Tognetti's Beethoven Concert Program

TOGNETTI’S BEETHOVEN NOVEMBER 2018

Cadenzas in Beethoven

Program in Short

Da Da DaDum

Richard Tognetti talks cadenzas in Beethoven’s concerto

Your five-minute read before lights down

Composer Andrew Ford on Beethoven

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PRINCIPAL AND TOUR PARTNER

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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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

Cadenzas in Beethoven

From the ACO’s Managing Director Richard Evans

Listing and concert timings

Richard Tognetti talks cadenzas in Beethoven’s concerto

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Musicians

About the ACO

Program in Short

Players on stage for this performance

Explosive performances and brave interpretations

Your five-minute read before lights down

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Da Da Da-Dum

ACO News

Acknowledgments

Composer Andrew Ford on Beethoven

News, highlights and upcoming events

The ACO thanks our generous supporters

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COVER PHOTO. JULIAN KINGMA | PRINTED BY. PLAYBILL PTY LTD

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WELCOME Welcome to the final national tour of the 2018 Season. I cannot think of a more celebratory way to finish the year than with a performance of Beethoven’s magnificent Fifth Symphony.

Richard Tognetti will also revisit Beethoven’s first and only Violin Concerto, 25 years since he first played the work with the ACO in 1993. In a world where there are a lot of wonderful recordings of this work, Richard’s interpretation in his 1997 recording has been very close to my heart since the early 2000s, when it first came to my attention. I couldn’t be more delighted to hear him take on this incredible work again live.

We have just returned from our first season-in-residence at London’s Barbican Centre. It was an extraordinary success; three spectacular sell-out concerts, including our musical and cinematic odyssey, Mountain, and a collaboration with the talented students of the Guildhall School of Music on the same program as the wonderful Australian soprano, Nicole Car, fresh from her debut at the Metropolitan Opera in New York.

We couldn’t deliver programs of this scale and quality without the support of our Principal Partner, and National Tour Partner for these concerts, Virgin Australia. Virgin’s six-year commitment has allowed us to spread our wings and perform in every corner of Australia and around the world.

We applaud them for their generous and essential assistance.

On behalf of our Artistic Director Richard Tognetti, and all of the musicians and staff at the ACO, I thank you for your support throughout the year, and wish you all a celebratory festive season. We will all be taking a short restorative break, and I look forward to continuing the ACO journey with you in 2019.

Richard Evans Managing Director Join the conversation

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PROGRAM Richard Tognetti Director and Violin Australian Chamber Orchestra

PRE-CONCERT TALK

45 mins prior to the performance See page 44 for details

mins

BEETHOVEN Violin Concerto in D major, Op.61

I. Allegro ma non troppo

II. Larghetto

III. Rondo: Allegro

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INTERVAL

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BEETHOVEN

Symphony No.5 in C minor, Op.67 I. Allegro con brio II. Andante con moto III. Scherzo and Trio: Allegro IV. Finale: Allegro

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

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

ACO concerts are regularly broadcast on ABC Classic FM. Tognetti’s Beethoven will be broadcast on 17 November, 2018 at 12pm, and again on 6 January, 2019 on ABC Classic FM. NATIONAL CONCERT SEASON 2018

MUSIC THAT TAKES YOU PLACES

As an ACO Subscriber, enjoy discounts on selected domestic and international routes* when you fly with Virgin Australia. It’s just our little way of thanking you for supporting the Australian Chamber Orchestra too.

For more information visit aco.com.au/vadiscount or call the ACO on 1800 444 444.

Principal Partner of the Australian Chamber Orchestra *Terms and Conditions: Offer is available to ACO Subscribers only. Offer is available on selected Virgin Australia domestic and international operated services in Economy and Business class for travel until 31 December 2019. 20 day advance purchases applies.

You may be required to provide verification of your ACO subscription. Fares are subject to availability. Phone booking fee applies for bookings made by phone. A card payment fee will apply if payment is made via credit card or debit card. Additional fees will be charged for baggage in excess of any published allowances. Conditions and travel restrictions apply for all fares. Flights are subject to VA condition of carriage which are available at www.virginaustralia.com

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NATIONAL TOUR PARTNER Virgin Australia is proud to be the Principal Partner of the Australian Chamber Orchestra and the National Tour Partner for Tognetti’s Beethoven, the final concert program of the 2018 season.

Over the past six years, Virgin Australia has enabled the ACO to share its unique music with Australia and the world through a comprehensive domestic and international network which reaches more than 450 destinations worldwide.

Virgin Australia is pleased to offer ACO Subscribers an exclusive discount on domestic and international flights. Please visit aco.com.au/vadiscount for more information.

I hope you enjoy the ACO’s performance of Beethoven’s greatest works.

John Borghetti ao Chief Executive Officer & Managing Director Virgin Australia

NATIONAL CONCERT SEASON 2018

“I remember the Beethoven’s Fifth I was five. I was captivated by it, say the ‘Symphony sealed mine, be the day I knew I become an orch

first time I heard Symphony, completely in fact you might of Destiny’ cause that was wanted to estral musician.�

Maja Savnik ACO Violinist

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AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. ANDREW QUILTY

11 Richard Tognetti talks cadenzas in Beethoven’s violin concerto

For today’s concertgoers, a typical performance of Beethoven’s violin concerto will comprise some 35 minutes of Beethoven and five minutes of music by the Austro-Hungarian virtuoso violinist and composer Fritz Kreisler. This is no accident – Kreisler’s cadenzas for Beethoven’s concerto appear to be the most well-written and compelling, both in style and virtuosic manner. As Louis P. Lochner put it, they “sum up the essence of Beethoven’s music, as a few drops of attar of rose do the fragrance of an acre of flowers.”

With Kreisler’s cadenzas now considered customary (even mandatory to some), it is too often overlooked that an enormous wealth of cadenzas has been written for the concerto by every violinist from Joseph Joachim to Nathan Milstein, and by composers as distinguished as Camille Saint-Saëns. The existence of such a plethora of reactions to Beethoven’s concerto is exactly the point of a cadenza, and a testament to the very spirit in which Beethoven composed his concerto.

