The Best of British with Alexander Sitkovetsky and ACO2

P R E S E N TS

THE BEST OF BRITISH S TA R R I N G

ALE X AN DE R SITKOVETSK Y & AC O 2

19–30 AUGUST

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NT, VIC & SA TOU R 2015

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M E S SAG E F RO M T H E G E N E R A L M A N AG E R English composers have a distinctive sound when writing for strings and this program of music by either native-born or adopted Brits captures this unique tonal quality from its earliest soundings in the 17th century through to music of the late 20th century. The music demands stylistic flair and versatility and the young musicians of AC O 2 have demonstrated time and again a fearless approach to new challenges. Leading the Orchestra for the first time is the brilliant Russian-born violinist Alexander Sitkovetsky – a student of the legendary Yehudi Menuhin, himself a force in British music through most of the last century.

August is a remarkably busy month for the Australian Chamber Orchestra in all of its incarnations. It encompasses performances and education projects all over the country, including our partnership in Western Sydney to create the Penrith Youth Orchestra, AC O 2 ’s geographically vast tour to Darwin, regional Victoria and South Australia, installations of ACO VIRTUAL (our immersive, interactive digital installation of the Orchestra) in Gladstone, QLD and in Sydney, and a large-scale symphonic program of Mozart and Brahms directed

by Richard Tognetti in Adelaide, Brisbane, Melbourne and Sydney. Later in the year, the ACO travels to Hong Kong for an exciting week-long residency before rounding off 2015 with performances of Vivaldi’s Four Seasons.

We are most grateful to the Australia Council for its support of this tour of AC O 2 and to our generous education patrons who support not only the formation of AC O 2 but the expansive educational activities which AC O 2 provides to local communities while touring in regional Australia.

The most exciting news has just been announced: from the beginning of 2016, AC O 2 will have not only a new Artistic Director and a new name, but will also welcome a new sponsor. From January 2016 the thrillingly dynamic Finnish violinist Pekka Kuusisto will become the new Director.

AC O 2 will become ACO Collective, capturing the spirit of collaborative music-making which is so much a part of this Orchestra’s character.

And the great Australian corporation Wesfarmers will become the Principal Partner of ACO Collective.

With exciting young talent on stage, a brilliant new Artistic Director, a fresh identity and an enlightened and visionary sponsor, the future has never looked brighter.

Timothy Calnin General Manager 2

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P ROG R A M

Alexander Sitkovetsky Guest Director & Lead Violin AC O 2 HANDEL Concerto Grosso in G major, Op.6, No.1, HWV319 PURCELL Chacony in G minor, Z730 PANUFNIK Violin Concerto INTERVAL HOLST St Paul’s Suite, Op.29, No.2 BRITTEN Variations on a Theme of Frank Bridge, Op.10

This concert will run for approximately one hour and 40 minutes, including a 20-minute interval.

DARWIN Entertainment Centre Wed 19 Aug, 7pm

BENDIGO The Capital Wed 26 Aug, 8pm

AC O 2 is being presented as part of the 2015 Darwin Festival.

WARRNAMBOOL Lighthouse Theatre Thu 27 Aug, 7.30pm MOUNT GAMBIER Sir Robert Helpmann Theatre Fri 28 Aug, 7.30pm

HEALESVILLE The Memo Fri 21 Aug, 7.30pm

ADELAIDE Elder Conservatorium Sun 30 Aug 2.30pm

MONTROSE Town Centre Sun 23 Aug, 2pm

This performance will be recorded

by ABC Classic FM and will be broadcast on Thursday 3 September at 8pm.

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ABOUT THE MUSIC

G E O RG E F R I D E R I C H A N D E L Born Halle 1685 Died London 1759 Concerto Grosso in G major Op.6, No.1, HWV319 (Composed 1739) I. II. III. IV. V.

A tempo giusto Allegro Adagio Allegro Allegro

On 22 November 1739 (St Cecilia’s Day), Handel opened a new concert series in London. Unfortunately things went against it. The War of Jenkins’ Ear had reluctantly been declared on the Spanish colonies, so many people didn’t feel like going out for a good time.

The weather was unfavourable: the Thames had frozen over in one of the bitterest seasons on record. Despite the pleas of the theatre management at Lincoln’s Inn Fields that ‘Particular Preparations are making to keep the House warm’, the audience stayed away in droves.

Then the singers fell sick too.

George Frideric Handel

Passing not quite unnoticed in this ill-fated concert series was a collection of ‘Grand Concertos’, which were designed as interludes to rest ears wearied by the mostly vocal content of the program.

