HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD?

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3 HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD? When the violin in question is a rare Guadagnini, handmade in 1759, you celebrate by giving it the biggest possible audience you can find. That s why we lent ours to the Australian Chamber Orchestra. That way, thousands of people can experience its remarkable sound. After all, an instrument this special is worth celebrating.

4 E X C E P T I O N A L M O M E N T S A L W A Y S G O T O O F A S T. B U T W E W I L L D O E V E R Y T H I N G T O S L O W T H E M D O W N. ZAK NOYLE C H O O S I N G O N E O F O U R R E L A I S & C H Â T E A U X I S T H E F I R S T S T E P T O D I S C O V E R I N G E X C E P T I O N A L S E T T I N G S B U T A L S O, P E R H A P S M O R E I M P O R T A N T LY, T O M E E T I N G M E N A N D W O M E N W H O A R E P A S S I O N A T E A B O U T W H A T T H E Y D O B E S T : L I S T E N I N G T O Y O U R E V E R Y W I S H A N D P A Y I N G A T T E N T I O N T O T H E S L I G H T E S T D E T A I L T O E N S U R E T H A T E A C H M O M E N T I S T R U LY U N I Q U E. RELAIS & CHÂTEAUX RESERVATIONS (TOLL-FREE) W W W. R E L A I S C H A T E A U X. C O M

5 CONNECT SOCIALLY We d love to hear from you join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don t forget the hashtag ACO BLOG Visit the ACO Blog for up-to-date Orchestra news, interviews and insights. aco.com.au/blog LOOK Watch us Live in the Studio, go behind-the-scenes and watch ACO concert footage on YouTube. youtube.com/australianco LISTEN Join us for a Spotify Session, hear concert tasters and playlists, and revisit past concerts on Spotify. aco.com.au/spotify YOUR SAY Did you enjoy the concert? What was your favourite piece? Is this your first ACO experience? We love to hear what you think about our concerts and recordings or anything else you d like to tell us. aco@aco.com.au RADIO ACO concerts are regularly broadcast on ABC Classic FM. Follow us on Twitter to keep up to date. 5

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7 SALES - SERVICING - RESTORATION - HIRE Long-standing technicians of choice to the ACO. With over 100 years of combined experience nobody knows your piano like we do. steinway@themeandvariations.com INTERMEZZO RISTORANTE GRAND DINING TO MATCH A GRAND PERFORMANCE Intermezzo Ristorante s Theatre Dining offers Sydney s best Italian dining - the perfect beginning or ending to a world-class performance. OPENING HOURS Mon - Fri Sat - Sun 7am - 10:30am 12pm - 3pm 6pm - 10pm 8am - 3pm 6pm - 10pm BOOKINGS & ENQUIRIES mail@gpogrand.com

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10 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 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 14 September 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

11 NATIONAL TOUR PARTNER Virgin Australia is proud to be the Principal Partner of the Australian Chamber Orchestra and its National Tour Partner for the live performances of Mountain. This epic cinematic and musical collaboration between the ACO and BAFTAnominated director Jennifer Peedom will leave audiences in awe. Mountain Live is a unique musical journey through vistas that few have visited and none have seen in quite this way. Over the past four years, Virgin Australia has enabled the ACO to share its unique music with Australia and the world through our comprehensive domestic and international network which reaches more than 450 destinations worldwide. Virgin Australia recently announced direct flights between Melbourne and Hong Kong, expanding its international footprint into Greater China for the first time. If Mountain inspires you to travel, 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 this unique performance. John Borghetti ao Chief Executive Officer Virgin Australia PRINCIPAL PARTNER 11

12 ACO W H AT S ON AUGUST OCTOBER 2017 ACO & JEWISH MUSEUM AT ST KILDA SHULE 21 AUGUST MELBOURNE The ACO, led by Richard Tognetti, will perform for the first time at the beautiful St Kilda Synagogue, to raise funds for the Jewish Museum of Australia. trybooking.com/ MOZART & BRAHMS 29 AUGUST 15 SEPTEMBER ARMIDALE, BELLINGEN, CAIRNS, LISMORE, MACKAY, PORT MACQUARIE, ROCKHAMPTON, TOOWOOMBA Britain s leading clarinettist, Matthew Hunt, joins ACO Collective and their Artistic Director Pekka Kuusisto in a soulful program of Mozart, Bartók and Brahms. aco.com.au/mozartandbrahms GRIEG AND BEYOND 1 12 SEPTEMBER ADELAIDE, CANBERRA, MELBOURNE, SYDNEY, WOLLONGONG Violinist Henning Kraggerud, the world s leading performer of Grieg, presents his take on three of this much-loved composer s masterworks. aco.com.au/griegandbeyond EMMANUEL PAHUD 30 SEPTEMBER 13 OCTOBER BRISBANE, CANBERRA, MELBOURNE, PERTH, SYDNEY Emmanuel Pahud, the world s greatest living flautist is back! This program features works by JS & CPE Bach, Ravel, Debussy and more. aco.com.au/emmanuelpahud SOUVENIR DE FLORENCE 25 OCTOBER MELBOURNE Join Richard Tognetti and the ACO as they play Tchaikovsky s exuberant musical postcard from an Italian summer holiday, along with works by Mustonen, Shostakovich and Beethoven s Grosse Fuge. aco.com.au/souvenirdeflorence ACO AT EMANUEL SYNAGOGUE 26 OCTOBER SYDNEY The ACO, with Artistic Director Richard Tognetti at the helm, returns to Emanuel Synagogue for an evening of powerful and evocative music. emanuel.org.au/civicrm/event