Beethoven himself was constantly reassessing his music and making adjustments to it. There is no surviving manuscript version of the solo violin part of his concerto, and conflicting indications exist in the four autograph full scores and original editions of the work. Beethoven did not provide cadenzas himself (although he did write cadenzas to the version of the concerto for piano that Beethoven made for Muzio Clementi in 1808) and the only contemporary ones that we know of are

by Louis Spohr. No doubt, violinists such as Franz Clement or Pierre Baillot would have extemporised such cadenzas.

The cadenzas you will hear in this performance are a synthesis of those by Henri Vieuxtemps, Ottokar Nováček (whose cadenzas, like Beethoven’s in his version of the concerto for piano, incorporate a timpani), Fritz Kreisler, Leopold Auer and Ferdinand Laub – all eminent violinists in their own right with a close connection to this greatest of violin concertos.

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MUSICIANS The musicians on stage for this performance.

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.

Helena Rathbone Principal Violin

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.

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

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.

Liisa Pallandi Violin

Liisa currently plays Helena Rathbone’s violin which is a c.1760 Giovanni Battista Gabrielli.

Her Chair is sponsored by The Melbourne Medical Syndicate.

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

Aiko Goto Violin

Aiko plays her own French violin by Jean-Baptiste Vuillaume. Her Chair is sponsored by Anthony & Sharon Lee Foundation.

ACO PLAYERS DRESSED BY SABA

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Timo-Veikko Valve Principal Cello

Maja Savnik

Tipi plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund.

His Chair is sponsored

by Peter Weiss ao.

Violin

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.

Nicole Divall Viola

Nikki plays a 2012 Bronek Cison viola.

Her Chair is sponsored

by Ian Lansdown.

Daniel Yeadon Cello

Melissa Barnard Cello

Melissa plays a cello by Jean-Baptiste Vuillaume made in 1846. Her Chair is sponsored by Dr & Mrs J Wenderoth.

Ike See Violin

Ike plays a violin by Johannes Cuypers made in 1790 in The Hague. His Chair is sponsored by Di Jameson.

Elizabeth Woolnough

Maxime Bibeau Principal Bass

Max plays a late-16thcentury Gasparo da Salò bass kindly on loan from a private Australian benefactor. His Chair is sponsored by Darin Cooper Foundation.

Viola

Elizabeth appears courtesy of Melbourne Symphony Orchestra.

Julian Thompson Cello

Thibaud Pavlovic-Hobba Violin

Caroline Henbest Viola

ACO MUSICIAN PHOTOS. BEN SULLIVAN

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

aco.com.au

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MUSICIANS Violin

Flute

Horn

Benjamin Adler

Georges Barthel#

Olivier Picon#

Harry Bennetts

Sally Walker

Thomas Müller

Zoë Black

Courtesy of The Australian National University

Courtesy of Zurich Chamber Orchestra

Piccolo

Trumpet

Elizabeth Jones

Lamorna Nightingale#

Andrew Crowley#

Katherine Lukey

Oboe

Amy Brookman Caroline Hopson

Courtesy of Opera Australia Orchestra

Benoît Laurent#

Courtesy of Royal College of Music, London

Richard Fomison

Viola

Courtesy of Conservatoire Royal de Bruxelles

Trombones

Vicki Powell

Katharina Andres

Nigel Crocker#

Guest Principal Viola Chair sponsored by peckvonhartel architects Courtesy of Royal Stockholm Philharmonic Orchestra

Nathan Greentree

Clarinet

Craig Hill# Courtesy of Melbourne Symphony Orchestra

Eve Silver Courtesy or West Australian Symphony Orchestra

Bass

Axel Ruge Courtesy of Athelas Sinfonietta Copenhagen

Josef Bisits

AUSTRALIAN CHAMBER ORCHESTRA

Christopher Harris# Courtesy of Sydney Symphony Orchestra

Ashley Sutherland

Timpani

Bassoon

Brian Nixon#

Andrew Jezek Cello

Roslyn Jorgensen

Brock Imison# Courtesy of Melbourne Symphony Orchestra

Simone Walters Contrabassoon

Heidi Pantzier#

Chair sponsored by Mr Robert Albert oa & Mrs Libby Albert

# Guest Principal

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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

NATIONAL CONCERT SEASON 2018

16 PROGRAM IN SHORT Your five-minute read before lights down.

AUSTRALIAN CHAMBER ORCHESTRA

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Ludwig van Beethoven (1770 – 1827) Violin Concerto in D major, Op.61

Beethoven’s only complete violin concerto was written in 1806 during what is often called his “Heroic” period. Only two years earlier Beethoven had completed the groundbreaking “Eroica” Symphony before starting work on his Fifth Symphony.

In 1806 he would produce a stream of major works that included the Fourth Symphony, the Fourth Piano Concerto, the “Appassionata” Piano Sonata and the three “Razumovsky” String Quartets.

The Violin Concerto was commissioned by the 26-year-old violinist Franz Clement, concertmaster at the Theater an der Wien in Vienna. Clement was not known for playing loudly, but throughout his career he was renowned for his phenomenal technique and fine intonation, and contemporary reviewers described his playing as elegant and delicate, possessing an “indescribable tenderness”.

Beethoven himself was no stranger to the violin. Despite being well known as a phenomenal pianist, he had also studied violin and viola as a child. Around 1790–2 he had already written an unfinished violin concerto, and by 1806 he had composed the two Romances for violin and orchestra, as well as the massive, concerto-esque “Kreutzer” Sonata for violin and piano.

With the exception of those by Mozart, violin concertos of Beethoven’s era were essentially virtuoso showpieces

that weren’t taken as seriously as other symphonic forms. Beethoven changed what a violin concerto could be, effectively creating a symphony for violin and orchestra that could equal any of his symphonic works in scope, depth and profoundness.

Clement was also a composer himself – Beethoven’s concerto bears some similarities to a violin concerto written by Clement two years before, and it is possible that Clement may have had a hand in making suggestions to Beethoven’s solo line. Indeed, Beethoven’s manuscript contains multiple variants to solo passages, revealing that he envisaged different interpretations for the concerto, perhaps even different to Clement’s own.

