ACO Trout Quintet Program

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NATIONAL TOUR PARTNER

Schubert and Messiaen are composers who, each in their own way, had a keen appetite for experimentation, and who weren’t afraid to push up against the bounds of what was accepted, or fashionable, at the time. The creativity that fosters this kind of innovation continues today. For over 56 years Transfield has applied similar creativity to the many engineering projects it has pioneered, and today our investment in solar energy technology continues that tradition.

Transfield’s founder, my father Franco, recognised a very clear link between the creativity expressed in art and that which is applied in business. In 2011 we celebrated the 50 year anniversary of the establishment of the Transfield Art Prize, which led to the founding of the Biennale of Sydney. This year marks the 18th Biennale and Transfield is proud to remain its founding partner.

Transfield has supported the ACO for over a decade.

In that time Richard Tognetti and his incredibly talented musicians have not only inspired Transfield, they have captivated local and international audiences with their delicately crafted and uniquely magnificent music.

As Chairman of the ACO, it is a privilege to welcome you to this performance of the Trout Quintet and Quartet for the End of Time.

NATIONAL TOUR PARTNER

GUIDO BELGIORNO-NETTIS AM AUSTRALIAN CHAMBER ORCHESTRA 1

TOUR FOUR TROUT QUINTET & QUARTET FOR THE END OF TIME SPEED READ Over 120 years separate the works on this program, both of which are chamber music masterworks with vivid circumstances surrounding their creation.

Schubert’s “Trout” Quintet takes its nickname from Schubert’s song “Die Forelle”. It was written at the request of Austrian arts patron Sylvester Paumgartner, who regularly hosted soirees at his home. Schubert participated in these soirees, and apparently Paumgartner was so enamoured with the 22 year old composer’s “Forelle” that his stipulation was that the new quintet should include the melodic line from the song, along with very specific instrumentation. The quintet is amongst the most unabashedly joyous of Schubert’s works, reflective of the blissful times the composer enjoyed on holiday while writing the quintet.

Messiaen’s Quartet for the End of Time has its genesis in much darker circumstances. Messiaen was drafted as part of the French Army during World War II, and was captured by the Germans and sent to a work camp as a prisoner of war. The Germans, having an interest in music, provided Messiaen with tools to compose. He befriended a violinist, clarinettist, and a cellist and recalled, “I wrote an unpretentious little trio for them… Emboldened by this first experiment called ‘Intermede’, I gradually added the seven movements which surrounded it.” A concert of the quartet was presented in the work camp to an audience which Messiaen remembered as “the most diverse mixture of all classes in society — farm workers, labourers, intellectuals, career soldiers, doctors and priests”.

Messiaen’s quartet stands as one of the great achievements of chamber music, with harmonic and rhythmic sophistication employed to dazzling and profound effect. © Alan J. Benson

HELENA RATHBONE Violin CHRISTOPHER MOORE Viola TIMO-VEIKKO VALVE Cello MAXIME BIBEAU Double Bass PAUL DEAN Clarinet SALEEM ABBOUD ASHKAR Piano

SCHUBERT Piano Quintet in A major, D.667 ‘Trout’ I N T E R VA L

MESSIAEN Quatuor pour la fin du temps (Quartet for the End of Time)

Approximate durations (minutes): 37 – INTERVAL – 48 The concert will last approximately two hours including a 20-minute interval.

BRISBANE

MELBOURNE

QPAC Wed 11 Jul 8pm

Recital Centre Mon 16 Jul 8pm, Sun 22 Jul 2.30pm, Mon 23 Jul 8pm

NEWCASTLE WOLLONGONG

City Hall Thu 12 Jul 7.30pm

Town Hall Thu 19 Jul 7.30pm

SYDNEY City Recital Hall Angel Place Sat 14 Jul 7pm, Tue 17 Jul 8pm, Wed 18 Jul 7pm

CANBERRA Llewellyn Hall Sat 21 Jul 8pm

SYDNEY

ADELAIDE

Opera House Sun 15 Jul 2pm

Town Hall Tue 24 Jul 8pm

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

Cover photo: Timo-Veikko Valve © Jon Frank

AUSTRALIAN CHAMBER ORCHESTRA 3

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MESSAGE FROM THE GENERAL MANAGER

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

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ACO ON THE RADIO ABC CLASSIC FM Mon 16 Jul, 8pm Direct to air: Trout Quintet & Quartet for the End of Time Mon 6 Aug, 8pm Danielle de Niese & ACO 2MBS FM Wed 1 Aug, 12pm Musician interview about the upcoming Beethoven 9 program

NEXT TOUR Beethoven 9 4 — 15 August

July is an especially busy month for the Australian Chamber Orchestra. While Helena Rathbone leads this tour of two masterpieces of chamber music – Schubert’s Trout Quintet and Messiaen’s Quartet for the End of Time – Richard Tognetti is directing ACO2 on an extraordinary tour around the north-west coast of the continent to premiere The Reef.

Meanwhile, back in the ACO Studio, Aiko Goto is leading the ACO Academy – our first venture into the formation of a youth string orchestra based on the ACO model.

This means that the ACO’s July performance schedule ranges from the Sydney Opera House to a sunset openair performance on Broome’s Cable Beach, and from our first appearance in the splendid Dame Elisabeth Murdoch Hall of the Melbourne Recital Centre to the first music education experiences for primary school children at Our Lady of Mount Carmel in the inner Sydney suburb of Waterloo.

Such diversity is typical of the scope of the ACO’s programs and projects each year. Underpinning the ACO’s ability to achieve this breadth is the generous and sustained support of our long-term National Tour Partners such as Transfield.

Since 2000, Transfield has demonstrated its faith in the ACO’s vision through its sponsorship of our nationwide program of activities. We are immensely grateful to Transfield Holdings and the Transfield Foundation for enabling us to fulfil our mission.

After splitting into various ensembles and fanning out over the whole country in July, the full ACO will regroup in August for our biggest-ever program – Beethoven’s Ninth Symphony, with an orchestra of 54, four great soloists and the Choir of Clare College, Cambridge. Audiences in Adelaide, Brisbane, Canberra, Melbourne, Perth and Sydney will be able to catch this major event between 4 and 15 August.

FREE PROGRAMS To save trees and money, we ask that you please share one program between two people where possible.

TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

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

AUSTRALIAN CHAMBER ORCHESTRA 5

SCHUBERT Piano Quintet in A major, ‘Trout’, Op.114, D.667 (Composed 1819, published 1829)

Allegro vivace Andante Scherzo (Presto) Thema (Andantino) – Variazioni I-V (Allegretto) Finale (Allegro giusto)

Franz SCHUBERT (b. Vienna, Austria 1797 — d. Vienna, Austria 1828) Schubert’s death at age 31 was one of music history’s great tragedies. Despite his short life, Schubert somehow managed to leave behind more than 600 art songs, an extensive catalogue of ingenious piano and chamber music, and several masterpieces in large-scale genres. Shockingly underappreciated in his own day, Schubert now receives due recognition as one of the first Romantics and has assumed his rightful place in the musical pantheon.

Glossary recte: correctly/rightly Septet: work for seven instruments

6 AUSTRALIAN CHAMBER ORCHESTRA

The ‘Trout’ Quintet, like most of Schubert’s chamber music, seems to have been composed without the intention of having it publicly performed. It is, as usual, ‘domestic’ music, written for Schubert to enjoy with his friends in the intimacy of the salon. However, we know more about the genesis of this piece than the bulk of the substantial corpus of chamber music unearthed after Schubert’s death at the age of 31. In the 1850s Anton Stadler, Schubert’s childhood friend, told a writer preparing a biography of the composer that “He (Schubert) wrote it at the special request of my friend Sylvester Paumgartner, who was completely captivated by the precious little song. It was his wish that the Quintet should maintain the form and instrumentation of Hummel’s Quintet – recte Septet – which at that time was quite new. Schubert soon finished the piece and kept the field to himself.”