13 MESSAGE FROM THE MANAGING DIRECTOR It s already the second half of the year and we are almost ready to unveil our 2018 subscription season. In fact for those of you counting the days, all of the repertoire to be performed around Australia next year will be revealed on 16 August. It seems only appropriate to announce the 2018 ACO season during Mountain which had its world premiere back in June. Mountain is significantly more than a cinematic and musical odyssey, such is its phenomenal composition and structure. Richard Tognetti has once again broken the concert paradigm in this new multimedia adventure. With internationally acclaimed director Jennifer Peedom, together with cinematographer and mountaineer extraordinaire Renan Ozturk, and the iconic Willem Dafoe providing narration, Mountain is sure to set your senses ablaze I was at once sutured into my seat, horrified then overawed passing through layers of death-defying terror and beauty. I think you will find our 2018 season a triumph of the senses too: brave, bold, funny, irreverent, serious, ground-breaking, celebratory, fun, loving, and inclusive. So, if it is pre-16 August, make sure you re on the list to receive our brochure. And, if it s post-16 August, be sure to sign up for a year of ultimate musical engagement. This tour is presented by our wonderful Principal Partner, Virgin Australia. They enable us to perform across the country and around the world, for which we are extremely grateful. I also pay tribute to those individuals within the Mountain Producers Syndicate for their generous support, for taking a risk and leaping into the unknown with us on this astonishing project. I do hope you enjoy Mountain. To our current subscribers, please join us again next year. And if you re not yet part of the ACO family and like what you see and hear, come on a musical adventure with us in Richard Evans Managing Director 13

14 Presented by Screen Australia and the Australian Chamber Orchestra a Stranger Than Fiction Films Production, in association with Camp 4 Collective & Sherpas Cinema Jennifer Peedom Writer, Director & Producer Richard Tognetti Musical Director & Composer Renan Ozturk Principal Cinematography Robert Macfarlane Narration Scriptwriter Willem Dafoe Narrator Christian Gazal, Scott Gray ASE Editors David White Sound Designer Robert Mackenzie Sound Mixer Jo-anne McGowan Producer Joseph Nizeti Music Editor & Music Supervisor Paul Wiegard, David Gross, Stephen Boyle, Martyn Myer ao Executive Producers Richard Tognetti Artistic Director & Lead Violin Tamara-Anna Cislowska Piano Satu Vänskä Violin & Voice Ike See Violin Liisa Pallandi Violin Julian Thompson Cello Nigel Jamieson Staging Director Damien Cooper Lighting Design

15 RICHARD TOGNETTI Prelude RICHARD TOGNETTI Majesty RICHARD TOGNETTI Sublime RICHARD TOGNETTI Gods and Monsters PETER SCULTHORPE Djilile (for strings) * FRÉDÉRIC CHOPIN Nocturne in D-flat major, Op.27, No.2 * EDVARD GRIEG Präludium from Holberg Suite, Op.40 PETER SCULTHORPE Djilile (arr. for piano & strings) * ANTONIO VIVALDI Allegro from Concerto for Four Violins & Cello in B minor, RV580 ANTONIO VIVALDI Allegro non molto from Winter (The Four Seasons), RV297 ANTONIO VIVALDI Larghetto from Concerto for Four Violins & Cello in B minor, RV580 * ANTONIO VIVALDI Allegro from Concerto for Four Violins & Cello in B minor, RV580 ANTONIO VIVALDI Presto from Summer (The Four Seasons), RV315 ARVO PÄRT Für Alina RICHARD TOGNETTI Flying RICHARD TOGNETTI / JOSEPH NIZETI Madness Bites RICHARD TOGNETTI On High JOSEPH NIZETI Grief ARVO PÄRT Fratres * LUDWIG VAN BEETHOVEN Larghetto from Violin Concerto in D major, Op.61 RICHARD TOGNETTI A Final Bridge LUDWIG VAN BEETHOVEN Adagio un poco moto from Piano Concerto No.5 in E-flat major, Op.73 Emperor * This work or movement is abridged during this performance. Winter Snowfall footage presented alongside Beethoven Violin Concerto is used under license from Shutterstock.com 15

16 To those who are enthralled by mountains, their wonder is beyond all dispute. To those who are not, their allure is a kind of madness. What is this strange force that draws us upwards this siren-song of the summit? Only three centuries ago, setting out to climb a mountain would have been considered an act of lunacy. The idea scarcely existed that wild landscapes might hold any sort of attraction. Mountains were places of peril, not beauty. An upper world to be shunned, not sought out. How then have mountains now come to hold us spellbound, drawing us into their dominion... often at the cost of our lives? The mountains we climb, are not made only of rock and ice, but also of dreams, and desire. The mountains we climb, are mountains of the mind. Robert Macfarlane 16