The slow movement seems especially tailored to Clement’s strengths in its song-like delicacy. The first movement, with its heartbeat opening of solo timpani followed by a gentle chorale of woodwinds, shares some of these qualities, but over the course of its 20 minutes the movement’s symphonic grandeur and seriousness become fully realised. Leading Beethoven scholar Robin Stowell has even argued that the movement is written in the singing, marching spirit of French Revolutionary music. The playful, rustic NATIONAL CONCERT SEASON 2018

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Ludwig van Beethoven (1770 – 1827) Symphony No.5 in C minor, Op.67

finale harks back to Mozart and forward to the ebullient country dance of the “Pastoral” Symphony all at once.

The concerto’s premiere was not a huge success, but the overall concert – in which Clement played a sonata “on one string with the violin held upside down” – was well received. It was not until 1844, when a 13-year-old prodigy by the name of Joseph Joachim performed the work under the baton of Felix Mendelssohn, that the concerto gained widespread popularity. Despite such modest beginnings, Beethoven’s Violin Concerto is now considered by many to be the greatest of the Romantic violin concertos.

AUSTRALIAN CHAMBER ORCHESTRA

Beethoven began composing his Fifth Symphony in 1804, soon after he had completed the “Eroica” Symphony. He put it aside to complete the Fourth Symphony and Violin Concerto, only returning to his sketches in 1807, and adding his final touches in 1808, when it was premiered in a benefit concert at the Theater an der Wien in Vienna.

The benefit concert, which took place on the cold night of 22 December 1808, also included the premieres of Beethoven’s “Pastoral” Symphony, Fourth Piano Concerto and Choral Fantasy (both with Beethoven as piano soloist), as well as the concert aria Ah! perfido and excerpts from his Mass in C major.

The mammoth four-hour concert had only one, rushed rehearsal, and by all accounts the music was not played well. The performance of the Choral Fantasy fell apart, leading Beethoven to stop and restart the piece. Reviews were poor, with one saying that the playing “could be considered lacking in all respects”, and the music itself went over many people’s heads. Beethoven would never appear as a concerto soloist again due to his declining hearing.

The Fifth Symphony’s inauspicious premiere belies its subsequent fame and impact for centuries to come. Only a year and a half later it would inspire

rapturous reviews, and it would soon become a central item in the orchestral repertoire. Its opening, similar to “V” in Morse code, was used for BBC news broadcasts during World War II to signify V for Victory, and the work has been used extensively in radio, television and film.

The symphony boasts the most famous opening motif in the history of western music. It is sometimes described as the “Fate” motif, or “Fate knocking at the door”, and while Beethoven probably didn’t have such philosophical interpretations in mind, there is no doubt he intended something very powerful. He was close to total deafness, dealing with severe personal issues, and the horror of the Napoleonic wars and other social upheavals would have weighed heavily on him.

The Fifth Symphony is Beethoven’s manifestation of these intense struggles through music. Found amongst his sketches for the Fifth Symphony were passages copied from Mozart’s turbulent 40th Symphony, which Beethoven appears to have used as a model. But where Mozart’s ends in tragic darkness, Beethoven’s ends in triumph – a journey “from C minor to C major; darkness to light; struggle to victory.”

Over the course of this journey, Beethoven transforms the tiny four-note opening motif into a massive symphony,

with the first movement almost entirely constructed from repeated permutations of it. The Andante offers some respite, seemingly picking up the pieces left in the aftermath of the first movement and only occasionally interrupted by militaristic intrusions. The Scherzo shatters this peace with an ominous opening that turns into a sinister march.

Through one of music’s great transitions, the Scherzo segues straight into the fourth movement which, in spite of a brief reprise of the Scherzo in its middle, ends in triumphant C major glory.

One might argue that Beethoven’s Fifth Symphony, far from being all fate and terror, ultimately represents the optimism of one of music’s great geniuses.

“Beethoven’s Fifth piece. I remember early age and lo and lows, but this comparison to performed live for what a highlight.

“It was, and always to experience.”

is such an iconic hearing it at an ving the highs paled in hearing it the first time – is, such a joy Royston Lim ACO Next Member

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DA DA AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. JULIAN KINGMA

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Composer Andrew Ford on Beethoven’s Concerto for Violin and Orchestra in D major and his Symphony No.5 in C minor

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L

udwig van Beethoven was music’s Shakespeare. Take his range alone. No one before Beethoven, and perhaps only Stravinsky since, ever composed such a variety of music at such a high level.

In our shorthand way, we divide Beethoven’s work into three periods – the early Classical years, evident in the first two symphonies; the middle period, characterised by the dogged transformation of musical motifs in the Eroica; and, finally, the lyrical, mystical music of his late sonatas and quartets. It is, of course, not that simple. There is plenty of motivic doggedness in Beethoven’s early and late work, and there are memorable tunes from all three periods.

Beethoven’s Concerto for Violin and Orchestra in D major, Op.61 and his Symphony No.5 in C minor, Op.67 may seem like polar opposites – one lyrical, the other anything but – yet they are contemporaneous. The composer began sketching the symphony as early as 1804, setting it aside to complete other pieces, including the violin concerto, before returning to the symphony in 1807 and finishing it in 1808. The concerto was

Left. Napoleon Bonaparte crossing the Alps at the Grand Saint-Bernard, January 1801. Painting

by Jacques-Louis David (1748–1825)

first performed on December 23, 1806, the symphony two years later, almost to the day. Both premieres took place at Vienna’s Theater an der Wien, where the concerto’s soloist, Franz Clement, was concertmaster of the orchestra.

But the symphony seems contemporary in another sense. There are certain works of art that appear never to lose their modernity. In Western music, we might name Pérotin’s Sederunt principes; Monteverdi’s Madrigals of War and Love; much of Berlioz; the prelude to Wagner’s Tristan und Isolde; Stravinsky’s The Rite of Spring; Schoenberg’s Pierrot lunaire; Terry Riley’s In C. These are all, as the American composer George Perle remarked of Pierrot, works one never gets used to.

