & Joy Reid Trust Angela Roberts Ryan Cooper Family Foundation Paul Schoff & Stephanie Smee Servcorp Jon & Caro Stewart Anthony Strachan Susan Thacore Alden Toevs & Judi Wolf Pamela Turner Shemara Wikramanayake Cameron Williams

$5,000–$9,999 Jennifer Aaron The Belalberi Foundation Walter Barda & Thomas O'Neill Carmelo & Anne Bontempo Helen Breekveldt Veronika & Joseph Butta Stephen & Jenny Charles Annie Corlett am & Bruce Corlett am Carol & Andrew Crawford Rowena Danziger am & Ken Coles am Maggie & Lachlan Drummond Suellen Enestrom Paul R Espie ao Bridget Faye am Vivienne Fried Cass George Gilbert George Warren Green Kim & Sandra Grist Liz Harbison Anthony & Conny Harris Annie Hawker Doug Hooley Peter Jopling am qc I Kallinikos The Key Foundation Kerry Landman Lorraine Logan Danita Lowes & David File Joan Lyons Macquarie Group Foundation The Alexandra & Lloyd Martin Family Foundation Rany Moran Beau Neilson & Jeffrey Simpson Paris Neilson & Todd Buncombe K & J Prendiville Foundation Libby & Peter Plaskitt John Rickard Greg Shalit & Miriam Faine Victoria & Peter Shorthouse J Skinner Petrina Slaytor Jeanne-Claude Strong Tamas & Joanna Szabo Vanessa Tay Alenka Tindale Simon & Amanda Whiston Hamilton Wilson Dr Mark & Anna Yates Anonymous (3)

$2,500–$4,999 Annette Adair Peter & Cathy Aird Rae & David Allen Warwick Anderson Will & Dorothy Bailey Charitable Gift Lyn Baker & John Bevan The Beeren Foundation Vicki Brooke Neil & Jane Burley Laurie Cox ao & Julie Ann Cox am Anne & Thomas Dowling Elizabeth Foster In memory of Rosario Razon Garcia Hilary Goodson Anne & Justin Gardener

Paul Greenfield & Kerin Brown Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Ruth Hoffman & Peter Halstead Merilyn & David Howorth Phillip & Sairung Jones Warwick & Ann Johnson Charlie & Olivia Lanchester Janet Matton & Robin Rowe Peter & Ruth McMullin Roslyn Morgan Jane Morley Jenny Nichol David Paradice & Claire Pfister Sandra & Michael Paul Endowment Prof David Penington ac Christopher Reed Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Mrs Tiffany Rensen Fe & Don Ross D N Sanders Carol Schwartz am & Alan Schwartz am Jenny Senior & Jenny McGee Sky News Australia Maria Sola Ezekiel Solomon am Kim & Keith Spence Josephine Strutt Rob & Kyrenia Thomas Ralph Ward-Ambler am & Barbara Ward-Ambler Kathy White Anne & Bill Yuille Rebecca Zoppetti Laubi Anonymous (5)

$1,000–$2,499 Barbara Allan Jane Allen Lillian & Peter Armitage Adrienne Basser Doug & Alison Battersby Robin Beech Berg Family Foundation Leigh Birtles Jessica Block In memory of Peter Boros Brian Bothwell Diana Brookes Elizabeth Brown Stuart Brown Sally Bufé Gerard Byrne & Donna O'Sullivan The Caines Ray Carless & Jill Keyte Ann Cebon-Glass Julia Champtaloup & Andrew Rothery Alex & Elizabeth Chernov Kaye Cleary Dr Peter Clifton Richard Cobden sc John & Chris Collingwood Angela & John Compton Leith & Darrel Conybeare Anne Craig Cruickshank Family Trust John Curotta Ian Davis & Sandrine Barouh