Sylvester Paumgartner lived in the upper Austrian town Steyr, where he was assistant manager of an iron ore mine.

The wealthy music-lover and cellist of modest ability hosted Schubert on three occasions. Although the autograph is lost, it is likely that the Quintet was composed on his first visit in 1819 (Schubert was 22), where it shared a bill with the Hummel Quintet, an arrangement of his wind, string and piano septet for the same slightly unusual instrumentation that Schubert used: violin, viola, cello, double bass and piano (rather than the normative ensemble of string quartet plus piano). As with his later String Quintet in C major, Schubert exploits the expanded, quasiorchestral, range and colouristic possibilities of his group to the fullest, the double bass for instance, contributing resonant pedal tones. The virtuoso piano writing is concentrated in the upper registers of the keyboard for maximum contrast with the predominantly low strings, and much of the melodic passage-work is in parallel octaves for a more brilliant and limpid effect. The Piano Quintet is substantial, but in three of the movements the first half is simply repeated in a different key.

The work opens with a flamboyant gesture: a rich string chord and a sweeping upward piano arpeggio – an important motif in this work – repeated a few times by way of introduction before the main theme. Schubert uses his favourite mediant and submediant modulations: moving into keys related by thirds and sixths, instead of the more Classical moves to keys a fifth or fourth away. The keys a third and sixth away are less closely related to the home key and imbue Schubert’s music with a sometimes irresolute and yearning quality.

Schubert’s harmony in the second movement Andante is even more surprising: the serene main theme is presented in F major but, after a brief modulatory passage led by the piano (a sequence of tumbling triplets), the secondary theme, a viola and cello duet is in the very distant key of F-sharp minor. The music then snaps in to a vacillating D major/G major and finds brief repose before it all begins again, this time a half-step higher in G-sharp (but spelled enharmonically as A-flat). In fact the plan of this whole movement is a slowly rising tonal corkscrew, moving in half-steps before falling back at the last possible moment to the opening F major.

The brief three-in-a-bar Scherzo contrasts two ideas: a tense string flourish and an unhurried trio section, redolent of the Austro-Germanic ideal of gemütlichkeit or ‘coziness’.

This mood is carried over into the most famous part of the Quintet, a set of variations on Schuberts lied Die Forelle (Op.32/D.550) composed in 1817. The text of The Trout,

by Christian Schubart, is a ribald allegory of sexual politics.

Briefly summarised, the poet describes the little fish swimming in a bright stream as an angler – with his rod at the ready – watches the trout cold-bloodedly, knowing that while the stream remains clear he’ll never catch her with his tackle. He muddies the water and catches the deceived fish. In German, ‘rod’ and ‘tackle’ have exactly the same connotations as in English. Schubert wisely didn’t set a further editorialising stanza which makes the plainly obvious moral even more explicit, warning young ladies to watch out for predatory men.

Schubert sets this text with almost naive cheeriness, setting a bouncy melody against the bubbling rising sextuplet (grouping of six) arpeggiated figure – which he lends to the Quintet’s opening gesture. The narrator of the poem, like Schubert, sympathises with the fish, not the ruthless angler.

The second section, describing the fish’s demise is cast in an agitated and tragic minor key, before it burbles to a close.

The larger scale of the Trout theme and variations allows AUSTRALIAN CHAMBER ORCHESTRA 7

Schubert to expand upon some of the ideas, and the drama, only hinted at in the tiny song, while more or less preserving the overall plan of the original. The theme is given to strings alone – without its watery piano accompaniment – in a solemn, almost chorale-like harmonisation. The first variation presents the theme in luminous octaves on the piano, surrounded by liquid trills and ornamentation in the strings. In Variation II, the violin takes flight over the theme in a virtuoso moto perpetuo. The third variation plays off rapid piano scales against a humorously ponderous statement of the theme in the cello and double bass. The outraged minor-key music accompanying the trout’s demise is now amplified hysterically, with pounding piano and string sextuplets. The fourth variation, led by the cello, seems to allude in its skipping rhythms to the aria ‘Là ci darem la mano’ from Mozart’s Don Giovanni – an apt reference to another perfidious seducer (the deepvoiced cello being a good stand-in for the bass-baritone Don). The final variation at last brings the original piano accompaniment into play along with the same jolly mood of the song, first on the keyboard but then tossed among the strings before fading into the distance.

The finale begins with some classic Schubertian misdirection with a pedal E in the piano implying that the piece is in E major (the dominant – a fifth away – from the home, or tonic, key of A major). Once the piece is finally settled in A, Schubert again subverts expectations by setting the contrasting theme in D major (the subdominant, where we’d expect it to move to the dominant) but denies us any kind of developmental section. He simply repeats the whole thing a fifth higher (properly in E now), so that this time when he modulates upwards we land back in the home key of A to finish the piece, revealing the neatness of the harmonic plot, but perhaps trying the patience of the listener with three long repetitions of some fairly slight music.

While we don’t know Paumgarten’s reaction to the work he elicited, Schubert’s publisher Joseph Czerny ran an ad for Trout Quintet in Wiener allgemeine Theaterzeitung in 1829 “Since this Quintet has already been performed in several circles at the publisher’s instigation, and declared by those musical connoisseurs present to be a masterpiece, we deem it our duty to draw the musical public’s attention to this latest work by the unforgettable composer…”

The musical public paid attention, and quickly made this one of the best-loved pieces of chamber music by any composer.

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MESSIAEN Quartet for the End of Time (Composed 1941)

1

Olivier MESSIAEN (b. Avignon, France 1908 — d. Paris, France 1992) Legendary French organist, teacher, and composer Messiaen followed in the continuum of French musical tradition after Debussy, reconciling tradition with innovations of Bartók and Stravinsky. As an avid ornithologist Messiaen observed, documented, and memorised birdsong, which inspired and was expressed in many of his compositions. His devout Catholicism informed much of his œuvre, and many of his works seek to express awe of the divine through inventively sublime and vivid, colourful writing. Counted among Messiaen’s students are Pierre Boulez, Qigang Chen, Tristan Murail, Karlheinz Stockhausen, Iannis Xenakis, and George Benjamin.

Liturgie de cristale

2

Vocalise, pour l’Ange qui annonce le fin du Temps

3

Abîme des oiseaux

4

Intermède

5

Louange à l’Eternité de Jésus

6

Danse de la fureur, pour les sept trompettes

7

Fouillis d’arc-en-ciel, pour l’Ange qui annonce le fin du Temps

8

Louange à l’Immortalité de Jésus

[For a discussion of the Quartet’s individual movements, turn to page 13.]

On a crisp winter day in 1988, Olivier Messiaen (19081992) and his wife, the pianist Yvonne Loriod, walked in the bush near Canberra. Messiaen wasn’t optimistic about his chances of finding his quarry – even in Australia, birds are muted and scarce in winter – but then, as Madame Loriod describes, “In a sunlit forest of giant eucalypts, like cathedral columns in the vibrating light, the composer suddenly saw the bird a few yards away, majestically raising its plumes to form a lyre twice his height. Moved by this ritual, he thought of the Betrothed of the Apocalypse, ‘adorned for her husband’.”

Messiaen later wove the virtuoso song of the Superb Lyrebird, transcribed in the wild that day, along with other Australian, Oceanic and Asian birds, into his late magnum opus, Éclairs sur l’Au-Delà... (Illuminations of the Beyond…)

Loriod’s anecdote neatly encapsulates many of the images of the composer that make Messiaen one of the most fascinating, influential (and sometimes derided) figures in 20th-Century music: birdsong and light, mysticism and visions, nature and transcendence. Éclairs was Messiaen’s final major orchestral work, a summa of many of his techniques and preoccupations, musical and religious. Its subject is the end of the world, as described in the Book of Revelations, and it consummates a 50-year cycle of works that began with the piece on this program.