17 FROM JENNIFER PEEDOM, DIRECTOR MOUNTAIN It was over three years ago when Richard Tognetti approached me with the idea of this collaboration. The idea of expressing musically and visually, the nature of human relationships with mountains was an opportunity that immediately excited me, as did the chance to work with this incredible orchestra that I had been a fan of for many years. The creative challenge was creating something that married music, images and words, not only for live performance but also as a standalone film. Filmmaking is always about collaboration but I knew that in this case, the collaboration was the most important aspect of the project. And so it has proved. Our process was very organic from the start. Richard had a very visceral reaction to Renan Ozturk s amazing cinematography and started responding musically to those ideas. Meanwhile, I would listen and respond to existing ACO recordings in the edit, and craft images around those masterpieces. In other cases, Richard and I would talk about what we were trying to express in a scene, and he would write something bespoke. Robert Macfarlane s words were then an essential part in bringing the whole narrative together. This was completed by Willem Dafoe s brilliant performance of the text. One of the interesting revelations in this process was that Richard and I would watch the same sequence of images, yet respond to them in very different ways. Where I d see majesty and beauty, Richard would see horror and terror. I believe that this has ultimately made the film a more interesting, complex exploration of our relationships to mountains. The fact that Richard was able to somehow incorporate both these elements into his wonderful score was one of the great joys of this collaboration. FROM RICHARD TOGNETTI, MUSICAL DIRECTOR MOUNTAIN Being in a pitch-dark room can make your thoughts brighter, and being alone atop a mountain can bring you closer to humanity. Mountain draws you into this world. Through the stunning images curated by Jen Peedom, and for the most part shot by Renan Ozturk, the abstraction of music underscores and captivates, opening a portal through which we concoct an experience that beckons the viewer to the majesty and horror that is the allure and portent of mountains. Whether it be the goons rodeo of going downhill at speed (in wing suits or skis or whatever your poison) or ascending rock-faces in slow-mo, that only a generation ago seemed unassailable, the original music attempts to inhabit this physical and geographical drama. The Beethoven, on the other hand, transcends it all. Renan, the cinematographer for Mountain, isn t just a man with a camera; he lives in actuality on the rock face, as a fellow climber with the likes of Alex Honnold who only last month summited El Capitan, free soloing. Incidentally Renan s wife s name is (seriously) Taylor Freesolo Rees. I trust you are sitting down when you re reading this: free soloing is the art of climbing with no ropes or aids of any kind. Mountain attempts to bring you into these spaces that sane people would not otherwise dwell. 17

18 ABOUT THE MUSIC IN MOUNTAIN BY JOSEPH NIZETI Music Supervisor & Original Score Producer Conceived as both a live performance piece and as a work of cinema, Mountain has its musical roots in the traditions of both formats. In the Romantic European tradition of Mountain music, music paints the beauty and terror of Sublime natural environments, and highlights the struggle of the individual within them. In the tradition of the American non-narrative film essay, music highlights a world out of balance: the rhythms and character of human cities, urban routines, military conflict, and social discord coming in to conflict with nature. Bringing together an original score with musical works drawn from Baroque (Vivaldi), Classical (Beethoven), Romantic (Chopin, Grieg) and 20th-century composers (Sculthorpe, Arvo Pärt), Mountain s musical program draws on the rich history of both forms to illustrate and enhance Jen Peedom s penetrating look at humanity s relationship with high places. PICTURED: Caspar David Friedrich s Wanderer above the Sea of Fog (c. 1818) is an archetypical Romantic European representation of the Sublime. Modern scholar John Lewis Gaddis suggests the image depicts at once mastery over a landscape and the insignificance of the individual within it. 18

19 THE SUBLIME Are not the mountains, waves, and skies, a part Of me and of my soul, as I of them? Is not the love of these deep in my heart With a pure passion? should I not condemn All objects, if compared with these? Lord Byron, Childe Harold s Pilgrimage ( ) One should live on mountains. With blessed nostrils do I again breathe mountain-freedom. Freed at last is my nose from the smell of all human hubbub! Friedrich Nietzsche, Also Sprach Zarathustra (1883) The Romantics adored their mountains. In the visual arts, the 19th-Century Romantic landscape tradition split in two. The Pastoral tradition sought out reflection and divine beauty in nature, with a forensic eye to light, weather, and the calm, meditative aspect of country life. By sharp contrast, a parallel body of Sublime artwork presented the wild environment as a necessarily hazardous, terrifying crucible for wonder and enlightenment a complicated realm of spiritual experience to be sought out, documented and creatively amplified. PHOTO: Jon Griffiths The experience of the Sublime was applied to ideas of both human spiritual freedom and bodily constraints. Across art, music and literature and particularly where these art forms alchemically intersect we find transcendent Romantic narratives of existential challenge and fierce independence against the strange magical might of gods, monsters, and the abyss. As European artists fell in love with the noble sting of terror, composers were entirely along for the ride. While the most iconic works of Baroque and Classical opera take us via the underworld for moral cleansing as in Claudio Monteverdi s dive to Hades in L Orfeo (1607) and WA Mozart s Masonic trials in The Magic Flute (1791) high places became iconic environmental inspirations for 19th-Century artists As the hearts and minds of composers swung from the gaiety and reason of Enlightened Classicism to the stormy, biographical philosophies of Romanticism, mountain environments proved a stronger sounding-board than the shadowy hells of centuries past for indulging subjective and intense explorations of selfactualisation, destiny, anxiety and awe. It is easy to visually comprehend the depth of investment in the mountain Sublime, 19

20 PHOTO: Jon Griffiths PICTURED: Richard Strauss 20 given their baffling proportions: sheer mass (the huge glaciers and enormous rocky masses) and bewilderment (the strange fantastic forms of the distant peaks) as one scholar puts it. 1 Robert Schumann s 1852 melodrama Manfred (based upon Lord Byron s metaphysical closet drama, written during Byron s retreat to the Swiss Alps as his private life fell under crippling public scrutiny) sees our lone hero guilt-stricken, seeking forgetfulness from distress, and debating suicide with elemental spirits amongst the misty peaks. Richard Wagner s firebrimmed mountains of Der Ring des Nibelungen (1876) stage the imprisonment and release of the Ring Cycle s protagonist Brunnhilde amid magical fire and Norse destiny, and in Wagner s final music drama Parsifal supernatural Christian mysticism plays out in an inaccessible mountain temple. Moving through to the late-romantic works of Richard Strauss, we see representations of mountain worship reaching extremes of both philosophical abstraction and pictorial representation. Friedrich Nietzsche s iconoclastic philosophical novel Also Sprach Zarathustra (which infamously proclaimed, God is Dead ) begins with the hermit prophet Zarathustra emerging from years of mountain meditation to share his eccentric wisdom with humanity. Strauss epiphanic setting of this moment when Zarathustra speaks to the sunrise is perhaps the ultimate musical expression of Sublime terror and awe the Romantic poets described. 1 Morris, Christopher. Modernism and the Cult of Mountains: Music, Opera, Cinema (Routledge, 2016).