It may seem odd to say it, for there is no more familiar sound in classical music than its opening, but the fifth symphony of Beethoven belongs in this company. In the concert hall – in a good performance – Beethoven’s Fifth can still alarm listeners with its trenchancy, and, placed beside it, the violin concerto will perhaps seem a tame affair. Certainly, it doesn’t announce its modernity as pugnaciously as the symphony. In its day, however, the concerto must have struck listeners as just as bold a departure from musical norms.

When Beethoven composed this work, violin concertos were not common – at least, not outside Italy, where Giovanni NATIONAL CONCERT SEASON 2018

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Above The title page of the First Folio of William Shakespeare’s plays.

AUSTRALIAN CHAMBER ORCHESTRA

Battista Viotti had just written 29 of them.

But Viotti was a violinist, the concertos vehicles to display his virtuosity. They certainly didn’t aspire to transcendental seriousness. Even Mozart’s violin concertos, although in a different league to the Italian’s, are teenage works, having little in common with the great piano concertos of his maturity. And while violin concertos tended to have three movements, they were never long pieces, generally home and hosed in a little over 20 minutes. This is the length of Beethoven’s first movement alone.

The scale of Beethoven’s violin concerto is significant. At the time, there was simply nothing like it, and the lyricism of the first movement only reinforced the spaciousness of the work. Marked “Allegro ma non troppo” (not too fast), it is hardly fast at all. The first subject is in minims and resembles a chorale, an effect enhanced by woodwinds, more of them than ever before in a violin concerto, which evoke the solemn sonority of a pipe organ. We seem to be in church.

And then, after more than 20 minutes of not-too-fast music, comes an authentic slow movement in which the soloist never has the tune, instead playing filigree arabesques above the orchestra.

Perhaps Clement, the original soloist, sensed the possibility of a restive audience. Perhaps he was simply daunted by being handed his solo part, according to Carl Czerny, two days before the first performance, and sought more familiar ground. Whatever the reason, at the premiere, Clement elected to send in the clowns, disrupting the concerto after its first movement in order to play a piece of his own on one string of the violin while

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“Clement elected to send in the clowns, disrupting the concerto after its first movement in order to play a piece of his own on one string of the violin while holding the instrument upside down.”

holding the instrument upside down.

Even after Brahms’s violin concerto, which shares Beethoven’s spacious tempos and much else besides, and the violin concerto by Elgar, which is even longer, Beethoven’s can still seem lengthy. Yehudi Menuhin’s wife, Diana, who must have sat through more performances of the work than most, fitted the words “At last it’s over, at last it’s over” to the theme of the final rondo.

Is it possible she was missing something? Could it be, as with Shakespeare’s plays, that there are nuances and references a modern audience simply doesn’t get?

Beethoven’s hymn-like opening theme is not the first thing we hear in his violin concerto. Before it come four soft timpani strokes, one for each beat of the first bar, leading to a fifth on the down beat of the second bar and the arrival of the woodwinds. If not as arresting as the opening of the fifth symphony – which Beethoven’s assistant, Schindler, fantasised was fate knocking at the door – these gentle kettledrum strokes are nonetheless full of meaning.

In music of the 17th and 18th centuries, drums meant war and they came with trumpets. They arrived in the orchestra together and never quite shrugged off their military associations.

When Haydn composed his Mass in C, the timpani played a significant role. We hear them softly (in the distance), louder (coming closer) and finally – in the “Agnus Dei” – on their own. This was in 1796, at the height of the French Revolutionary Wars, and that year the Viennese public feared the French would invade. Haydn’s Mass was a prayer for peace. He called it Missa in tempore belli – Mass in Time of War – but it quickly earned the nickname Paukenmesse or Kettledrum Mass.

In his own Mass in C, commissioned

by Haydn’s patron, Nikolaus Esterházy, and composed between the violin concerto and the completion of the fifth symphony, Beethoven appropriated Haydn’s drums. The musicologist Michelle Fillion has suggested that in the context of Beethoven’s “Sanctus” (of all places) the drums belonged to God’s army. Well, perhaps; but the Vienna of 1807 was hardly a safer place than that of 1796.

Late in 1805, the opening night of Beethoven’s opera Fidelio had been a disaster, partly because the piece had its problems, but mainly because it took place a week after Napoleon’s troops had entered Vienna. Beethoven’s audience was in hiding, and the stalls were full of French soldiers. Two years later, following the treaties of Tilsit in 1807, Napoleon had gained only greater strength.

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In Beethoven’s music of these years, timpani are everywhere. Not only in the Mass, but in both the fifth symphony (memorably in the transition from the third movement to the finale) and the Pastoral (where timpani rolls represent distant thunder). Perhaps this is the context in which we should hear the opening of the violin concerto.

So what does a 21st-century musician do for a 21st-century audience to bring them close to Beethoven’s world? Is it enough simply to play the music? How much of the original sound of these works can we re-create? Do we even want to?

Violinist, conductor and composer Richard Tognetti explains that while the score of the fifth symphony

“When I hear the big minor section in the development in tempo I feel ripped off,” Tognetti says. “But when it’s too slow it loses that connection to the opening timpani beats.

“As for the dynamic markings, it takes a certain discipline to present the range expressed by Beethoven in the solo part.

The frequent use of p and pp is daunting and counter-virtuosic, but I’m going to attempt to take these at face value. Of course we still need to present an audible rendition with ausstrahlung (presence) in the large halls we have to play in.

“But one clue to the character of the piece might be the number of times Beethoven indicates for us to play dolce (sweetly) in the first movement.

“So what does a 21st-century musician do for a 21st-century audience to bring them close to Beethoven’s world? Is it enough simply to play the music? How much of the original sound of these works can we re-create? Do we even want to?”

leaves little room for speculation, the concerto is another matter.

The concerto was written quickly, which is why Clement received his part only 48 hours before the premiere, and without the same attention to detail one finds in the fifth symphony. Moreover, if there were sketches for the concerto – and Beethoven was an inveterate sketcher – then they have been lost.

So the score is open to interpretation in various ways, including tempo and dynamics, and there are few easy or obvious solutions. Take the “non troppo” marking. How flexible can one be?

AUSTRALIAN CHAMBER ORCHESTRA

I think it’s seventeen! And there’s only one espressivo – and not where you’d think it would be. Compare this to the fifth symphony, which has just one dolce marking and no espressivo!”