Messiaen’s Quatour pour le fin du Temps (Quartet for the End of Time), was also a product of winter, the much more savage winter of 1941 near Görlitz, Silesia, in the easternmost part of Germany, right on its border with AUSTRALIAN CHAMBER ORCHESTRA 9

Poland. Olivier Messiaen was captured by invading Germans at Verdun, where he was a medical auxiliary (he had been drafted), in 1940, with three other musicians.

They were taken to Stalag VIIIA at Görlitz, Messiaen toting a knapsack with a precious cargo, ‘a little library of musical scores… going from Bach’s Brandenburg Concertos to the Lyric Suite of Berg’.

Prior to his capture Messiaen’s growing reputation as a composer and teacher made him the most prominent member of the avant-garde group called La Jeune France (Young France). La Jeune France were an earnest crowd, who reacted against the flippant music of Les Six (and their ringleader Francis Poulenc) and the dry neoclassicism of Stravinsky with highly serious and intricately wrought works. At this point, Messiaen’s musical style was maturing into a blend of the cutting-edge and the archaic, the highflown and the deplorably low-rent, at least to the ears of the musical establishment of the mid-1930s. Messiaen’s devout Catholicism was also problematic – especially when couched in a highly personal style of gaudy eclecticism and soul-baring candour. Increasingly, faith was the subject of his concert music, eventually to the exclusion of everything else.

Église de la Sainte-Trinité (Church of the Holy Trinity) Paris, ca. 1890–1900.

Messiaen already had an outlet for his religious music in his other job as organist for the Church of the Holy Trinity in north Paris, where he performed and improvised every Sunday on the Basilica’s magnificent Romantic organ. His organ teacher Marcel Dupré (1886–1971) – the ‘Liszt of the organ’, according to Messiaen – passed on his interest in exotic modes and scales and ancient Greek poetic meters to the younger composer, who used them as the basis of his compositional technique in and out of the organ-loft.

Few composers have had as much objectivity about their style as Messiaen, or been as adept at explaining in detailed forewords to his pieces and in his theoretical works, The Technique of My Musical Language and the eight-volume Treatise of Rhythm, Colour and Ornithology. Briefly, the foundation of Messiaen’s harmony is the use of what he called ‘modes of limited transposition’. These are scales which can only be transposed (have their starting note moved up or down) a limited number of times before they repeat exactly again (unlike the conventional diatonic scale which can be transposed twelve times before it repeats).

The most familiar of these modes is the whole-tone scale – which lends an exotically ‘oriental’ sound to some of Debussy (e.g. ‘Pagodes’ from Estampes) and Ravel’s works.

As the name suggests, each note is separated by the

10 AUSTRALIAN CHAMBER ORCHESTRA

interval of a tone (a whole ‘step’ or major second), and in Messiaen’s system Mode 1 has two transpositions. Mode 2 alternates whole and half steps and has three transpositions (this ‘octatonic’ scale’s mysterious and ambiguous sound can be heard in Stravinsky’s early Russian ballets). These modes – there are 16 – expand the palette of melodic and harmonic colours far beyond the conventional Western duality of major and minor, though Messiaen used those too, spiced with his modes, as well as the Church modes of plainchant. They also possess a quality of symmetry that appealed to Messiaen: chords and melodies created with the modes ‘reflect’ around a central pivot, often dissonant interval of the tritone (diminished fifth/augmented fourth).

Rhythmically, Messiaen drew on the rhythms of Greek poetry and ancient Indian rhythmic patterns called tala, as a way to create rhythmic cells from these musical found objects. When harnessed to his modes in a more or less methodical way, Messiaen discovered a powerful generative force for his music, which he could further manipulate with a set of techniques such as augmentation and diminution (expanding or contracting all the rhythmic values while maintaining their relative proportions) and by arbitrarily lengthening, shortening or substituting silences for certain values, the technique of ‘added value’.

Messiaen also used what he described as ‘non-retrogradable rhythms’, which are simply rhythmic palindromes, reflected (symmetry again) around a central common value. For Messiaen, the ideal rhythm of music ‘eschews repetition, bar lines and equal divisions, which ultimately takes its inspiration from the movements of nature which are free and unequal in length.’

All of this theoretical baggage might seem to impose a heavy burden on any composer yearning for unfettered creation, but not for Messiaen. He revelled in what he described as the ‘charm of impossibilities’; “It is a glistening music that we seek, giving to the aural sense voluptuously refined pleasures. At the same time, this music should be able to express some noble sentiments (and especially the most noble of all, the truths of the Catholic faith). This charm, at once voluptuous and contemplative, resides particularly in certain mathematical impossibilities in the modal and rhythmic domains.”

How are these impossibilities impressed upon the listener?

By Messiaen’s own admission, we may not be able to consciously hear palindromic rhythms, but we might sense the symmetrical patterning. The chords based on his modes seem to be propelled by a different harmonic ‘engine’ than AUSTRALIAN CHAMBER ORCHESTRA 11

the one which powers conventional Western harmony.

The Greek and Indian rhythms chatter against themselves, moving according to the dictates of an alien (to us) musical aesthetic. Somehow, the strength of Messiaen’s musical personality pulls these heterogeneous ingredients together to form his unmistakable voice.

But while the essentials of Messiaen’s technique were already in place in 1940, as is to be expected, his experience in the Stalag catalysed these elements into something new, powerful and more self-confident. In addition to the self-imposed constraints of rhythm and mode, Messiaen found himself having to work with the instruments and musicians available to him in camp: violinist Jean Le Boulaire, Henri Akoka, clarinetist, and Etienne Pasquier, a cellist. Somehow, Le Boulaire and Akoka had held onto their instruments, a beaten up cello, and Messiaen composed a trio for them which was performed in the ablution block. The work’s unsung benefactor was KarlAlbert Brüll, a sympathetic guard at Stalag VIIIA, who provided Messiaen with materials and space to compose, and even placed a guard at his door so that he wouldn’t be disturbed. They are as much responsible for bringing the Quartet into the world as the composer; it would not exist at all but for the happenstance that threw them all together.

In the confines of a prisoner of war camp in the depths of the winter of 1941, Messiaen might well have believed that the end of time – and indeed his own end – were imminent. He signals his grander intentions by heading the score with a lengthy quotation from Book of Revelation of St John the Divine: “And I saw another mighty angel descend from heaven clothed with a cloud: and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire… and he said… there should be time no longer.” (Revelation 10:1–7, KJV).

This program immediately creates a problem for the composer: how do you remove time from a medium that is entirely temporal? Is it, like some minimalist music, harmonically static and repetitive? Is it just an endless drone? Messiaen’s solution is more subtle, counterintuitive and interesting. He uses his rhythmic techniques of augmentation/diminution and added values to makes us aware of and then manipulate the fabric of time, pinching it tightly together to speed it up or stretching it out in infinite slowness. At other times, time seems to stop altogether as a long-breathed melody unfolds. Any kind of symmetry – for instance the palindrome rhythms – thwart time’s 12 AUSTRALIAN CHAMBER ORCHESTRA

inexorable forward momentum, they are the same whether time runs forwards or backwards. While time might end for the audience, musicians are all too aware of it: the irregular, constantly shifting time signatures of the Quartet requires the players to subdivide the beat in tiny increments.

Messiaen’s music often moves with glacial, rapt slowness, Infiniment lent, extatique (infinitely slow, ecstatic) is a fairly typical instruction (conversely, sometimes his music is hyperactively quick, there’s just nothing in between).