21 PHOTO: Jon Griffiths Richard Tognetti and I tried, as early on as 2013, to pair such bona fide Mountain music with cinematographer Renan Ozturk s stunning imagery, but the results were contrived or suspicious at best. Strauss on-the-nose Eine Alpensinfonie tone poem (1915) takes the experience of ascending a mountain in the most literal programmatic terms and acoustic impressions: approaching the foothills at dawn with misty woodwind textures, braving threatening weather events with cartoon-obvious percussion (metallic thunder sheets, roaring wind machines), before exploding into divine sunlight at the summit with resplendent horns. This is richly illustrative music, and it did not stick for lack of rich imagery. While conceptually apposite, there is nothing appropriately ambiguous or athletic in Strauss snowstorms, where the excitement is found in the acoustic painting of environmental effects, the marvels of which were already well and truly spoken for by Renan s footage. Rather, for a film about people, howling percussion did little to illuminate the extreme fascination of the men and women who put their lives at risk to live and work among them. It also did far too little in engaging with the remarkably-shot athleticism of the ski, snowboard, BMX, and countless other extreme sports practitioners which Jen Peedom had encountered rich troves of. For all of these pictorially thrilling aspects of mountains their overwhelming physical size, their magical pull (both holy and 21

22 mountaineering during the second half of the nineteenth century might well be a precondition for conceiving a musical tour into the alps... SEAN MOORE IRETON profane) their European musical representation remained constrained by reality. Drawing a canny comparison between Beethoven s Pastoral Symphony and Strauss Alpensinfonie, academic Sean Moore Ireton notes that mountaineering during the second half of the nineteenth century might well be a precondition for conceiving a musical tour into the alps. [Beethoven] never even came close to the Alpine mountains located west of Vienna, let alone to experiencing them through climbing... Since no trains were yet available to take one closer to and through the Alps and the mountainous terrain remained, by and large, out of reach, no mountains can be heard in Beethoven s generally serene Pastoral... Looking at Strauss s own life shows how for him the composition emerged out of personal engagement with the Alpine world rather than as an incidental whim. 2 We had not yet conquered their highest peaks, let alone invented the oxygen tanks and aeroplanes necessary to do so. We had not riddled the world s mountainsides with ski-lifts and lodges, nor harnessed the electricity essential to power and warm them. More importantly, we had not made sport of leaping off of them in nothing but fabric wingsuits. To support the cinematic narrative and pacing of Mountain, the musical net was cast much wider. EXPERIMENTAL CINEMA For a cinema audience, Mountain has a clear heritage in the American experimental director/composer collaborations of Godfrey Reggio/Philip Glass (Koyaanisqatsi [1982], Powaqqatsi [1988], Naqoyqatsi [2002]) and the collaborations of Ron Fricke/ Michael Stearns (Chronos [1985], Baraka [1992], Samsara [2011]). These cult film works feature scores stylistically rooted in Minimalism and Ambient music, and routinely contrast the rhythm and design of built environments with the vaster natural world. As cinematic essays, they investigate the world in crisis, at war, and through time. Through dispensing with narration, they communicate primarily in their juxtaposition of music and image with a political and poetic agenda which was absent in earlier audio-visual cinematic experiments such as Walt Disney s marvellous Fantasia (1940). Writing about the progression of his work through Koyanaaisqatsi (on which he served as director of photography), Chronos and Baraka, Frick identified that the heart 22 2 Ireton, Sean Moore & Schaumann, Caroline. Heights of Reflection: Mountains in the German Imagination from the Middle Ages to the Twenty-first Century (Camden House, 2012).

23 PICTURED: An aircraft boneyard of B-52 bombers in Baraka (1992, above) extends with cold symmetry out to the horizon, contrasted with the chaotic might of Argentina s Iguazu Falls (below). of all of these multi-sensory works is humanity s relationship to the eternal. Synaesthesia, the perceptual cross-triggering of senses, has been a core concept in Richard Tognetti s artistic direction of the Australian Chamber Orchestra for almost 20 years now. Across more than a dozen programs, Tognetti has invited audiences to see more in the music through the lens of Jon Frank s ocean and urban cinematography, Michael Leunig s transcendent words and images, Bill Henson s luminous and 23

24 24 PHOTO: Joey Schusler

25 The telling of Mountain demanded its own set of musical tools... PICTURED: Jen Peedom aching photography and Barry Humphries shape-shifting visage amongst too many other collaborators to list. Having music meet with cousin art forms in the hallowed temple of a concert hall has the unique potential to challenge and enrich through upsetting the usual context of classical music consumption, and through introducing entirely new philosophical, emotional or conceptual frameworks for unlocking the layered greatness of new or familiar works. Film is a synaesthetic form, perhaps as the scale, longevity and cultural pre-eminence of the film industry attests the most potent of such possible forms. A persuaded audience member does not experience each audio/visual sensory element in isolation as cinematography, editing, dramatic performance, sound and score, but as a structured whole sculpted in time, as legendary Russian filmmaker Andrei Tarkovsky said. To our zealous sound designer David White, Mountain is this and more: it is a poem. The telling of Mountain demanded its own set of musical tools, quite different than those used even on cousin ACO film The Reef. The film includes visuals with a broad international sweep having been shot on every continent and likewise features musical points of reference with a similarly broad scope. Richard Tognetti s original score stylistically draws (magpie-, or Stravinsky-like) on a wide range of performance traditions, gestures and ideas. Minimalism, electronica, popular music, and the trope-rich world of film music itself are mined for their sound pallets, rhythms and harmonic manoeuvres as much as they are for their contemporary cultural associations. The post-edm invocation of YouTube crash-reel compilations of Madness Bites, the lean-forward-in-your-seat unflinching string tremolo of the Prelude (straight out of the Hans Zimmer playbook), the existential Stanley Kubrick soundtrack dread of piled-on dissonant strings and synthetic choirs in Sublime, and the relentless Minimalist looping percussion soundtracking the indefatigable risk-defying Sherpa guides in On High all rely on shared cultural touch points beyond classical music to hit their marks. Irony, arrogance, exhaustion and terror all have their place in Jen Peedom s telling of Mountain. By fulfilling these extremes of emotion in the film with original compositions, full space and sincerity are afforded for the extant musical works in the program. 25