Other clues to performing the work could come from what we know of the playing style of the original soloist.

Short of turning his instrument upside down after the first movement, are there things Tognetti can try to emulate?

“Slavishly trying to re-enact Clement’s first performance would be folly,” Tognetti says. “Even after reading descriptions of his playing style, I don’t PHOTO. ANDREW QUILTY

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think one would end up sounding anything like him. But at least by considering this issue we open doors.

“Possibly, with his expression and dynamic markings, Beethoven was incorporating Clement’s style and sound, which at the time was noted – and indeed criticised – for being elegant and old fashioned, in the sense that his sound wasn’t robust.”

One aspect of the music that can certainly be brought into sharper focus with attention to historical practice is its balance.

“I’ll be back on gut strings,” Tognetti says. “Wind, brass and timpani players will provide insights into the performance with their copies of early 19th-century instruments. Tutti strings will be on gut with pre-Tourte and Tourte (modern era) bows. These instruments offer us the best sense of balance and sonic textures that serve to bring this particular reappraisal to life.”

Recently, Tognetti has been reading and thinking about American politics – who hasn’t? – and in particular considering a movement that began in the 1980s. “Originalism” posits the notion that the American constitution should be interpreted according to its intended meaning at the time of writing. It’s not unlike a fundamentalist attitude to a religious text. As Tognetti points out: if we substitute the musical AUSTRALIAN CHAMBER ORCHESTRA

score for the constitution, some of the same issues and problems obtain.

“The constitution is the operating charter granted to government by the people,” Tognetti says, “just as the score is the operating charter granted to musicians by the composer. In both cases, its written nature introduces a certain discipline into its interpretation, and the amount of room left for interpretation...well that’s up to governments – or at least the courts – and the performers.

“The task is to determine the original meaning of the language in the constitution and the musical notation in the score, and we must take into account the circumstances under which both were drafted.”

The score of the fifth symphony leaves little room for doubt. In fact, Tognetti says the scores of the symphonies are so clear it is possible to sightread them, to play them straight through before going on to refine an interpretation.

“A correct rendering may not be difficult,” Tognetti insists. “Everything makes musical sense without too much effort.”

Beethoven allocated metronome markings to his symphonies. The earlier works, including the fifth symphony, were written before he had access to a metronome, so the markings were added

31

later. These speeds have been the subject of much debate because to follow the composer’s markings yields tempos that are faster than those of the performing traditions that have grown up around the symphonies.

But what are traditions? The composer and conductor Pierre Boulez once said tradition is just another word for bad habits, although it should be added here that Boulez himself was responsible for the slowest performance of Beethoven’s fifth ever committed to record.

Performers who object to Beethoven’s metronome markings often raise the possibility that the composer’s metronome was faulty. They also mention his deafness. But Tognetti is clear in his own mind that Beethoven’s instructions must be heeded.

“The indicated tempi of the music, incontrovertibly given to us by the composer and humbly accepted by this interpreter, are more than mere proposals of playing speeds. They offer us the structural proportions for all the symphonies. Interpret one tempo at your own pace and you run the risk of upsetting those environmental scopes.

“The first movement of the fifth symphony is set at minim = 108. Why argue with this? The initial notes are three Gs and an E flat – we don’t have cause to dispute those do we?”

But there is another side to tempo in PHOTO. ANDREW QUILTY

“These instruments offer us the best sense of balance and sonic textures that serve to bring this particular reappraisal to life.”

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“The famous opening rhythm – a quaver rest followed by three quavers leading to a down beat crotchet on bar two – never really goes away. This music is obsessive and obsessed.”

the 19th century, and here, one feels, the fifth symphony is perhaps an exception to the general rule. Performers in Beethoven’s day – and even more so in Brahms’s – tended to be quite flexible in regard to speed. The opening tempo of a movement was simply that – an opening tempo and a guide to the movement as a whole – but it was expected that, after the first subject, there would be plenty of push and pull. The first movement of Beethoven’s fifth resists this approach. That is the point of it.

“The motion is immutable,” Tognetti says, “except for the famous pauses and that one small adagio cadenza for the oboe.”

Part of that immutability is a result of the music’s notation. The tempo is, as Tognetti says, 108 minim beats to the minute. But a minim is also the length of each bar, and so it follows, at this tempo, that a conductor must beat one to the bar – two crotchets would be nonsensically fast. The first movement of Beethoven’s fifth consists entirely of down beats.

If there is one piece of musical analysis that all concertgoers seem to know, it is that the first four notes of the Left. Portrait of Ludwig van Beethoven conducting with baton by Katzaroff.

fifth symphony constitute a motto that generates everything else in the piece.

The famous opening rhythm – a quaver rest followed by three quavers leading to a down beat crotchet on bar two – never really goes away. This music is obsessive and obsessed. It also has a goal, and the goal of this C minor symphony is C major; it is, moreover, a theme.

The musicologist Wilfrid Mellers put it well in his book, Beethoven and the Voice of God: The fifth is ‘about’ the birth of the theme latent within its motto and throughout the first three movements, but overtly heard only in the major apotheosis of the finale. Beethoven reserved the heroic solemnity of trombones for the occasion; at the end he has transcended even the painfully won theme, since the final 29 bars reiterate the mere C major triad some 50 times, and the reiterations are neither one too few, nor one too many. An acoustical fact, the major triad’s dismissal of the ambiguities inherent in the minor triad itself, in this context epitomises the symphony’s pilgrimage.

Beethoven’s fifth symphony had its first performance in an ambitious concert on a cold winter’s night in Vienna on December 22, 1808. All the music in the concert was by Beethoven and nearly all of it was being performed for NATIONAL CONCERT SEASON 2018

34

the first time. The concert began with the Pastoral symphony (No. 6), and the second half started with the fifth symphony, although their numbering was reversed. In-between came the fourth piano concerto, the “Gloria” and “Sanctus” (with the prominent timpani) from the Mass in C, the concert aria Ah! perfido (the only old piece on the program) and, to end, the Choral Fantasy. Beethoven himself conducted the orchestra and was the soloist in the piano concerto and the Choral Fantasy. For good measure, he threw in a piano improvisation.