These tempos attune the audience to the beyond, but also make this music a special challenge to musicians who must move with yogic control and discipline. The concentrated inwardness required to perform the Quartet casts an additional halo around the work, which radiates into the auditorium.

Messiaen provided the notes on each of the eight movements (eight having a mystical significance – God rested on the seventh day of creation, a day extended eternally into the ‘eighth day’ of perfect light and peace).

Some further annotations are provided beneath Messiaen’s descriptions.

1) Liturgie de cristal (Crystal Liturgy) [quartet]: Between 3 and 4 in the morning, the dawn chorus of birds: a blackbird or a nightingale soloist improvises, surrounded by powdery sonorities, by a halo of trills lost in the heights of the trees. Transpose this onto a religious plane: you have the harmonious silence of heaven.

The violin and clarinet impersonate birds, innocent heralds of God, while on a separate plane the cello and piano play two distinct cycles of rhythmic and harmonic patterns. In the piano’s case there is a harmonic sequence of 29 chords played to a rhythm based on a tala of 17 values, one chord per value. Harmony and rhythm are independent of each other, so that the beginnings of each cycle coincide with every 29 repetitions of the tala. To further complicate this, the cello has a different set of 15 rhythmic values and five tones. For cello and piano to play out their complete cycles and re-synchronise would take two hours. Given that Messiaen abruptly cuts off this movement after ten repetitions of the tala (about three minutes) what we are given is a window into an enormous (virtually endless in audience time) structure, a powerful metaphor for eternity, and of the inscrutable mechanism of the cosmos. It is the simple, natural birds (probably blackbirds, despite Messiaen’s uncharacteristic vagueness), which halt the movement’s inexorable progress.

AUSTRALIAN CHAMBER ORCHESTRA 13

2) Vocalise, pour l’Ange qui annonce le fin du Temps (Vocalise, for the Angel who announces the end of Time) [quartet]: The first and third part (very brief ) evoke the power of this mighty angel, crowned by a rainbow and clothed in a cloud, who places one foot in the sea and the other foot on the earth. In the middle [section], these are the impalpable harmonies of heaven. On the piano, cascades of gentle orange-blue chords, enveloping, with their distant carillon the quasi-plainchant song of the violin and cello.

The Angel is introduced by brusque chords and an alarmed call from the clarinet, a motif which returns in the Interlude. The ‘cascades’ of chords are in Messiaen’s Third Mode of Limited Transposition centered on D, which create an iridescence which he describes as ‘drops of water in a rainbow’. Messaien was synaesthetic, and ‘saw’ colours associated with chords. He would more fully develop the colour technique in his later works.

3) Abîme des oiseaux (Abyss of the Birds) [clarinet solo]: Clarinet alone. The abyss is time with its sorrow and lassitude. The birds are the opposite of time: they are our desire for light, for stars, for rainbows and jubilant songs!

In addition to synthetic birdsong, the ‘abyss’ is a hall of mirrors: melodies are inverted and reversed. Messiaen uses his rhythmic stretching and shrinking techniques extensively.

4) Intermède (Interlude) [violin, clarinet, cello]: Scherzo, of a more superficial character to the other movements, but, just the same, linked to them by melodic reminiscences.

This was evidently the trio that Messiaen composed for the toilet block performance. The clarinet’s ‘alarm call’ returns in a more relaxed guise. There is also a premonition of the sixth movement. The pulse is regular and quick, the better to contrast with the Louange which follows.

5) Louange à l’Eternité de Jésus (Paean to the Eternity of Jesus) [cello, piano]: Jesus is here considered as the Word.

A long cello phrase, infinitely slow, magnifies with love and reverence the eternity of this powerful and gentle Word “which the years cannot efface”. Majestically, the melody spins itself out in a kind of tender and lordly distance. “In the beginning was the Word, and the Word was in God, and the Word was God.” [John 1:1] Messiaen recycled the cello’s ‘infinitely slow, ecstatic’ melody from a sextet for ondes Martenots called Fête des belles eaux, composed to accompany a fountain-and-firework 14 AUSTRALIAN CHAMBER ORCHESTRA

show at the Paris Exposition. The tune accompanied the climax of the fountain part of the display, a jet of water.

Messiaen’s critics would argue that this meeting of piety and vulgarity is typical of his work. Messiaen countered by saying that they are ‘not at all luscious and sweet; they are noble, bare, austere’. As critic Paul Griffiths says about such judgments of taste (which are by definition specific to a certain time, place and culture), “a work situating itself at the end of time may well demonstrate its special position by ignoring them.” Griffiths continues: “The challenge to the religious artist is to make all things sacred, and to deny the self that would discriminate.” The two paeans (songs of praise), both in radiant E major, are some of the most exquisitely beautiful moments in 20th century art.

6) Danse de la fureur, pour les sept trompettes (Dance of fury, for the seven trumpets) [quartet]: Rhythmically, this is the most typical piece of the set. The four instruments in unison have the effect of gongs and trumpets (the first six trumpets of the Apocalypse followed by several catastrophes, the trumpet of the seventh angel announcing the consummation of the mystery of God). The use of added values, rhythmic augmentation or diminution and nonretrogradable rhythms. Music of stone, awesome granite sonorities, irresistible steely motion, of enormous blocks of purple fury, of icy intoxication. Listen especially to the terrible fortissimo of the theme in augmentation and changes of register of its different tones, towards the end of the piece.

After the vigorous, metrically unpredictable dance climaxes with a rush increasing speed, the distant fanfarelike melody theme fairly clearly in D major suggests the trumpets of the title, before being submitted to the various rhythmic procedures Messiaen mentions, so that it seems to warp before our ears.

7) Fouillis d’arc-en-ciel, pour l’Ange qui annonce le fin du Temps (Welter of rainbows, for the Angel who announces the end of Time) [quartet]: Return of certain passages from the second movement. The mighty Angel appears, above all, his rainbow crown (the rainbow: symbol of peace, of wisdom, and of all luminous and sonorous vibrations). In my dreams I hear chords and melodies which I know, I see known colours and forms, but, after this transitory stage, I pass into the unreal and submit in ecstasy to spinning, a gyratory interpenetration of superhuman sounds and colours. These swords of fire, these flows of blue-orange lava, these sudden stars: that’s the turmoil of rainbows!

AUSTRALIAN CHAMBER ORCHESTRA 15

This is the most visionary movement, and could be heard as the climax of the piece (after all, time ends after the angel makes his announcement, and so literally nothing can happen afterwards). Messiaen further develops some ideas introduced in the Vocalise (and the blue-orange synaesthetic chords of the sixth mode return). The arch-like symmetry of the movement (in seven sections) suggests the rainbow itself (with its seven hues).

8) Louange à l’Immortalité de Jésus (Paean to the Immortality of Jesus) [violin, piano]: Long violin solo, a pendant to the cello solo of the fifth movement. What is this second paean? It is addressed especially to the second aspect of Jesus, to the Man-Jesus, the Word made flesh, resurrected immortally to give us life. It is all love. It slowly climbs into the extreme high register, this is the ascension of man towards his God, of the son of God towards his Father, of divine Being towards paradise.

How does eternity differ from immortality? It is perhaps a matter of timbre. This warmly human – even sensual – Louange climbs to heaven over a heart-beat pattern in the piano before fading beyond our hearing (in this life, at least). Messiaen borrowed the ravishing melody (marked avec amour) from his earlier organ work, Diptyque, but provided new perfectly-judged piano accompaniment.

The Quartet was premiered in Barracks 27 of Stalag VIII on the frozen night of 15 January, 1941 with metres of snow piled outside. In the unheated room, 400 or so inmates and guards shivered as they listened, enraptured, to the end of time and Messiaen’s vision of an eternity of hope and love. “Never”, the composer recalled, “was I listened to with such rapt attention and understanding.’