26 ORIGINAL SCORE PICTURED: Friedrich Nitzsche PHOTO: Jon Griffiths Nietzsche wrote in Zarathustra that He who climbeth on the highest mountains, laugheth at all tragic plays and tragic realities. Free solo climber Alex Honnold smiles madly to himself in the Prelude, hundreds of feet above the ground without ropes or a harness, proving Nietzsche more vividly correct than he could have ever conceived. The music here is not for Alex: brain scans taken of his fear-repressing amygdala in 2016 demonstrated that his inner wiring is highly atypical. Honnold does not experience fear like the rest of us, although he contests that he feels totally normal, whatever that means. The music is here for the more-typically-human viewers with their selfpreservation instincts intact. The lone mid-range piano melody is focused and serious. It points toward the rubato piano entries of Arvo Pärt s crystalline Fur Alina, which chime for effortless (though thankfully, tethered) slack-line walkers above America s gorgeous canyons. The flecks of sweat and dust in the buzzing string ensemble tremolo keep us leaning forward into the picture, while the glowing woodwind chords argue the allure of this 26

27 I feel air from another planet... Then I see a filmy mist rising In a sun-filled, open expanse... PICTURED: Willem Dafoe PHOTO: Mark Rogers absurd challenge, and the unique opportunity it presents Alex for transcendent mental and physical achievement. Just as the Prelude introduces Willem Dafoe s narration as a character in the film, the Bartok-inspired Majesty brings the solo violin to the fore as a primary storyteller. Crossfading out of the opening cue, violin and piano arpeggios bubble into focus, beckoned onward by horn calls and warping string accompaniment. As we rise alongside the monochromatic profile of an enormous mountainside, Richard s solo violin swells and tests the chromatic edges of a bold, tenacious melody. After the full ensemble takes over this theme and the piece dissipates in a wash of bowed percussion, the camera lifts up and over the mountain range preparing our bird s-eye view for Sublime. In the give and take of this collaboration, the greatest gift from director to composer was the trust placed in the gestation of Sublime over three years to its final compositional form. Envisioned during a 2013 retreat to Banff, Richard developed an itch to explore total existential terror and dread in Mountain: a place beyond vertigo and beyond loneliness, mountain climbers as doomed specks in a hostile, alien world. The working title for this cue was indeed Air of Another Planet, a suggestion I put to Richard from Stefan George s text to Schoenberg s String Quartet No.2: I feel air from another planet... Then I see a filmy mist rising In a sun-filled, open expanse That includes only the farthest mountain hatches. The land looks white and smooth like whey, I climb over enormous canyons. I feel as if above the last cloud Swimming in a sea of crystal radiance These are Renan Ozturk s gorgeous aerial visuals; astral projections predicted by a Symbolist poet a century before their time. Jen s recommendation to make the scoring here more alluring led to the interpolation of the late Danny Spooner intoning the Call of the Seals, a traditional outer-hebrides folk song, blending fantastic yearning with traumatic anxiety. In this emotional cocktail we find the question at the heart of the film: why do humans find high places alluring, and are the risks we take to explore and enjoy them defensible? The final result is bold, searing and strange. After the frenetic emotion boils over we find repose with our two distant figures embracing on the summit, and earn the striking arrival of the title. 27

28 Those who travel to mountain tops are half in love with themselves, and half in love with oblivion. After the massive weight of these cues, the original score simmers down into leaner textures. Gods and Monsters opens with an unusual triple solo for cello, bass and piano. The exotic, searching B minor harmonic progression featured in the middle movement of Vivaldi s Concerto for Four Violins & Cello forms the chordal basis for this section, supporting the soloists who tussle as the ancient creatures which once dwelt on high within our collective unconscious. The soaring cello solos which appear in Gods and Monsters (and later on too in Flying and Grief ) were as inspired by their filmic contexts as they were by director Jennifer Peedom s love of that instrument three little reciprocal gifts from composer to director. Leaving the misty Gods behind us, images of the spiritual culture of daily life among the mountains of Nepal are accompanied by a feature duet for clarinet and bassoon, which is taken up by strings to segue seamlessly into Peter Sculthrpe s Djilile. The first of two contrasting songs written for the film, Flying is vulnerable and vast. At its heart is an extended shot of a wingsuiter arriving towards a town over a cliff face as the ensemble swells and shifts around vocalist Satu Vänskä, inviting the viewer into the film s mesmerising detail. Left adrift after the song s climax, discordant synthetic effects begin to creep in and the rug is aggressively pulled out from beneath. Madness Bites is the key example of the original score being tasked with hitting certain emotional beats which great works of the concert repertoire couldn t be reasonably asked to. It spews arrogance with its crashing drums, detuned synths and guitar-thickened surges of strings invoking the dime-a-dozen extreme-ski-crash-reel montages of the YouTube generation alongside dissonant 20th-century Expressionism. To function, the musicians and vocalist fully commit to its bombast, so we lean on the narration to deconstruct and challenge the persuasive adrenaline of the sequence: Those who travel to mountain tops are half in love with themselves, and half in love with oblivion. The score transitions directly to the steadier, percussion-rich On High. Visually assembled from footage acquired during the shoot for Jen Peedom s excellent 2015 documentary Sherpa, this sequence contrasts the tireless efforts of the Nepalese Sherpa guides with an overcrowded and increasingly-polluted Everest. The looping, layered drums are met with an impassioned minorkey melody, first stoically from the full string ensemble, and then as a more anxious duet for solo violin and cello. Accompanying 28