It wasn’t cold only outside, but also in the theatre. Freezing, according to reports.

The concert went for four hours and the orchestra had only a single rehearsal for all this unfamiliar music. In the Choral Fantasy, they went so badly astray that Beethoven stopped the performance to berate them, before starting all over again. It was not a great success.

But what a display of that Shakespearian range. From the dramatic aria to the Mass; from the luminous piano concerto, a work that has much in common with the violin concerto, to the final showpiece uniting choir, orchestra and piano soloist; above all, from the deceptively experimental Pastoral symphony, with its programmatic structure and its last three movements forming

AUSTRALIAN CHAMBER ORCHESTRA

a continuous tone poem, to the blatantly revolutionary fifth.

It is tempting to assign Shakespearian equivalents to some of these works.

Might the fourth piano concerto be The Tempest? Can we think of the sixth symphony as The Winter’s Tale? Is the fifth symphony Coriolanus? The final comparison may not be wholly fanciful.

One new work that didn’t feature in the 1808 concert was the overture, also in C minor, that Beethoven had composed only the previous year for Heinrich Joseph von Collin’s version of Coriolanus.

This concert would be one of the last times Beethoven played the piano in public, and as his deafness worsened, so the range of his music became ever more varied, ever more extreme. He seems to have gone deeper into the world of his imagination, his ever-expanding range on display not only from piece to piece, but from movement to movement.

Consider only the original version of the string quartet Op.130, in which a mock-courtly andante keeps turning into a ticking clock, a rustic German dance leads into a lyrical outpouring of ineffable beauty, and the whole thing ends with the contrapuntal bravura and savage insistence of a great 15-minute fugue. Violence, lyricism, banality, tragedy and jokes – all in the same work.

Of course, Shakespeare did that, too.

“I was only five or heard Beethoven’s remember the im of the opening duh -daaa ... duh - and the imitative follows. I thought And, of course, forgotten it – and

six the first time I Fifth, but vividly mortal eight notes motif: duh - duh duh - duh -daaa, music that it was really cool!

I have never never will.�

Jamie Miles (age 13) ACO Academy Participant

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ACO NEWS News and highlights.

The ACO is honoured to have recently received a significant donation from Dame Margaret Scott ac dbe.

A long-time subscriber of the ACO, Dame Margaret is one of Australia’s most loved and respected arts figures, best known as the inaugural Director of the Australian Ballet School, where she served from the school’s inception in 1964 until her retirement in 1990.

A passionate advocate for a keener understanding of international artistic influence on our own practice in Australia, Dame Margaret was keen for her support to be directed towards both international artists, and the development of music.

Sydney Chairman’s Council & Major Patrons’ Dinner On Wednesday 12 September we held our annual dinner in Sydney to thank our Chairman’s Council members and Major Patrons for their support.

Over 50 guests joined us in the Cell Block Theatre at the National Art School in Darlinghurst for dinner and a fantastic performance by members of the Orchestra, led by Ike See.

Thank you, Dame Margaret Scott

We are proud to announce the establishment of the Dame Margaret Scott ac dbe Fund for International Guests and Composition. The Fund will help us continue to bring international soloists to play with the Orchestra on our national tours and increase collaboration with our international peers.

Guido Belgiorno-Nettis am, Judy Crawford, Richard Evans

The ACO is extremely grateful to Dame Margaret for her contribution to the Orchestra and her continued passion for music and the arts in Australia

Thank you to our patrons for your continued support of the ACO. Photos: Fiora Sacco

Bill Best, Tony Shepherd ao, Aldo Nicotra, Marissa Best

AUSTRALIAN CHAMBER ORCHESTRA

Rob Woods, Michelle Belgiorno-Nettis, Jane Woods, Nina Walton, Zeb Rice

39

COMING UP

2019

The 2018 Season comes to an end and we look forward to 2019.

FEB DEC Sonatas For Strings

MOUNTAIN

5 December Melbourne Recital Centre Richard Tognetti leads the ACO through a collection of works of timeless beauty, featuring Elgar, Walton and Sculthorpe.

NOV Sydney Fundraising Gala 29 November

Join us and our MC Annabel Crabb at Carriageworks for our fundraising gala, Mountain, as we raise money for our Learning & Engagement programs.

Richard will lead the Orchestra in a special excerpt performance and screening of Mountain.

To make a booking, please contact Anna Booty, Philanthropy Executive, on (02) 8274 3810, or email sydneygala@aco.com.au

Arvo Pärt & JS Bach

2–13 February Adelaide, Canberra, Melbourne, Perth and Sydney Richard Tognetti opens our 2019 Season with a program that will reach celestial heights.

The famed Estonian Philharmonic Chamber Choir joins us in a celebration of Bach and Arvo Pärt. Ethereal and otherworldly, this is music by two towering composers searching for the very core of human meaning.

Beethoven & Prokofiev

7–19 March Adelaide, Brisbane, Canberra, Melbourne, Newcastle and Sydney

Vasse Felix Festival

7–9 December Margaret River Savour some of Australia’s most awarded wines while enjoying the magical views from the Vasse Felix Estate in Margaret River, Western Australia.

MAR

TarraWarra Festival

23–24 February Yarra Valley A weekend-long celebration of music, art, wine and some of the most breathtaking views in the Yarra Valley at the TarraWarra Museum of Art.

Fiery and charismatic Italian violinist Lorenza Borrani, who delighted audiences on her last tour here in 2016, returns to lead a program of emotion-charged music.

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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

Stephanie Dillon

Events & Special Projects 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

Assistant to the Learning & Engagement and Operations Teams

Sarah Morrisby

Finance

Yeehwan Yeoh

Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

Richard Tognetti ao

Market Development

Administrative Staff Executive Office

Antonia Farrugia

Richard Evans Managing Director

Alexandra Cameron-Fraser Chief Operating Officer

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

Claire Diment HR Manager

Tom Tansey

Director of Market Development

Caitlin Benetatos Communications Manager

Rory O’Maley Digital Marketing Manager

Christie Brewster Lead Creative

Cristina Maldonado

Philanthropy Manager Investor Relations Manager

Anna Booty Philanthropy Executive

Australian Chamber Orchestra ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW.