Between 29 September and 30 October Handel wrote at unbelievable speed, producing a concerto grosso every two days or so. The result was his Opus 6, containing ‘Twelve Grand Concertos in Seven Parts, for four Violins, a Tenor [viola], a Violoncello, with a Through-Bass for the Harpsichord’. The set is now widely considered the pinnacle of Handel’s compositions for instrumental ensemble.

The title concerto grosso is literally ‘big concerto’, or ‘grand concerto’, as Handel more elegantly put it. Whereas these days we tend to think of a concerto in terms of a single soloist pitted competitively against an orchestra, a ‘big’ concerto used a group of soloists instead of just one. In this case (Op.6, No.1) they are a gang of three, the ‘concertino’, working alternately with and against their colleagues in the larger ‘ripieno’.

Handel’s Opus 6 was undoubtedly inspired by the concerti grossi of Arcangelo Corelli, and those of his pupil Francesco Geminiani. The English had learned to appreciate these even before Handel came on the scene; he was deliberately catering to public taste. Musical scholarship suggests that Handel borrowed from other colleagues too. George Muffat’s keyboard suites and Domenico Scarlatti’s harpsichord exercises come in for their own fair share of the sincerest form of flattery.

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Although the concert series for which the concertos were designed didn’t make him wealthy, Handel had the satisfaction of seeing published copies of Opus 6 sell to most of the royal family, London’s two biggest impresarios, and a number of the major musical societies in England and Ireland.

H E N RY P U RC E L L Born London c.1659 Died London 1695 Chacony in G minor, Z730 (Composed c1678) When Purcell died in 1695, poems and musical tributes flowed from pens across Britain. To this day there are few English composers who can lay claim to an equivalent place in musical history.

The boy Henry Purcell followed in the footsteps of his uncle and possibly also his father in becoming a musician with the Chapel Royal, where he studied and worked with some of the best composers, singers and instrumentalists. After his voice broke in 1673, he moved smoothly into various jobs associated with the Chapel and with Westminster Abbey – by 1682 he had been appointed Organist at both venues, and was simultaneously making a name as a theatre composer.

Henry Purcell

However, his biography still contains a number of mysteries, and his catalogue contains many shadows of uncertainty. One such minor puzzle is why he called this work a ‘chacony’. The French term ‘chaconne’ was used at that time; perhaps it is just his own quaint pronunciation of the word, in a period when consistent spelling was not as valued as it is today. But this piece is not strictly speaking a chaconne anyway, but rather its triple-time, bass-dependent cousin the passacaglia, a work with a low ostinato line that repeats throughout, while decorations are applied ever more lavishly.

This is thought to be an early piece, written at perhaps the age of 18.

Purcell loved this kind of musical approach and used it throughout his life, most often as a kind of ‘ground bass’ where the repeated phrase sits in the lowest line – a famous example is his Dido’s Lament, in the same key. This Chacony may have been written for solo harpsichord.

Yet something about its rich harmonies comes more vividly alive on strings, suggesting its suitability for playing domestically, with cheerful friends, despite the minor tonality.

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A N D R Z E J PA N U F N I K Born Warsaw 1914 Died London 1991 Violin Concerto (Composed 1971) I. Rubato II. Adagio III. Vivace Andrzej Panufnik is to Poland what György Ligeti is to Hungary: a significant and adventurous composer, whose work reflects his connection to his country’s folk traditions. Both escaped the Iron Curtain to the West during the Cold War. Panufnik left Poland in 1954 to live in the UK and did not return until 1990, the year before his death.

The composer wrote of this work:

Andrzej Panufnik

When Yehudi Menuhin asked me to compose a violin concerto for him, I immediately had in mind his unique spiritual and poetic qualities and I felt I should provide a vehicle which would accentuate these rare gifts, and not obscure his deep inner musicianship by virtuoso pyrotechnics. I treated the violin as a singing instrument so, though keeping within my strict self-imposed discipline of soundorganisation, I constructed rather long and unbroken melodic lines.

The concerto opens with a Rubato, music which gives considerable freedom to the performer. Cadenza-like virtuoso passages, whose material is an imaginative response to the basic three-note triads, are contrasted with long, singing lines.

The second movement is also a musical discussion of triads, presented as alternating major and minor thirds, passed around between orchestra and soloist. Panufnik wanted this Adagio movement to have ‘utter simplicity and frugality of means, but with much poetic content’.