29 PHOTO: Mark Rogers 29

30 PHOTO: Jennifer Peedom unsettling visuals of the emotional aftermath of the deadly 2014 Mount Everest ice avalanche, Grief sees this anxiety unravel as risk is finally met with devastating loss. During the initial editing of the film, there was frank concern that concluding the film with two middle-period Beethoven slow movements would be indulgent, or worse, luxurious. However, after the composition of the A Final Bridge to musically link and modulate between them, the creative team were satisfied that sufficient space and contrast was achieved to deter redundancy, and maintain the smooth flow of the film s structure. In addition to re-introducing the pianist as soloist, the G major of the Violin Concerto is eased through to the Piano Concerto s B major Adagio by this bridging cue s ascending cello pizzicato line. As the gongs and string ambience die out, the first glowing chord of the Piano Concerto arrives as a revelation, and as consolation for the cold warning given last in the narration: Anyone who has been around mountains knows their indifference, has felt a brief, blazing sense of the world s disinterest in us. 30

31 MUSICAL SELECTIONS SCULTHORPE Djilile (for strings & arr. strings and piano) (1986) ARVO PÄRT Für Alina (1976) ARVO PÄRT Fratres (1977, 1992) PICTURED: Arvo Pärt Arvo Pärt and the late Peter Sculthorpe are the national musical prides of their native Estonia and Australia. Both were trained in the cerebral mid-century European tradition, in spite of which they innovated their own highly personal and spiritual forms of stylistic expression through the 1960s and 70s. Both composers also share their habit of reversioning works for different ensembles look no further than the more than a dozen approved instrumental realisations of Fratres, of the half-dozen realisations of Djilile. Forthis performance, Djilile appears at two points. Firstly, in an extract for strings only (created by Peter for Richard and the ACO in 2001) and then in a newly-approved abridged arrangement for piano and strings. The works which appear in Mountain are strongly representative of their respective compositional techniques and depth of feeling. Sculthorpe based his Djilile (which translates to whistling-duck on a billabong ) upon an Indigenous Australian melody, in this case one recorded by ethnomusicologists in the Arnhem Land in the 1950s. During Richard Tognetti and Jen Peedom s three-year process of melding music and image, the inclusion of Djilile was the most quickly and rapturously received proposal. Sculthorpe s music forms the perfect bridge for the imagery here, rolling and breathing with restrained gorgeousness to the rituals of daily life amongst the superlative Nepalese peaks. Pictorially, it is fitting as a sequel to the ancient strangeness Gods and Monsters and as an invocation of the Asian aesthetics which the composer found so personally resonant. PICTURED: Peter Sculthorpe Für Alina and Fratres are representative of Pärt s tintinnabuli style, in which minimal musical motifs are juxtaposed with recurring cycles of chords (Fratres), or the contents of a single chord (Für Alina). Unlike the late 20th-Century American school of Minimalism however, these related techniques are not mathematically rigged to spin out in pointillistic stacks of ambiguously modal white piano key notes. Pärt s compositions are structurally sharp and texturally sparse, inviting the listener to engage with clear patterns of tension and release, and 31

32 inviting the ear to hear consonances and dissonances within the framework of familiar harmonic functions. Taking extreme advantage of compositional negative space, much of Fur Alina is silence held breath. Lone figures walk across an immense slack line between two rock towers, slipping in and out of visual synchronisation with the horizon just as the left and right hands of the piano drift in and out of harmonic conflict and resolution. Fratres likewise glues tight to the images of Hawaiian lava spewing into the ocean. The solo violin urges the flecks of deeporange lava from the ground above a rich drone of strings which embody the miasmic steam. Occasionally, the piece pauses for claves (wooden clapping sticks) and bass drum to ceremonially ring out, speeding us through time-lapse photography of the lava as it cools, cracks and hardens into fresh terrain. CHOPIN Nocturne in D-flat major, Op.27, No.2 (1836) GRIEG Holberg Suite: I. Präludium (1884) PICTURED: Frédéric Chopin The pair of works which complement the grainy, cropped film footage of the archival section of the film are nostalgic, stirring and sincere. Stylistically, the Nocturne speaks to the domestic salon styles of the 19th century, however, Chopin s entries in this light musical format have an intensity and genuineness of feeling (and dexterity of pianistic craft) which has assured their continued popularity. In looking for a piece which was both naive and sumptuous, editor Christian Gazal and I sifted through no less than 60 alternatives (many of which teetered into silent movie parody) but kept coming back to this movement. The temp track which the editors used to assemble this sequence was in fact UK electronic producer Aphex Twin s graceful Avril 14th, already a familiar sound in cinema having featured in Sofia Coppola s Marie Antoinette. While appropriately sentimental, the piece proved too straightforwardly a lullaby to remain. The Chopin Nocturne, by comparison, turns bolder emotional corners and hints at the emotional risk and reward of mountaineering beyond whimsical day-walks. Grieg s Holberg Suite proved ideal to sustain this impression of nostalgia for the pioneers of mountaineering, while ramping up in intensity to showcase the ambition of the mid-century quest to summit Everest in particular. Originally written for piano before being rearranged for strings a year later, the Holberg Suite was composed by Grieg in an intentionally quaint and 32