In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000

By Mail PO Box R21, Royal Exchange NSW 1225 Australia

CRM and Marketing Executive

Telephone

Shane Choi Marketing Coordinator

(02) 8274 3800 Box Office 1800 444 444

Leigh Brezler

Email

Artistic Operations Luke Shaw Director of Artistic Operations

Director of Partnerships

Anna Melville

Penny Cooper

Artistic Administrator

Partnerships Manager

Lisa Mullineux

Kay-Yin Teoh

Tour Manager

Ross Chapman Touring & Production Coordinator

Nina Kang Travel Coordinator

Bernard Rofe Librarian

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

AUSTRALIAN CHAMBER ORCHESTRA

Partnerships Executive

Colin Taylor Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Mel Piu Box Office Assistant

Robin Hall Archival Administrator

aco@aco.com.au

Web aco.com.au

@pohoflowers www.poho.com.au

One great performance deserves another.

With 99% coverage of the Australian population, the Telstra Mobile Network performs for the ACO in more places than any other.

Find out more at telstra.com or call 13 2200.

THINGS YOU NEED TO KNOW: The spectrum device and ™ are trade marks and Ž are registered trade marks of Telstra Corporation Limited, ABN 33 051 775 556.

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Venue Support

NEWCASTLE CITY HALL Owned and operated by the City of Newcastle 290 King Street, Newcastle NSW 2300 Telephone (02) 4974 2166 (Venue & Event Coordinators) Ticketek Box Office (02) 4929 1977 Email newcastlevenues@ ncc.nsw.gov.au

AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music William Herbert Place, (off Childers Street), Acton, Canberra Venue Hire Information Telephone (02) 6125 2527 Email music.venues@anu.edu.au

ADELAIDE TOWN HALL 128 King William Street, Adelaide SA 5000 GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) 8203 7590 Email townhall@ adelaidecitycouncil.com Web adelaidetownhall.com.au Martin Haese Lord Mayor Mark Goldstone

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

SYDNEY OPERA HOUSE Bennelong Point, GPO Box 4274, Sydney NSW 2001 Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer

QUEENSLAND PERFORMING ARTS CENTRE Cultural Precinct, Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101 Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au Professor Peter Coaldrake ao Chair John Kotzas Chief Executive

ARTS CENTRE MELBOURNE 100 St Kilda Rd, Melbourne, VIC, 3004, Australia PO Box 7585, St Kilda Road, Melbourne VIC 8004 Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au James MacKenzie President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer

CITY RECITAL HALL LIMITED 2–12 Angel Place, Sydney NSW 2000 Administration (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Renata Kaldor ao Chair, Board of Directors Elaine Chia CEO

In case of emergencies…

Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.

NATIONAL CONCERT SEASON 2018

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

Newcastle City Hall

City Recital Hall, Sydney

Francis Merson

Francis Merson

Thu 8 Nov, 6.45pm

Sat 17 Nov, 6.15pm Tue 20 Nov, 7.15pm Wed 21 Nov, 6.15pm

Llewellyn Hall, Canberra

Francis Merson Sat 10 Nov, 7.15pm

Sydney Opera House

Arts Centre Melbourne

Sun 18 Nov, 1.15pm

Francis Merson

John Weretka Sun 11 Nov, 1.45pm Mon 12 Nov, 6.45pm Adelaide Town Hall

Stephen King Tue 13 Nov, 6.45pm Perth Concert Hall

Marilyn Phillips Wed 14 Nov, 6.45pm

AUSTRALIAN CHAMBER ORCHESTRA

QPAC Concert Hall Brisbane

Eddie Ayres Mon 19 Nov, 6.15pm

Pre-concert speakers are subject to change.

ARVO PÄRT & JS BACH

2 – 13 FEBRUARY

The famed Estonian Philharmonic Chamber Choir join Richard Tognetti and the Orchestra for a concert that will reach celestial heights.

TICKETS FROM $49* Adelaide, Canberra, Melbourne, Perth, Sydney

BOOKINGS

aco.com.au *Prices vary according to venue and ticket reserve. Booking fees apply.

NATIONAL TOUR PARTNER

GOVERNMENT PARTNERS

PRINCIPAL PARTNER

Levante GranLusso

When luxury has no limits

47

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

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 Darin Cooper Foundation Mirek Generowicz David & Sandy Libling

ACO Academy LEAD PATRONS Walter Barda & Thomas O’Neill Louise Myer & Martyn Myer ao PATRONS Peter Jopling am qc Hilary Goodson Naomi Milgrom ao Tom Smyth

2018 Emanuel Synagogue Patrons CORPORATE PARTNER Adina Apartment Hotels LEAD PATRON The Narev Family PATRONS Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

AUSTRALIAN CHAMBER ORCHESTRA

ACO Mountain Producers’ Syndicate The ACO thanks the following people for their generous support of Mountain: EXECUTIVE PRODUCER Martyn Myer ao MAJOR PRODUCERS Janet Holmes à Court ac Warwick & Ann Johnson PRODUCERS Richard Caldwell Warren & Linda Coli Anna Dudek & Brad Banducci Wendy Edwards David Friedlander Tony & Camilla Gill John & Lisa Kench Charlie & Olivia Lanchester Rob & Nancy Pallin Andrew & Andrea Roberts Peter & Victoria Shorthouse Alden Toevs & Judi Wolf SUPPORTERS Andrew Abercrombie Joanna Baevski Ann Gamble Myer Gilbert George Charles & Cornelia Goode Foundation Charles & Elizabeth Goodyear Phil & Rosie Harkness Peter & Janette Kendall Sally Lindsay Andy Myer & Kerry Gardner Sid & Fiona Myer Allan Myers ac The Penn Foundation Peppertree Foundation The Rossi Foundation Shaker & Diana Mark Stanbridge Kim Williams am Peter & Susan Yates

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 SUPPORTERS Connie & Craig Kimberley Peter & Victoria Shorthouse FRIENDS Andrew Clouston Detached Hobart Peter Jopling am qc Patricia Mason & Paul Walker