The final movement continues to explore major and minor, but the real interest becomes rhythm. Described by the composer as ‘almost dance-like’, he wanted the soloist to ‘convey the most human feelings of joyousness, vitality and even some sense of humour.’

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G U S TAV H O L S T Born Cheltenham 1874 Died London 1934 St Paul’s Suite, Op.29, No.2 (Composed 1913) I. II. III. IV.

Jig: Vivace Ostinato: Presto Intermezzo: Andante con moto Finale (The Dargason): Allegro

Gustav Holst is best-known for composing The Planets, a mighty orchestral suite mixing astronomy, astrology and fabulous orchestration (subsequently ripped off by many film composers). But that success arrived quite late in his career. Like most composers, Holst had to do something besides write music in order to make a living. For some years he survived as a casual trombonist in light orchestras, and as a choir director for a socialist men’s club. In 1905 he became Director of Music at the brand new St Paul’s Girls’ School in Hammersmith, London, and discovered both a gift for teaching, and also how much better life can be with a regular salary.

Gustav Holst

He stayed there for nearly 30 years. It’s worth mentioning that at a time when young ladies’ music education often leaned to sentimental drawing-room songs, his approach to teaching ‘serious’ music bore some substantial fruit, with a number of pupils going on to pursue groundbreaking careers in music. In 1913 the school opened a new music wing, including a soundproof studio. As well as teaching there, Holst now had somewhere to work which was conducive to composing. Out of gratitude he quickly responded with this Suite for strings, though some of it is a reworking of earlier material.

His most popular music presents an attractive balance between tradition, and looking forward. His interest in the unpretentious appeal of folksongs was encouraged by his great friend Ralph Vaughan Williams. Perhaps the most famous British song, Greensleeves, which Vaughan Williams used so beautifully in his Fantasia, appears in this Suite by Holst as a tantalising glimpse in the final movement (alongside a number of other musical references).

Folksongs, country dance rhythms and historical references nudge their way into the other movements too.

Holst as a teacher inspired devotion – we know for example that a number of students volunteered as careful copyists of some of his major scores. The enduring popularity of this small-scale, charming Suite is a happy tribute to those days: teaching was a valued part of his creative life, not merely an imposition on his composing time.

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B E N JA M I N B R IT T E N Born Lowestoft 1913 Died Aldeburgh 1976 Variations on a Theme of Frank Bridge, Op.10 (Composed 1937) ‘To F.B. A tribute with affection and admiration.’

– Composer’s dedication Frank Bridge (1879–1941) is today almost solely known through this musical tribute from his only composition student, Benjamin Britten.

Bridge was something of an outsider, particularly when his music began to range outside cosy British pastoralism and to look towards the more acerbic, structured, intellectual path that music was taking in Europe. Had Britten found a more ‘establishment’, less intellectually curious teacher, he may not have grown into the highly individual compositional voice that is now so admired.

Benjamin Britten

The pair met during the Norwich Festival in 1924. Young Ben Britten then began making occasional day trips up to London for composition lessons. He later recalled that there were two ‘cardinal principles’ in Bridge’s methods. ‘One was that you should find yourself and be true to what you found. The other – obviously connected with the first – was his scrupulous attention to good technique, the business of saying clearly what was in one’s mind.’

Britten went on to study at the Royal College of Music; after leaving he was hired to write the music for some documentaries created by a film unit where he met useful colleagues, including the writer WH Auden, and the conductor Boyd Neel. In May 1937 Neel approached Britten for a new work for the Boyd Neel Orchestra – but the stakes were high: it was to premiere at the famous Salzburg Festival in August, and time was very tight.

Britten started work on his piece for Neel on 5 June 1937. It was essentially shaped within the next 10 days, and printed ready for rehearsals on 12 July. This would have been a terrific effort for even the most established composer.

It helped that Britten took as his starting point a theme by Frank Bridge: the principal theme from No.2 of Three Idylls for string quartet. Choosing to write a set of variations meant that he was really writing a series of smaller works rather than trying to compose a single massive one. It also gave this young, almost unknown musician the opportunity to show his flair in a great variety of styles and forms.

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Britten decided that each movement would represent something about his esteemed teacher. Although he probably wouldn’t approve of us for publishing those descriptions here, they are quite an interesting insight into the character of each variation, and useful signposts for the listener.