33 anachronistic style. To modern ears it s even harder to place in time, which is exactly what the dynamic sequence called for. Similarly driving turn-of-the-century repertoire from Holst, Elgar and other British contemporaries was trialled but signalled an ironically dated news-reel tone the rush of challenge and achievement needed to feel rooted in the present tense. While the Chopin yearns with dreamy, searching chromaticism, the Grieg is all wide-eyed diatonicism and blissful galloping confidence. Exultant success in the iconic images of Tenzing and Hilary summiting Everest arrives at last and the music is given permission to ease up, blooming into a grand chorale-like cadence to complete the movement. PICTURED: Edvard Grieg VIVALDI Concerto for Four Violins & Cello in B minor, RV580 VIVALDI Winter (The Four Seasons), RV297: I. Allegro non molto VIVALDI Summer (The Four Seasons), RV315: III. Presto PICTURED: Antonio Vivaldi It wasn t the original intention for this program to have Antonio Vivaldi be the sole representative of Baroque chamber music. Among the roads not taken were a string setting of Bach s exquisite Chorale-Prelude Ich ruf zu dir (famously featured in Tarkovsky s sci-fi film masterpiece Solaris) ultimately though, Jen Peedom s vision for this middle act was one of human athletic conquest and challenge amongst mountains, as well as our gradual technological taming of their harsher aspects for means of ski tourism and commercial exploitation. There was no place for Bach s clear-minded Lutheran offerings but the explosively dynamic string works of Vivaldi spoke strongly to the form and content of this sequence. On paper, Vivaldi s music is geometric perfection, but in the hands of a crack ensemble like the ACO it spills fire and energy from the fingerboard and demands fearless athleticism and focus (not unlike that seen up on the screen). These five continuous Vivaldi movements (the Concerto for Four Violins & Cello in B minor with a movement each from Winter and Summer spliced in) were among the film s first to be fully completed to picture. They are a celebration of the odd devotions we undertake... with the Mountains as our theatre, taking us from the daily routines of those who live among mountains, through the physical pain and harsh risk endured by climbers, to the tamed and modified mountainsides embraced for the comfortable-yet-crowded modern ritual of the ski season. 33

34 If there appears to be a whiff of judgement or condescension in this trajectory towards ease and comfort, Mountain obliterates it with the bracing Summer Presto. Edited with musical intensity to the bold rhythms of violin soloist and ensemble, we move beyond the hoards of children and casual snowboarders crowding the slopes to a stunning sequence of downhill skiing, culminating in an aerial ballet. BEETHOVEN Violin Concerto in D major, Op.61: II. Larghetto (1806) BEETHOVEN Piano Concerto No.5 in E-flat major, Op.73: II. Adagio un poco moto (1811) After the stunning athletic displays which dominate the middle of the film grind to a confronting end, Mountain finds its rhythm of relief and wonder in Beethoven for its final act. PICTURED: Ludwig van Beethoven PICTURED BELOW: Richard Tognetti conducting the ACO's world premiere of Mountain. PHOTO: Maria Boyadgis As in Fratres, where Richard s solo violin arpeggiations catch the spewing lava and steam which give birth to land, the soloist in the Violin Concerto guides us along those mountain ranges born of tectonic waves of stone, and down the trickles of water from the great peaks which freeze, thaw, melt and build in volume. At last, when we reach the waterfalls, rivers and vast lakes of the world the soloist passes the torch to resplendent horns, 34

35 PICTURED: The ACO performing the world premiere of Mountain. PHOTO: Maria Boyadgis and flora and fauna flock to the screen. In a moment of editorial crisis around the duration of the Violin Concerto movement, we went through a number of alternative romantic violin concerto slow movements, but even superficially similar options did not convey the same feeling of transcendent beauty, let alone the same narrative concepts of deep time and nature s vast physical interconnectedness. The Bruch G minor Concerto s Adagio came the closest, but side by side with the Beethoven fell short of its intimation of the eternal, and is dated stylistically by its rousing chromaticism to its 19th-century origins in a way that Beethoven s subtler vocabulary entirely transcends. Elgar s gorgeous Sospiri was also attempted, but failed as too tragic and internal, lacking both the contrasts in motion and the declamatory presence of the Beethoven s masterful solo violin writing where Willem Dafoe s sonorous narration ceases, the solo violin asserts itself for the final time as an equally persuasive storyteller. The torch passes lastly to the pianist for the sublime middle movement of the Emperor Piano Concerto, concluding the film with delicacy, confidence and hope. In a bold editorial move, the final moving shot of the film runs a full 90 seconds: time to be fully persuaded by the music, and to reflect on the majesty and wildness of these natural giants. Ending the film on a fittingly personal image, Jen Peedom has also told me that the featured Himalayan mountain Ama Dablam is her favourite of all and that she hopes to return to it some day soon. Her fondness and fascination for mountains is, it seems, unquenchable. 35