Messiaen was repatriated to France the following spring.

PROGRAM NOTES © ROBERT MURRAY, 2012

16 AUSTRALIAN CHAMBER ORCHESTRA

HELENA RATHBONE Photo © Paul Henderson-Kelly

VIOLIN Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s second ensemble ACO2 which sources musicians from the Emerging Artists Program.

Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff, Canada.

Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin in the Fields.

Chair sponsored by Hunter Hall Investment Management Limited

When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, Christchurch Arts Festival, Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. The group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008.

Helena performs on a 1759 J.B. Guadagnini violin, kindly made available to her by the Commonwealth Bank Group.

CHRISTOPHER MOORE Photo © Paul Henderson-Kelly

VIOLA

Chair sponsored by Tony Shepherd AO

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

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

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

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

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

AUSTRALIAN CHAMBER ORCHESTRA 17

TIMOVEIKKO VALVE Photo © Paul Henderson-Kelly

CELLO

Chair sponsored by Mr Peter Weiss AM

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

Timo-Veikko has performed as a soloist with the Helsinki Filharmonia, Finnish Radio Symphony Orchestra, Sinfonia Lahti, Tampere Filharmonia and the Ostrobothnian Chamber Orchestra among others. He has also appeared as soloist and chamber musician in Europe, Asia, Australia and the US. Timo-Veikko has performed at many festivals including the Helsinki Festival, Kemiö Music Festival, Musica Nova Helsinki, Kuhmo Chamber Music, Lahti Sibelius-festival and Järvenpää Sibelius-festival. Timo-Veikko records regularly for the Finnish Broadcasting Company and has given world premiere performances of works by Jean Sibelius and other contemporary composers.

In 2006 he was appointed Principal Cello of the Australian Chamber Orchestra, with whom he often appears as soloist. Timo-Veikko is also a guest teacher at the Australian National Academy of Music and a founding member of Jousia Ensemble and Jousia Quartet. He performs regularly with pianist Joonas Ahonen and accordionist Veli Kujala.

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

MAXIME BIBEAU Photo © Paul Henderson-Kelly

DOUBLE BASS

Chair sponsored by John Taberner & Grant Lang

Inspired by the sounds of jazz, Maxime began playing the double bass in his native Canada at the age of 17, where he completed his undergraduate degree at the Conservatoire de Musique du Québec à Montréal with René Gosselin. He went on to obtain a Master’s of Music at Rice University in Houston with Timothy Pitts and Paul Ellison where he was awarded a full university scholarship, as well as grants from the Canada Arts Council and the Canadian Research Assistance Fund. Maxime has been Principal Double Bass of the ACO since 1998.

He has performed in several orchestras including the SHIRA International Symphony Orchestra Israel, Jeunesses Musicales World Orchestra, Sydney Symphony, Montreal Symphony Orchestra and WDR Symphony Orchestra in Cologne. He has participated in festivals such as the Spoleto Festival in Italy, Australian Festival of Chamber Music, Sydney Festival and Huntington Festival.

He featured as a soloist with the ACO in performances of Piazzola’s Kicho and Contrabajissimo, James Ledger's Folk Song and Mozart’s Per questa bella mano with Teddy Tahu Rhodes.

As an educator he has been involved with the AYO National Music Camp, Sydney Youth Orchestra, University of NSW and Australian National Academy of Music. He is currently a lecturer at the Sydney Conservatorium of Music.

18 AUSTRALIAN CHAMBER ORCHESTRA

SALEEM ABBOUD ASHKAR Photo © Moniker Rittershaus

PIANO Saleem Abboud Ashkar made his New York Carnegie Hall debut at the age of 22 and has since worked with many of the World’s leading orchestras including the Vienna Philharmonic, Israel Philharmonic, Chicago Symphony, La Scala Philharmonic, Leipzig Gewandhaus, Deutsche Symphony Orchestra Berlin, Radio Symphony Orchestra Berlin, Maggio Musicale, New Zealand Symphony Orchestra, Bergen Philharmonic, Mariinsky Orchestra and the Orchestra of the Royal Danish Theatre.

He performs regularly with conductors such as Zubin Mehta, Daniel Barenboim, Riccardo Muti, Lawrence Foster, Bertrand de Billy, Philip Jordan and Ludovic Morlot and following a highly successful debut with Christoph Eschenbach and the NDR Hamburg Orchestra, with whom he was immediately re-invited to work, Eschenbach invited Ashkar to play the Schumann Concerto with the Dusseldorf Symphony Orchestra in the Schumann Birthday Concert in 2010. He toured extensively with Riccardo Chailly and the Leipzig Gewandhaus Orchestra performing Mendelssohn’s First Piano Concerto, including appearances at the Proms and Lucerne Festivals, in a tour celebrating the bicentennial anniversary of the composer’s birth and Chailly has re-invited Saleem for concerts and to record with him for Decca in the 12/13 season. Appearances in this and future seasons include invitations to make debuts with the Concertgebouw Orkest and the London Symphony Orchestra playing concerts in London and Bucharest, the Konzerthaus Orchestra Berlin, Danish National Symphony Orchestra, Royal Liverpool Philharmonic and National Arts Centre Orchestra Ottawa on the invitation of Pinchas Zukerman.

A dedicated recitalist and chamber musician, Ashkar appears regularly in series at venues such as the Concertgebouw, Mozarteum Salzburg, Musikverein Vienna, Conservatorio Guiseppe Verdi Milan, Florence and at festivals including Salzburg with the Vienna Philharmonic, the Proms with Leipzig Gewandhaus Orchestra, at Tivoli with the Israel Philharmonic and Zubin Mehta, in Lucerne, Ravinia, Risor, Menton and the Ruhr Klavier Festival, collaborating with artists including Daniel Barenboim, Nikolaj Znaider and Waltraud Meier.

Ashkar studied at the Royal Academy of Music in London with Maria Curcio, and with Arie Vardi at the University of Music and Drama in Hanover.

AUSTRALIAN CHAMBER ORCHESTRA 19

PAUL DEAN CLARINET* Clarinettist Paul Dean is a renowned soloist, recitalist, chamber musician and artistic director. He is founder and Artistic Laureate of chamber ensemble Southern Cross Soloists, the Bangalow Music Festival, SunWater and the Stanwell Winter Music School. He has commissioned and premiered over 100 works, including his brother Brett’s clarinet concerto Ariel’s Music and Andrew Schultz’s Clarinet Quintet. Ariel’s Music gained international acclaim for both performer and composer and Paul’s recording of this work was finalist in the 1999 ARIA Awards.

Between 1987 and 2000 Paul was Principal Clarinet with the Queensland Symphony Orchestra and appeared as soloist with the Orchestra on over 30 occasions. Throughout the years, Paul has performed with the ACO, West Australian Symphony Orchestra, Melbourne Chamber Orchestra, Australian String Quartet, Goldner Quartet, Flinders Quartet, Tin Alley Quartet, Seraphim Trio and many major orchestras in Australia and New Zealand.

Paul’s recording of Mozart’s clarinet works (Melba label) and his recording of English composer Benjamin Frankel’s clarinet music (German label CPO) are internationally critically acclaimed.

Paul grew up in a house full of music. His father’s love of Mendelssohn, Tchaikovsky and Beethoven imbued his life from his first steps.

Artistic Director of the Australian National Academy of Music and a passionate supporter of youth and regional music education, Paul’s extensive work throughout Australia has left a lasting imprint on many budding musicians. Paul is also composing works for Michael Kieran Harvey, The Flinders Quartet, cellist Patrick Murphy and the Southern Cross Soloists. *Appears courtesy of the Australian National Academy of Music

Players dressed by

AKIRA ISOGAWA

20 AUSTRALIAN CHAMBER ORCHESTRA

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

Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality unmatched by other ensembles.

The ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia. The ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-artform projects and a vigorous commissioning program.

Under Richard Tognetti’s inspiring leadership, the ACO has performed as a flexible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience.

Several of the ACO’s principal musicians perform with spectacularly fine instruments. Tognetti plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri filius Andreæ cello, on loan from Peter Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments.

Fifty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein.

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

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

The ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI and Chandos and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop.

Highlights include the three-time ARIA Award-winning Bach recordings and the complete set of Mozart Violin Concertos. The ACO appears in the television series Classical Destinations II and the award-winning film Musica Surfica.

In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres.

AUSTRALIAN CHAMBER ORCHESTRA 21

RICHARD TOGNETTI AO Paul Henderson-Kelly

ARTISTIC DIRECTOR AUSTRALIAN CHAMBER ORCHESTRA Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989.

Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Maribor Festival in Slovenia.

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.”

Tognetti performs on period, modern and electric instruments.

His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.

THE DAILY TELEGRAPH (UK)

As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

Select Discography

Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson and Michael Leunig.

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

In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, co-created The Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa.

As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

22 AUSTRALIAN CHAMBER ORCHESTRA

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

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

Richard Tognetti AO Artistic Director

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

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

AUSTRALIAN CHAMBER ORCHESTRA

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

ABN 45 001 335 182

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

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

AUSTRALIAN CHAMBER ORCHESTRA 23

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

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

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

LLEWELLYN HALL School of Music Australian National University William Herbert Place (off Childers Street) Acton, Canberra

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444

VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: music.venues@anu.edu.au

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AEG OGDEN (PERTH) PTY LTD

EXECUTIVE STAFF Chief Executive John Kotzas Director – Marketing Leisa Bacon Director – Presenter Services Ross Cunningham Director – Development Jacquelyn Malouf Director – Corporate Services Kieron Roost Director – Patron Services Tony Smith

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24 AUSTRALIAN CHAMBER ORCHESTRA

Chair Henry Smerdon AM Deputy Chair Rachel Hunter

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government The Honourable Rachel Nolan MP Minister for Finance, Natural Resouyrces and The Arts Director-General, Department of the Premier and Cabinet John Bradley Deputy Director-General, Arts Queensland Leigh Tabrett PSM Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

ACKNOWLEDGEMENTS VENUE SUPPORT

SYDNEY OPERA HOUSE TRUST Mr Kim Williams am (Chair)

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

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

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AUSTRALIAN CHAMBER ORCHESTRA 25

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

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti AO

Helena Rathbone

Satu Vänskä

Lead Violin

Principal 2nd Violin

Assistant Leader

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

Robert & Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

Tony Shepherd AO

Peter Weiss AM

John Taberner & Grant Lang

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

Nicole Divall Viola Ian Lansdown

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

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

Rebecca Chan Violin Ian Wallace & Kay Freedman

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

GUEST CHAIRS

FRIENDS OF MEDICI

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

Mr R. Bruce Corlett AM & Mrs Ann Corlett

26 AUSTRALIAN CHAMBER ORCHESTRA

ACO INSTRUMENT FUND The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Assistant Leader of the Orchestra.

The ACO pays tribute to its Founding Patrons of the Fund, who have made donations or pledges to the Orchestra to assist the Fund in its acquisition of the Stradivarius violin.

PETER WEISS AM, PATRON VISIONARY $1m+

OCTET $100,000 – $199,000

ENSEMBLE $10,000 – $24,999

Peter Weiss AM

Amina Belgiorno-Nettis

Leslie & Ginny Green

LEADER $500,000 – $999,999

QUARTET $50,000 – $99,000

SOLO $5,000 – $9,999

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

John Leece OAM & Anne Leece

PATRONS $500 – $4,999

SONATA $25,000 – $49,999

June & Jim Armitage Angela Roberts

2011 EUROPEAN TOUR PATRONS The ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour.

Graeme & Jing Aarons Samantha Allen John & Philippa Armfield Steven Bardy Isla Baring Linda & Graeme Beveridge BG Group Paul Borrud Ben & Debbie Brady Kay Bryan Massel Group Terry Campbell AO & Christine Campbell Jenny & Stephen Charles The Clayton Family Penny Clive & Bruce Neill John Coles Commonwealth Bank Robin D’Alessandro & Noel Philp Jennifer Dunstan Bridget Faye AM

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

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

AUSTRALIAN CHAMBER ORCHESTRA 27

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

THE REEF LEAD PATRONS

PATRONS

Tony & Michelle Grist

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

Jane Albert Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin T Cavanagh & J Gardner Anne Coombs & Susan Varga Amy Denmeade Toni Frecker John Gaden AM Cathy Gray

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

Susan Johnston & Pauline Garde Brian Kelleher Andrew Leece Kate Mills & Sally Breen Martin Portus Janne Ryan Barbara Schmidt & Peter Cudlipp Richard Steele Stephen Wells & Mischa Way

QINOTH by Paul Stanhope Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin Austin Bell & Andrew Carter T Cavanagh & J Gardner Chin Moody Family Anne Coombs & Susan Varga Greg Dickson John Gaden AM Cathy Gray Brian Kelleher

Penny Le Couteur Scott Marinchek & David Wynne Kate Mills Janne Ryan Barbara Schmidt & Peter Cudlipp Jane Smith Richard Steele Peter Weiss AM Cameron Williams Anonymous (1)

OTHER COMMISSIONS Jan Minchin Robert & Nancy Pallin

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

Edmund & Joanna Capon Mr R. Bruce Corlett AM & Mrs Ann Corlett Leslie & Ginny Green Katrina Groshinski Angela Isles 28 AUSTRALIAN CHAMBER ORCHESTRA

Ian Lansdown in memory of Nina Lansdown Mr Anthony & Mrs Sharon Lee Bernard & Barbara Leser Ross Steele AM Victoria Taylor Evan Williams

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

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

TRUSTS AND FOUNDATIONS

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE NEILSON FOUNDATION Philip Griffiths Architects Nereda Hanlon & Michael Hanlon AM Liz Harbison The Abercrombie Family Lindi & John Hopkins Foundation Angela James & Phil Mr Robert Albert AO & McMaster Mrs Libby Albert David & Megan Laidlaw Daria & Michael Ball Peter Lovell Steven Bardy Alastair Lucas AM Guido & Michelle The Marshall Family Belgiorno-Nettis Jan McDonald Liz Cacciottolo & Walter The Michael Family Lewin P J Miller John & Janet Calvert-Jones Donald & Jane Morley Darin Cooper Family Louise & Martyn Myer John B Fairfax AO Foundation Chris & Tony Froggatt Jennie & Ivor Orchard Australian Communities S & B Penfold Foundation – Ballandry Patricia H Reid Endowment (Peter Griffin Family) Fund Pty Ltd Miss Nancy Kimpton Ralph & Ruth Renard Paula Kinnane D N Sanders Jeff Mitchell MAESTRO $2,500+ Greg Shalit & Miriam Faine Alf Moufarrige Ms Petrina Slaytor Michael Ahrens Drs Alex & Pam Reisner Amanda Stafford Jane Allen John Taberner & Grant Lang Will & Dorothy Bailey Bequest Tom Thawley The Hon Malcolm Turnbull Doug & Alison Battersby Dr & Mrs R Tinning & Ms Lucy Turnbull AO Laurie Walker Virginia Berger Peter Weiss AM Ralph Ward-Ambler AM & Patricia Blau Anonymous (1) Barbara Ward-Ambler Cam & Helen Carter Jon Clark & Lynne Springer Karen & Geoff Wilson DIRETTORE $5,000+ Caroline & Robert Clemente Janie & Nevi Wittey Anonymous (1) Geoff Alder M Crittenden The Belalberi Foundation John & Gloria Darroch VIRTUOSO $1,000+ Jenny & Stephen Charles Kate Dixon Ross & Rona Clarke Professor Dexter Dunphy AM Annette Adair Leith & Darrel Conybeare Peter & Cathy Aird Leigh Emmett Bridget Faye AM Antoinette Albert Rhyll Gardner Ian & Caroline Frazer David & Rae Allen Liangrove Foundation Edward C Gray Andrew Andersons Goode Family Annie Hawker David Arnott Maurice & Tina Green Sibilla Baer Warren Green Rosemary Holden