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Introduction & Theme (Himself) [i.e. Frank Bridge] Adagio (His depth) March: Presto alla marcia (His energy) Romance: Allegretto grazioso (His charm) Aria italiana: Allegro brillante (His humour) Bourrée classique: Allegro e pesante (His tradition) Wiener Walzer: Lento – vivace (His enthusiasm) Moto perpetuo: Allegro molto (His vitality) Funeral march: Andante ritmico (His sympathy) Chant: Lento (His reverence) Fugue and Finale: Allegro molto vivace – molto animato – Lento e solenne (His skill and dedication)

As well as the principal theme, introduced by tender solo strings after a brisk introduction, the Variations also allude to five of Bridge’s more important scores, including the first Britten ever heard. The Sea; Enter Spring; Summer; There is a Willow Grows Aslant a Brook; and the Piano Trio (1929) make their way cunningly into the score.

The premiere was a triumph, and the work was immediately taken up for performance by other ensembles. It can fairly be said to be the piece which launched Britten’s career. This must have been particularly satisfying for his first and best teacher, whose name is thus remembered when so many other great teachers are forgotten.

All notes © K.P. Kemp

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“ACO2 IS BREATHING PURE MUSICAL OXYGEN ... IF YOU’RE LOOKING FOR THE FINEST YOUNG STRING PLAYERS IN THIS COUNTRY AND, MOST PROBABLY, WELL BEYOND, THIS IS WHERE YOU’LL FIND THEM.”

Image © Jack Saltmiras

AUSTRALIAN STAGE ONLINE

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AC O 2

AC O 2 , the ACO’s critically acclaimed string ensemble, delivers the ACO’s regional touring and education programs. It connects the elite musicians of the ACO with Australia’s most talented young professional musicians at the outset of their careers, creating a combined ensemble with a fresh, energetic performance style.

These young professionals have all participated in the ACO’s year-long Emerging Artists’ Program and are in demand from Australia’s professional orchestras but choose to spend time experiencing the ACO’s high-octane performance style for intense touring periods. It is testament to the ACO’s Emerging Artists’ Program’s success that four former AC O 2 members have been appointed members of the ACO. AC O 2 commenced touring in 2007 and has since toured to over 70 regional centres in every state and territory. In 2013, the ACO presented AC O 2 in a national subscription tour led by Richard Tognetti and it was named by The Australian as ‘one of the year’s must see concerts’. AC O 2 regularly works with international and Australian guest artists of the highest calibre, including violinists Elizabeth Wallfisch, Pekka Kuusisto, Lara St. John and Thomas Gould; cellist Daniel Müller-Schott; harpist Alice Giles; recorder virtuoso Genevieve Lacey; singer/songwriter Tim Freedman from The Whitlams; and oud player Joseph Tawadros.

Biennially, AC O 2 is the Orchestra in Residence at the Vasse Felix Festival in WA. In 2014 AC O 2 was featured in four performances at the Canberra International Music Festival. AC O 2 performed in the Classical Destinations II television series screened worldwide and released on CD and DVD by Sony.

AC O 2 performs in regional and metropolitan Australia and runs workshops and presents concerts for school-aged students in regional and metropolitan areas. In this way the ACO’s Education Program identifies, connects and mentors three generations of Australian string players, making the future very bright indeed. aco.com.au

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A L E X A N D E R S IT KOV E TS K Y G U E S T D I R E CTO R & L E A D V I O L I N Alexander Sitkovetsky was born in Moscow into a family with an established musical tradition. He made his concerto debut at the age of eight and in the same year began his studies at the Menuhin School. Lord Menuhin was his inspiration throughout his school years and they performed together on several occasions, including the Bach Double Concerto, Bartók Duos at St James’s Palace, and when Alexander played the Mendelssohn Concerto under Menuhin’s baton.

He has gone on to perform with the Netherlands Philharmonic, the Philharmonia, Royal Philharmonic, English Chamber Orchestra, Tokyo Symphony, Konzerthaus Orchester Berlin, the European Union Chamber Orchestra, Academy of St Martin in the Fields, St Petersburg Symphony, Moscow Symphony, Welsh National Opera and the BBC Concert Orchestra among many others. Conductors he has worked with have included Sir Mark Elder, Yakov Kreizberg, Dmitry Sitkovetsky, Denis Russell Davies, Andrew Sewell, and Alexander Dmitriev.

This season Alexander makes his debut in Brussels, Poznan, and Bolivia, as well as going on two nationwide tours of the UK with the Brussels Philharmonic and St Petersburg Symphony. He will also perform a series of concerts with the Royal Philharmonic Orchestra at the Royal Albert Hall. He will also make his debut with the Yomiuri Nippon Symphony Orchestra in Tokyo and with the BBC Scottish Symphony Orchestra in Glasgow.