49

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

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

Patron Peter Weiss ao

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

Founding Patrons VISIONARY $1M+ Peter Weiss ao CONCERTO $200,000–$999,999 The late Amina Belgiorno-Nettis Naomi Milgrom

OCTET $100,000–$199,999 John Taberner QUARTET $50,000 – $99,999 Mr John Leece am E Xipell Anonymous (1)

Investors Stephen & Sophie Allen John & Deborah Balderstone Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Sam Burshtein & Galina Kaseko Carla Zampatti Foundation Sally Collier Michael Cowen & Sharon Nathani Marco D'Orsogna Dr William F Downey Garry & Susan Farrell Gammell Family Adriana & Robert Gardos

Daniel & Helen Gauchat Edward Gilmartin Lindy & Danny Gorog Family Foundation Tom & Julie Goudkamp Laura Hartley & Stuart Moffat Philip Hartog Peter & Helen Hearl Brendan Hopkins Angus & Sarah James Paul & Felicity Jensen Jos Luck Mangala SF Media Super Nelson Meers Foundation Daniel & Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven John Taberner & Grant Lang The late Ian Wallace & Kay Freedman

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 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 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 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)

NATIONAL CONCERT SEASON 2018

EXPERIENCE A TRUE HOME AWAY FROM HOME COMO THE TREASURY

When the talented musicians from ACO perform in Perth, we are dedicated to ensuring they have an elegant, contemporary base to rest and recuperate.

COMO The Treasury is a sophisticated 48-room hotel in the revitalised historic centre of Perth. With restaurants, bars and the world-renowned COMO Shambhala wellness offerings all within our heritage building, we’re at the very heartbeat of the state capital.

Visit comohotels.com/thetreasury to learn more, or contact our dedicated reservations team on 08 6168 7899.

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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.

Mr Guido Belgiorno-Nettis am

Mr Angelos Frangopoulos

Mr Martyn Myer ao

Chairman, ACO

Chief Executive Officer Australian News Channel

Mr Peter Slattery

Mr Philip Bacon am Director, Philip Bacon Galleries

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

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

Mr Michael Chaney ao Chairman, Wesfarmers

Mr Matt Comyn Chief Executive Officer Commonwealth Bank

Mr Robin Crawford am & Mrs Judy Crawford Rowena Danziger am & Kenneth G. Coles am Mr Doug & Mrs Robin Elix Mr Bruce Fink Executive Chairman Executive Channel Holdings

Mr Daniel Gauchat Principal, The Adelante Group

Mr Robert Gavshon & Mr Mark Rohald Quartet Ventures

Mr James Gibson

Managing Partner Johnson Winter & Slattery

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

Chief Executive Officer Australia & New Zealand BNP Paribas

Mrs Carol Schwartz am

Mr John Grill ao & Ms Rosie Williams

Mr Glen Sealey

Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant

Ms Margie Seale & Mr David Hardy Chief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd ao Mr Peter Shorthouse

Mr Andrew Low

Senior Partner Crestone Wealth Management

Mr David Mathlin

Mr Noriyuki (Robert) Tsubonuma

Ms Julianne Maxwell Mr Michael Maxwell Ms Naomi Milgrom ao Ms Jan Minchin Director, Tolarno Galleries

Mr Jim & Mrs Averill Minto Mr Alf Moufarrige ao Chief Executive Officer, Servcorp

Mr John P Mullen Chairman, Telstra

Managing Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Ms Vanessa Wallace & Mr Alan Liddle Mr Rob & Mrs Jane Woods Mr Peter Yates am Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young

NATIONAL CONCERT SEASON 2018

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

Program names as at 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 AUSTRALIAN CHAMBER ORCHESTRA

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 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 Kathy & Greg Shand 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 Don & Mary Ann Yeats Anne & Bill Yuille Rebecca Zoppetti Laubi Anonymous (4)

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$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 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 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 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 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 (24)

$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 Elizabeth Bolton 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

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National Patrons’ Program (continued) $500–$999 (Continued) 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 Mr Selwyn Owen S Packer Ian Penboss Helen Perlen Kevin Phillips Erika Pidcock

AUSTRALIAN CHAMBER ORCHESTRA

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 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 Susan & Yasuo Takao C Thomson TWF See & Lee Chartered Accountants Oliver Walton Joy Wearne GC & R Weir Westpac Group Harley & Penelope Whitcombe James Williamson Sally Willis Janie Wittey Lee Wright Gina Yazbek Joyce Yong LiLing Zheng Brian Zulaikha & Janet Laurence Anonymous (35)

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

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

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

ACO Committees Sydney Development Committee Heather Ridout ao (Chair)

John Kench

Mark Stanbridge

Chair Australian Super

Jason Li

Partner Ashurst

Chairman Vantage Group Asia

Guido Belgiorno-Nettis am Chairman ACO

Alden Toevs

Jennie Orchard Peter Shorthouse

Gauri Bhalla

Senior Partner Crestone Wealth Management

CEO Curious Collective

The Melbourne Committee Martyn Myer ao (Chair)

Colin Golvan qc

Chairman, Cogslate Ltd President, The Myer Foundation

James Ostroburski

Ken Smith CEO & Dean ANZSOG

CEO Kooyong Group

Susan Thacore

Rachel Peck Principal peckvonhartel architects

Deputy Chairman Myer Family Investments Ltd & Director, AIA Ltd

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

Peter McMullin (Deputy Chair) Chairman McMullin Group

David Abela

Peter Yates am

Managing Director 3 Degrees Marketing

Disability Advisory Committee

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

Helena Rathbone – Principal Violin

Arvo Pärt & JS Bach

Branford Marsalis

A season opener featuring the famed Estonian Philharmonic Chamber Choir.

The American saxophone great makes his ACO debut.

Luminous

Brahms & Dvořák

2–13 February

10–23 August

The return of our ground-breaking collaboration with artist Bill Henson.

9–22 May

9–22 November Featuring Brahms’s Double Concerto and Dvořák’s Eighth Symphony.

Richard Tognetti – Artistic Director & Lead Violin Timo-Veikko Valve – Principal Cello

Single tickets now on sale DISCOVER THE FULL SEASON

aco.com.au/2019

GOVERNMENT PARTNERS

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