EMERGING ARTISTS & EDUCATION PATRONS $10,000+

Keith Kerridge Wayne N Kratzmann Philip A Levy Lorraine Logan David Maloney & Erin Flaherty Hon Dr Kemeri Murray AO Marianna & Tony O’Sullivan Sandra & Michael Paul Endowment John Rickard The Roberts Family A J Rogers Paul Salteri Paul Schoff Ian Wallace & Kay Freedman Ian Wilcox & Mary Kostakidis Cameron Williams E Xipell Anonymous (1)

The Beeren Foundation Ruth Bell Victoria Beresin Kathy Borrud Ben & Debbie Brady Vicki Brooke In memory of Elizabeth C. Schweig Jasmine Brunner Sally Bufé Neil Burley & Jane Munro G Byrne & D O’Sullivan Elizabeth & Nicholas Callinan J & M Cameron Michael Cameron Cannings Communication Sandra Cassell Ann Cebon-Glass Georg & Monika Chmiel Angela & John Compton Alan Fraser Cooper Judy Croll Betty Crouchley Diana & Ian Curtis Marie Dalziel Lindee & Hamish Dalziell Mrs June Danks Michael & Wendy Davis Anne & Tom Dowling Jennifer Dowling Anne-Maree Englund Bronwyn Eslick Peter Evans Julie Ewington Helen Elizabeth Fairfax Elizabeth Finnegan Nancy & Graham Fox Joanne Frederiksen & Paul Lindwall Colonel Tim Frost Anne & Justin Gardener Daniel & Helen Gauchat

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATIONS PROGRAM Colin Golvan SC Richard & Jay Griffin Paul Harris Lyndsey Hawkins Peter Hearl Patagonian Enterprises Pty Ltd Michael Horsburgh AM & Beverley Horsburgh Penelope Hughes Wendy Hughes Pam & Bill Hughes Phillip Isaacs OAM D & I Kallinikos Len La Flamme John Landers & Linda Sweeny Mrs Judy Lee Greg Lindsay AO & Jenny Lindsay Sydney & Airdrie Lloyd Bronwyn & Andrew Lumsden Judy Lynch Mr & Mrs Greg & Jan Marsh Jennifer Marshall Roderick & Leonie Matheson Jane Mathews AO Kevin & Deidre McCann Brian & Helen McFadyen Ian & Pam McGaw J A McKernan Mrs Helen Meddings G & A Nelson Nola Nettheim Glen Hunter & Anthony Niardone Anne & Christopher Page peckvonhartel architects David Penington AC Ayesha Penman Tomasz Rawdanowicz Mark Renehan Dr S M Richards AM & Mrs M R Richards Warwick & Jeanette Richmond in memory of Andrew Richmond David & Gillian Ritchie Em Prof A W Roberts AM Julia Champtaloup & Andrew Rothery Paul Skamvougeras Diana Snape & Brian Snape AM Maria Sola & Malcolm Douglas Ezekiel Solomon AM Cisca Spencer

Peter & Johanna Stirling Benson Geoffrey Stirton Mr Tom Story John & Jo Strutt Dr Charles Su & Dr Emily Lo Rob Thomas Anne Tonkin Colin & Joanne Trumble Ngaire Turner Kay Vernon Bill Watson M W Wells Sir Robert Woods Nick & Jo Wormald Anna & Mark Yates Don & Mary Ann Yeats Mark Young William Yuille Anonymous (16)

CONCERTINO $500+ Antoinette Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Elsa Atkin Jeremy Ian Barth Max Benyon Baiba Berzins Brian Bothwell Denise Braggett Diana Brookes Morena Buffon & Santo Cilauro Darcey Bussell Fred & Jody Chaney Stephen Chivers John Clayton Joan Clemenger Sam Crawford Architects Professor John Daley Ted & Christine Dauber Mari Davis Dr Christopher Dibden Martin Dolan In memory of Raymond Dudley Professor Peter Ebeling & Mr Gary Plover M T & R L Elford Barbara Fargher Michael Fogarty Patricia Gavaghan Mirek Generowicz Peter & Valerie Gerrand Paul Gibson & Gabrielle Curtin Brian Goddard

Prof Ian & Dr Ruth Gough Philip Graham Katrina Groshinski Matthew Handbury Lesley Harland Mr Ken Hawkings Virginia Henry Dr Penny Herbert in memory of Dunstan Herbert M John Higgins & Jodie Maunder Peter & Ann Hollingworth Dr & Mrs Michael Hunter John & Pamela Hutchinson Stephanie & Michael Hutchinson Philip & Sheila Jacobson Deborah James Brian Jones Mrs Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Tony Kynaston & Jenny Fagg Robert Leece AM Megan Lowe Alexandra Martin Donald C Maxwell Dr Hamish & Mrs Rosemary McGlashan Patricia McGregor Mrs Robyn McLay I Merrick Jan Minchin John Mitchell & Carol Farlow Graeme L Morgan Julie Moses Helen & Gerald Moylan J Norman Graham North Robin Offler Allegra & Giselle Overton Selwyn M Owen Josephine Paech L Parsonage Deborah Pearson Kevin Phillips Michael Power Larry & Mickey Robertson Sophie Rothery Team Schmoopy Manfred & Linda Salamon Greg & Elizabeth Sanderson Robert Savage AM Garry Scarf & Morgie Blaxill In memory of H. St. P. Scarlett Jeff Schwartz Jennifer Sindel

John Sydney Smith Dr Fiona Stewart Prof Robert Sutherland Shaun Tan Master William Taylor Leslie C Thiess Joy Anderson & Neil Thomas David Walsh John & Pat Webb G C & R Weir Kim Williams AM Gordon & Christine Windeyer Mr Hugh Wyndham Anonymous (30)

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

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

CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at Lillian.Armitage@aco.com.au.2 30 AUSTRALIAN CHAMBER ORCHESTRA

ACO INSTRUMENT FUND BOARD MEMBERS Bill Best (Chairman) Jessica Block Janet Holmes à Court AC

John Leece OAM John Taberner

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

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

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

Tony O’Sullivan Managing Partner O’Sullivan Partners Peter Shorthouse Client Advisor UBS Wealth Management John Taberner Consultant Freehills

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

Debbie Brady Ben Brady Stephen Charles

Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan SC

Jan Minchin Director Tolarno Galleries Susan Negrau

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

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

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

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

ACO CAPITAL CHALLENGE The ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble.