NATIONAL CONCERT SEASON 2018

26 Michael & Wendy Davis George & Kathy Deutsch Martin Dolan In memory of Ray Dowdell Dr William F Downey Pamela Duncan Emeritus Professor Dexter Dunphy Karen Enthoven Peter Evans Julie Ewington Patrick Fair Penelope & Susan Field Jean Finnegan & Peter Kerr Don & Marie Forrest Ron Forster & Jane Christensen John Fraser Kay Giorgetta Brian Goddard Jack Goodman & Lisa McIntyre Professor Ian Gough am & Dr Ruth Gough Louise Gourlay oam Camilla & Joby Graves Melissa & Jonathon Green Kathryn Greiner ao Grussgott Trust In memory of Jose Gutierrez Paul & Gail Harris Lyndsey Hawkins Kingsley Herbert Linda Herd Jennifer Hershon Vanessa & Christian Holle Christopher Holmes Gillian Horwood Penelope Hughes Dr & Mrs Michael Hunter Stephanie & Mike Hutchinson Dr Anne James & Dr Cary James Owen James Anthony Jones & Julian Liga Brian Jones Bronwen L Jones Mrs Angela Karpin Professor Anne Kelso ao Josephine Key & Ian Breden Michael Kohn Justin Foundation Lionel & Judy King John Landers & Linda Sweeny Delysia Lawson Professor Gustav Lehrer faa am & Nanna Lehrer Airdrie Lloyd Megan Lowe Diana Lungren Nicholas Maartens Prof Roy & Dr Kimberley MacLeod Don Maloney Garth Mansfield oam & Margaret Mansfield oam Mr Greg & Mrs Jan Marsh Jane Tham & Philip Maxwell Kevin & Deidre McCann Diana McLaurin Helen & Phil Meddings Claire Middleton Jim Middleton Peter & Felicia Mitchell Dr Robert Mitchell Baillieu & Sarah Myer Dr G Nelson Nola Nettheim Kenichi & Jeanette Ohmae Fran Ostroburski Chris Oxley Mimi & Willy Packer Benita Panizza

AUSTRALIAN CHAMBER ORCHESTRA

Effie & Savvas Papadopoulos Catherine Parr & Paul Hattaway Leslie Parsonage Rosie Pilat Greeba Pritchard Dr S M Richards am & Mrs M R Richards Em Prof A W Roberts am Mark & Anne Robertson John & Virginia Richardson John & Donna Rothwell Irene Ryan & Dean Letcher qc J Sanderson In Memory of H. St. P. Scarlett Morna Seres & Ian Hill David & Daniela Shannon Diana Snape & Brian Snape am Dr Peter & Mrs Diana Southwell-Keely Cisca Spencer The Hon James Spigelman ac qc & Mrs Alice Spigelman am Harley Wright & Alida Stanley Dr Charles Su & Dr Emily Lo Robyn Tamke David & Judy Taylor Team Schmoopy Jane Tham & Philip Maxwell Dr Jenepher Thomas Mike Thompson Joanne Tompkins & Alan Lawson Anne Tonkin Ngaire Turner Kay Vernon John & Susan Wardle Simon Watson Libby & Nick Wright Mark & Anna Yates Peter Yates am & Susan Yates Anonymous (22)

$500–$999 Gabrielle Ahern-Malloy John & Rachel Akehurst Dr Judy Alford Mr & Mrs H T Apsimon Elsa Atkin am Ms Rita Avdiev Christine Barker In memory of Hatto Beck Kathrine Becker Robin Beech Ruth Bell L Bertoldo Hyne Philomena Billington Lynne & Max Booth Jan Bowen am Carol Bower Denise Braggett Henry & Jenny Burger Mrs Pat Burke Josephine Cai Elise Callander Helen Carrig Joan Carney Connie Chaird Pierre & Nada Chami Fred & Angela Chaney Patrick Charles Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Captain David Clarke Dr Jane Cook R & J Corney Sam Crawford Architects Donald Crombie am Julie Crozier & Peter Hopson Marie Dalziel