His new recording for CPO of Andrzej Panufnik’s Violin Concerto has been critically acclaimed and is winner of the 2015 ICMA Special Achievement Award.

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M U S I C I A N S O N S TAG E

VIOLIN Alexander Sitkovetsky – Guest Director & Lead Violin Zoë Black (ACO) Amy Brookman 1 Peter Clark 2 Madeleine Jevons 1 Anne-Marie Johnson 2 Jenny Khafagi Monique Lapins 2 Emily Sheppard 2 VIOLA Nicole Divall (ACO) 3 Martin Alexander 1 Benjamin Caddy 2 CELLO Paul Stender – Guest Principal Cello Anna Pokorny 2 Paul Zabrowarny 2 DOUBLE BASS Aurora Henrich 1

1. 2015 Emerging Artist 2. Emerging Artist alumni 3. Chair sponsored by Ian Lansdown

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201 5 E M E RG I N G A RT I S TS

The Emerging Artists’ Program connects the next generation of up-and-coming string musicians with the stars of the ACO in a dynamic 17-piece ensemble with a fresh and unique sound of their own.

AMY BROOKMAN Violin Amy Brookman is a Melbourne-based violinist and in 2014 became a graduate of the Australian National Academy of Music (ANAM).

She previously studied at the Queensland Conservatorium completing a Bachelor of Music in 2009 and Master of Music Studies in 2010. Amy has studied with Rachel Smith, Michele Walsh and Adam Chalabi and is currently studying with Robin Wilson.

She is a founding member of the Penny String Quartet, which is the proud recipient of the 2014 John and Rosemary Macleod Travelling Fellowship.

Amy has extensive chamber and orchestral experience and was a finalist in the 2013 Chamber Music Competition at ANAM.

MADELEINE JEVONS Violin Melbourne-born Madeleine Jevons holds a Bachelor of Music Performance (Hons) from the Victorian College of the Arts (VCA) (2011). While at the VCA, she studied with Zoë Black, Miwako Abe, Monica Curro and Adam Chalabi. In 2014 she graduated from the Australian National Academy of Music (ANAM) where she studied with Robin Wilson.

In 2010, Madeleine was part of the winning string quartet in the University of Melbourne Alumni Chamber Competition, and was a finalist the following year. In 2011, she was awarded the Corinna D’Hage Mayer string scholarship. In 2013, Madeleine’s quartet was one of three ANAM groups selected to perform at the Quartetthaus season in Perth and is a founding member of the Penny String Quartet.

She has performed extensively in orchestras including the Melbourne Youth Orchestra, the Australian Youth Chamber Orchestra, Orchestra Victoria and the ANAM symphony and chamber orchestras. Madeleine is the proud recipient of the 2013 St Silas outstanding achievement award.

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MARTIN ALEXANDER Viola As well as playing with many different ensembles both in and outside of his tertiary studies, Martin Alexander has held principal positions in the Australian Youth Orchestra, Queensland Conservatorium Orchestras, the University of Tasmania and University of Massachusetts. He has also performed with both the Tasmanian and Queensland Symphony Orchestras.

Martin commenced his tertiary studies at the Queensland Conservatorium majoring in piano, then in viola, studying with Graeme Jennings. He graduated with a Bachelor of Music, and then continued his studies at the University of Tasmania with Josephine St. Leon. He is currently undertaking a Masters in Music with esteemed violist Kathryn Lockwood at the University of Massachusetts.

In 2012, Martin was one of four external participants chosen to appear at the Australian National Academy of Music’s ‘VIOLA! Week’.

He has performed in masterclasses both in Australia and overseas for Tobias Lea, Yuri Zhislin, Toby Appel, Kenneth Freed, Michelle LaCourse, Pieter Wispelwey, Charmian Gadd, and for the New Zealand, Australian, Goldner, Ying, Chiara, Pacifica, and Borromeo string quartets.

AURORA HENRICH Double Bass Aurora began piano at age 5, and flute shortly thereafter. But it was the double bass, which she began at age 8, that Aurora enjoyed the most. When she was 10, she began studying with Alex Henery (SSO Principal Double Bass), and received her AMEB Associate Diploma in Music in 2009. In 2012 Aurora began tertiary studies at the Sydney Conservatorium, where she was awarded a Sydney University Entry Scholarship and the Kathleen E Armstrong Scholarship.