We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors: OCTET $100,000 – $249,000

QUARTET

$250,000 – $499,000 Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-Nettis Mrs Barbara Blackman

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

The Clayton Family Mr Peter Hall Mr & Mrs Philip & Fiona Latham

CONCERTO

$50,000 – $99,000 Mr John Taberner & Mr Grant Lang Mr Peter Yates AM & Mrs Susan Yates

AUSTRALIAN CHAMBER ORCHESTRA 31

ACO PARTNERS 2012 CHAIRMAN’S COUNCIL MEMBERS The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis AM Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings Mr Philip Bacon AM Director Philip Bacon Galleries

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

Mr Donald McGauchie AO Chairman Nufarm Limited

Mr Andrew Stevens Managing Director IBM Australia & New Zealand

Mr John Meacock Managing Partner NSW Deloitte

Mr Paul Sumner Director Mossgreen Pty Ltd

Ms Naomi Milgrom AO Mr & Mrs Simon & Katrina Holmes à Court Ms Jan Minchin Mr David Baffsky AO Director Observant Pty Limited Tolarno Galleries Mr Brad Banducci Mr John James Director of Liquor Mr Jim Minto Managing Director Woolworths Managing Director Vanguard TAL Mr Jeff Bond Ms Catherine General Manager Mr Clark Morgan Livingstone AO Peter Lehmann Wines Vice Chairman Chairman UBS Wealth Telstra Mr Michael & Management Australia Mrs Helen Carapiet Mr Andrew Low Mr Alf Chief Executive Officer Mr Stephen & Moufarrige OAM RedBridge Grant Mrs Jenny Charles Chief Executive Officer Samuel Mr & Mrs Robin Servcorp Crawford Mr Steven Lowy AM Mr Scott Perkins Chief Executive Officer Rowena Danziger AM Head of Global Banking Westfield Group & Kenneth G. Coles AM Deutsche Bank Australia/New Zealand Mr Didier Mahout Dr Bob Every CEO Australia & NZ Chairman Mr Oliver Roydhouse BNP Paribas Wesfarmers Managing Director Mr Robert Scott Inlink Mr David Mathlin Managing Director Senior Principal Wesfarmers Insurance Mr Glen Sealey Sinclair Knight Merz General Manager Mr Angelos Maserati Australia & Ms Julianne Maxwell Frangopoulos New Zealand Chief Executive Officer Australian News Channel Mr Michael Maxwell Mr Ray Shorrocks Head of Corporate Mr Richard Freudenstein Mr Geoff McClellan Finance, Sydney Partner Chief Executive Officer Patersons Securities Freehills FOXTEL

32 AUSTRALIAN CHAMBER ORCHESTRA

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

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

FOUNDING PARTNER

ACO2 PRINCIPAL PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES & WA REGIONAL TOUR PARTNER

CONCERT AND SERIES PARTNERS

Peter Weiss AM Daryl Dixon EVENT PARTNERS

AUSTRALIAN CHAMBER ORCHESTRA 33

ACO NEWS • JULY 2012

news MID-YEAR CAMPAIGN 22 June Update We are enormously grateful to everyone who has made a donation in our 2012 Annual Giving Campaign, which supports our National Education Program. Our goal is to raise $500,000 to support our ever-expanding Education Programs which, this year, visit students in every state, across regional

and metropolitan Australia at every level of the education system.

As at 22 June, we have raised $183,120 towards our goal. Together we can continue to inspire young people across Australia.

If you have not already done so, we hope you will consider supporting our National Education Programs.

ANNUAL GIVING CAMPAIGN Total Donations $ 500,000 $ 400,000 $ 300,000 $ 200,000 $ 100,000 $0

$

183,120

ACO IN THE HIGHLANDS Saturday 2 June, Bowral Now in its eighth year, ACO in the Highlands took place on Saturday 2 June at Bowral’s elegant Milton Park Country House. Once again the event, which has become a highlight of the Southern Highlands

social calendar, was hosted

by Michael and Daria Ball and attended by local, interstate and international guests, among them The Hon Pru Goward MP. We performed a program of

Clare Handbury, Nev Whittey, Matt Handbury, Janie Whittey

34 AUSTRALIAN CHAMBER ORCHESTRA

Rameau, Bach and Schubert, before guests bid on an array of exquisite auction items.

The following morning Michael and Susie Yabsley

ACO IN THE HIGHLANDS generously welcomed guests to their home, Wombat Hollow, for a delicious champagne brunch.

Guests were then treated to a private Masterclass during which violinist Madeleine Boud mentored three local music students. Madeleine is a wonderful teacher and guests were thrilled to be given an insight into the behind the scenes creative process.

Paul Borrud, Robin Borrud, Angus Holden, Kimberley Holden

The whole weekend was a wonderful success, raising over $130,000 in support of our Education Program.

We would like to thank Michael and Daria Ball, Michael and Susie Yabsley and the Southern Highlands Event Committee for all their support.

ACO violinist Madeleine Boud and Thomas Zachary

PATRON PROFILE The late John Holman We were was saddened to hear of the recent passing of John Holman, one of our Bequest Patrons and a jazz musician and arranger with a passion for music education. Although we were not aware of John’s proposed gift during his lifetime, he was a member of the broad community of ACO supporters.

John has left an extremely generous legacy to support our Emerging Artists Program, which provides intensive mentoring and professional development to highly talented string players from across Australia.

John was determined to

assist young and emerging musicians across Australia to receive the mentoring and performance opportunities which he himself valued as a performer, mentor and arranger.

and vision of John’s bequest in support of our Emerging Artists Program.

Throughout his own musical career, John worked tirelessly to promote music excellence through performance and through the fostering and development of young musicians. We are extremely honoured that John felt the ACO reflected his own passions and commitment to music excellence and music education. We are enormously grateful for the overwhelming generosity AUSTRALIAN CHAMBER ORCHESTRA 35

EDUCATION UPDATE May/June Highlights

Iain Grandage (left) and young musicians in Carnarvon.

In May, we travelled to Canarvon, in Western Australia, with a host of surfers, photographers and musicians, including Australian composer Iain Grandage, to create music and footage for new multimedia concert The Reef. During our time in WA we worked with Iain and 60 students from Carnarvon and Geraldton to create a composition based on the

ocean and surfing. The students joined us, playing everything from the trumpet to guitar, premiering the new work to an audience of over 300 local primary school students.

In June we performed our first Matinee Concert for Secondary Students in Melbourne; visited the Matraville Soldier’s Settlement School, NSW, for music classes and an

in-school performance; made our second visit of 2012 to Picton, NSW, to work and perform with the Picton Strings; and facilitated a String Workshop at Adelaide’s Marryatville High School.

ACO BABY NEWS Cellist Melissa Barnard and partner Steve Larson (double bass player from Sydney Symphony) are proud to present the newest member of the ACO family, their first child, daughter Maia.

36 AUSTRALIAN CHAMBER ORCHESTRA

Students at Matraville Soldier’s Settlement School watch an ACO performance.

YOUR SAY Feedback from our June tour with Danielle de Niese “My husband and I had a wonderful musical experience in Wollongong.

Danielle’s voice is magnificent especially her diction. The Chamber Orchestra was perfection.” Alison Freeman “LOVED it! Now in love with Danielle de Niese and always in love with the ACO. Thank you team, and so nice to see Richard back at the Wollongong Town Hall.”

Sharon Wall “What a wonderful afternoon of music.

Your soloist Danielle De Niese was extraordinary. I thought the placing of the Vine and Meale back to back was excellent especially given the similarities in their sonic palette and chording. The Meale was a real highlight – I was on the edge of tears.”

Doron Kipen

“Fabulous concert Richard and all. ‘Death and the Maiden’ was fabulous and Danielle; words are just not enough, WOW.” Stephen Corelli “The voice of Danielle was magical and her obvious love of her art a delight to watch. It was especially thrilling to have the premiere of this tour in Wollongong and to be graced with Richard Tognetti leading his superb orchestra.

His inspirational playing is awe-inspiring and his generosity towards his fellow players is exemplary. Each time we hear the ACO it is pure joy for the audience.” Lucy & Chris Hill “Richard and the slightly revised ACO line up, literally blew everyone away with Death and the Maiden. This was one of the most exciting performances you could hear anywhere at any time. Schubert must have been smiling from ear to ear, we certainly were.” Denys Gillespie

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

channel 132

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