Amanda Davidson Mari Davis Dr Michelle Deaker Kath & Geoff Donohue Jennifer Douglas In memory of Raymond Dudley Graeme Dunn John Field Vanessa Finlayson Penny Fraser Paul Gibson & Gabrielle Curtin Don & Mary Glue Sharon Goldie Leo & Paula Gothelf Carole A P Grace Jennifer Gross Kevin Gummer & Paul Cummins Rita Gupta Rob Hamer Jones Hamiltons Commercial Interiors Lesley Harland Sue Harvey Rohan Haslam Sandra Haslam Henfrey Family Dr Penny Herbert in memory of Dunstan Herbert Dr Marian Hill Charissa Ho Sue & David Hobbs Geoff Hogbin Peter & Edwina Holbeach Geoff & Denise Illing Peter & Rosemary Ingle Steve & Sarah Johnston Caroline Jones Agu Kantsler Ruth Kelly Peter & Katina Law Ashley Lucas Bronwyn & Andrew Lumsden Geoffrey Massey Dr & Mrs Donald Maxwell Paddy McCrudden Pam & Ian McDougall Brian & Helen McFadyen J A McKernan Margaret A McNaughton Michelle Mitchell Justine Munsie & Rick Kalowski Nevarc Inc. Andrew Naylor J Norman Paul O’Donnell Robin Offler S Packer Ian Penboss Helen Perlen Kevin Phillips Erika Pidcock Beverly & Ian Pryer Jennifer Rankin Michael Read Joanna Renkin & Geoffrey Hansen Prof. Graham & Felicity Rigby Jakob Vujcic & Lucy Robb Vujcic Jennifer Royle Trish & Richard Ryan Scott Saunders Garry Scarf & Morgie Blaxill Peter & Ofelia Scott Marysia Segan Jan Seppelt Agnes Sinclair Ann & Quinn Sloan Ken Smith Michael Southwell Brian Stagoll

27

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

Susan & Yasuo Takao Juliet Toutell C Thomson TWF See & Lee Chartered Accountants Oliver Walton Joy Wearne GC & R Weir James Williamson Sally Willis

Patricia Stebbens Ross Steele am Cheri Stevenson Nigel Stoke C A Scala & D B Studdy Dr Douglas Sturkey cvo am In memory of Dr Aubrey Sweet Dr Niv & Mrs Joanne Tadmore Gabrielle Tagg

Janie Wittey Lee Wright Gina Yazbek Joyce Yong LiLing Zheng Brian Zulaikha & Janet Laurence Anonymous (35)

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

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

The ACO is supported by the NSW Government through Create NSW.

ACO Committees Sydney Development Committee Heather Ridout ao (Chair)

Gauri Bhalla

Chair, Australian Super

CEO, Curious Collective

Guido Belgiorno-Nettis am

John Kench

Chairman, ACO

Jason Li

Jennie Orchard

Mark Stanbridge

Peter Shorthouse

Partner Ashurst

Senior Partner Crestone Wealth Management

Alden Toevs

Chairman, Vantage Group Asia

The Melbourne Committee Martyn Myer ao (Chair)

David Abela

Rachel Peck

Peter Yates am

Chairman, Cogslate Ltd President, The Myer Foundation

Managing Director 3 Degrees Marketing

Principal peckvonhartel architects

Colin Golvan am qc

Ken Smith

Deputy Chairman Myer Family Investments Ltd & Director, AIA Ltd

Peter McMullin (Deputy Chair) Chairman, McMullin Group

James Ostroburski CEO, Kooyong Group

CEO & Dean ANZSOG

Susan Thacore

Disability Advisory Committee Morwenna Collett

Alexandra Cameron-Fraser

Dean Watson

Director Major Performing Arts Projects Australia Council for the Arts

Chief Operating Officer, ACO

Customer Relations & Access Manager, ACO

Event Committees Brisbane

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

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

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

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

NATIONAL CONCERT SEASON 2018

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ACO Partners We thank our Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

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

AUSTRALIAN CHAMBER ORCHESTRA

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