In 2010, Aurora premiered Australian composer James Humberstone's Miniature Concerto for Double Bass, which she played on tour in Europe. Aurora performs with Sydney-based group ‘Salut baroque!’. She has also worked on movie soundtracks for such films as The Lego Movie and Mad Max: Fury Road. She regularly performs with the Sydney and Tasmanian symphony orchestras.

In 2014 Aurora was a Sydney Symphony Orchestra Fellow, touring with the orchestra to China. Aurora has performed in masterclasses with internationally-renowned musicians including violinists James Ehnes and Anthony Marwood, and double bassists Kees Boersma, Paul Ellison, Hiroshi Ikematsu, Owen Lee and Dominic Seldis.

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E M E RG I N G A RT I S TS & E D U CAT I O N PATRO N S $10,000+ EMERGING ARTISTS & EDUCATION PATRONS $10,000+

Rowena Danziger AM & Ken Coles AM

Mark & Anne Robertson

Mark Delaney

Tony Shepherd AO

Mr Robert Albert AO & Mrs Libby Albert

Ann Gamble Myer

Peter & Victoria Shorthouse

Daniel & Helen Gauchat

Australian Communities Foundation – Annamila Fund

Anthony Strachan

Andrea Govaert & Wik Farwerck

John Taberner & Grant Lang

Australian Communities Foundation – Ballandry Fund

Dr Edward C. Gray

Leslie C. Thiess

Kimberley Holden

Alden Toevs & Judi Wolf

Daria & Michael Ball

Angus & Sarah James

Steven Bardy & Andrew Patterson

PJ Jopling AM QC

The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO

Miss Nancy Kimpton

David & Julia Turner

Bruce & Jenny Lane

E Xipell

The Belalberi Foundation Guido Belgiorno-Nettis AM

Margie Seale & David Hardy

Prudence MacLeod

Peter Yates AM & Susan Yates Peter Young AM & Susan Young

Andre Biet

Anthony & Suzanne Maple-Brown

Leigh & Christina Birtles

Alf Moufarrige

Liz Cacciottolo & Walter Lewin

Jim & Averill Minto

Rod Cameron & Margaret Gibbs Mark Carnegie

Louise & Martyn Myer Foundation

Stephen & Jenny Charles

Jennie & Ivor Orchard

The Cooper Foundation

Bruce & Joy Reid Trust

Luca Belgiorno-Nettis AM

Anonymous (2)

CO N T R I B U T I O N S 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 Ali Brosnan (02) 8274 3830 or ali.brosnan@aco.com.au

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T H A N K YO U

The ACO would like to thank the supporters of AC O 2 ’s NT, VIC & SA Tour.

In particular, we thank our government and corporate partners, the trusts and foundations and the many generous patrons of our Emerging Artists’ and Education Programs who have made this tour possible.

PATRONS – NATIONAL EDUCATION PROGRAM

Marc Besen AC & Eva Besen AO

Janet Holmes à Court AC

TRUSTS AND FOUNDATIONS

Holmes à Court Family Foundation

The Neilson Foundation

The Ross Trust

GOVERNMENT PARTNERS

VENUE PARTNERS Darwin Entertainment Centre AC O 2 is being presented as part of

Yarra Ranges Regional Council

Country Arts South Australia

The Capital, Bendigo

Elder Conservatorium, Adelaide

the 2015 Darwin Festival.

Lighthouse Theatre, Warrnambool

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S U P P O RT O U R F U T U R E

We celebrate the 10th anniversary of our National Education Program this year and are committed to providing immersive music education opportunities for children and young musicians across the country. Thanks to you, our supporters, we are nurturing the future of Australian music.

It is my vision to continue delivering and expanding our important programs, introducing more young people to the joys and benefits of music.

Please join us by supporting our National Education Program.

Richard Tognetti AO Artistic Director To donate please visit ACO.COM.AU/SUPPORT/DONATE For more information please phone Ali Brosnan on (02) 8274 3830 or email patrons@aco.com.au

Image: Students and ACO musicians participating in a workshop at Sunshine Harvester School, presented in partnership with the Australian Children’s Music Foundation. Image © Lee Te Hira

I N S P I RE T H E N E XT G E N E R AT I O N O F M US I C I A N S

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Image Š Jack Saltmiras

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Richard Tognetti AO Artistic Director Timothy Calnin General Manager PO Box R21, Royal Exchange NSW 1225 Opera Quays, 2 East Circular Quay, Sydney NSW 2000

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