36 JENNIFER PEEDOM DIRECTOR PHOTO: Mark Rogers Jen Peedom is a BAFTA nominated director, well known for her gripping, intimate portraits of people in extreme circumstances. Her credits include the internationally renowned documentaries Sherpa, Miracle On Everest, Living The End and Solo, which played in the Official Selection of major documentary festivals including IDFA and Sheffield and won numerous awards including an AFI for Best Documentary. In the case of Sherpa, Jen went to Mt Everest during the 2014 climbing season to make a film from the point of view of the guides who help foreigners reach the summit. Tragedy struck while she was there when a huge block of ice crashed down and killed 16 Sherpas. Sherpa was the only documentary selected for Official Competition in the 2015 Sydney Film Festival before a successful run on the international festival circuit, including Telluride, Toronto and London. It was nominated for a BAFTA and won the Grierson Award for Best Documentary Feature at the BFI London Film Festival. It became the third highest grossing Australian documentary in history. A one-time commodities trader, Jen s filmmaking career began when she was one of the competitors in the series Race Around Oz, broadcast on ABC-TV in She has been general manager of IF Magazine, a publication about film and television for practitioners, was New South Wales Young Business Woman of the Year in 2003 and was the inaugural recipient of the David & Joan Williams Documentary Fellowship in 2010, which recognises creative ambition, intellectual rigour and innovation in documentary cinema. 36

37 TAMARA-ANNA CISLOWSKA PIANO PHOTO: C Donaldson Tamara-Anna Cislowska is one of Australia s most acclaimed and recognised pianists. Soloist, recitalist and chamber music specialist, she performs in Australia and worldwide in repertoire spanning three centuries, to critical and public acclaim, with a passion for bringing Australian music to the world. Tamara has won international prizes in London, Italy and Greece, including the Rovere d Oro, and in Australia, ABC Young Performer of the Year, the Freedman Fellowship from the Music Council of Australia, the 2012 Art Music Award for Performance of the Year (ACT) and the 2015 ARIA for Best Classical Album with her landmark recording of the complete piano works of Peter Sculthorpe. A frequent guest of orchestras and festivals worldwide, Tamara has performed as soloist with the London Philharmonic Orchestra, Sydney Symphony, Melbourne, Tasmanian and Queensland Symphony Orchestras, and New Zealand and Christchurch Symphony orchestras, touring Japan and the USA as cultural ambassador for Australia. A formidable recording artist with three ARIA No.1 albums, the current season also includes performances of her latest solo album with music by Elena Kats-Chernin, Unsent Love Letters: meditations on Erik Satie for ABC Classics and Deutsche Grammophon (worldwide, outside Australia/NZ). Renowned for her eloquent writing and editing for Boosey & Hawkes (Berlin), Tamara is also a popular regular presenter on ABC Classic FM radio. 37

38 RICHARD TOGNETTI ARTISTIC DIRECTOR & VIOLIN Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today. THE DAILY TELEGRAPH (UK) PHOTO: Paul Henderson Kelly SELECT DISCOGRAPHY AS SOLOIST: BACH, BEETHOVEN & BRAHMS ABC Classics BACH Sonatas for Violin and Keyboard ABC Classics ARIA Award Winner BACH Violin Concertos ABC Classics ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics ARIA Award Winner (All three Bach releases available as a 5CD Box set: ABC Classics ) VIVALDI The Four Seasons BIS SACD-2103 Musica Surfica (DVD) Best Feature, New York Surf Film Festival AS DIRECTOR: MOZART S LAST SYMPHONIES ABC Classics BACH BEETHOVEN FUGUE ABC Classics All available from aco.com.au/shop Australian violinist, conductor and composer Richard Tognetti was born in Canberra and raised in Wollongong. He has established an international reputation for his compelling performances and artistic individualism. He began his studies in his home town with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra s lead violin and, subsequently, Artistic Director. He was Artistic Director of the Festival Maribor in Slovenia from 2008 to Richard performs on period, modern and electric instruments and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, he has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovenian Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras, most recently as soloist and director with the MSO and TSO. Richard also performed the Australian premieres of Ligeti s Violin Concerto and Lutosławski s Partita. In November last year, he became London s Barbican Centre s first Artist-in-Residence at Milton Court Concert Hall. Richard was co-composer of the score for Peter Weir s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll s surf film Storm Surfers; and created The Red Tree, inspired by Shaun Tan s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd. Richard was appointed an Officer of the Order of Australia in He holds honorary doctorates from three Australian universities and was made a National Living Treasure in He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor. Chair sponsored by the late Michael Ball am and Daria Ball, Wendy Edwards, Peter and Ruth McMullin, Andrew and Andrea Roberts 38

39 AUSTRALIAN CHAMBER ORCHESTRA If there s a better chamber orchestra in the world today, I haven t heard it. THE GUARDIAN (UK) Richard Tognetti Artistic Director & Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Maja Savnik Violin Ike See Violin Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass PART-TIME MUSICIANS Zoë Black Violin Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello From its very first concert in November 1975, the Australian Chamber Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the Orchestra s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble. Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 21 players (four part-time), giving more than 100 performances in Australia each year, as well as touring internationally: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world s most prestigious concert halls, including Amsterdam s Concertgebouw, London s Wigmore Hall, Vienna s Musikverein, New York s Carnegie Hall, Birmingham s Symphony Hall and Frankfurt s Alte Oper. Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland. The ACO s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries, and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank. The ACO has recorded for the world s top labels. Recent recordings have won three consecutive ARIA Awards, and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents. 39

40 MUSICIANS ON STAGE Richard Tognetti ao 1 Artistic Director & Violin Chair sponsored by the late Michael Ball am & Daria Ball, Wendy Edwards, Andrew & Andrea Roberts Satu Vänskä 3 Principal Violin Chair sponsored by Kay Bryan Aiko Goto Violin Chair sponsored by Anthony & Sharon Lee Foundation Mark Ingwersen Violin Chair sponsored by Julie Steiner & Judyth Sachs Ilya Isakovich Violin Chair sponsored by The Humanity Foundation Liisa Pallandi Violin Chair sponsored by The Melbourne Medical Syndicate Maja Savnik 3 Violin Chair sponsored by Alenka Tindale Ike See Violin Chair sponsored by Di Jameson Zoë Black Violin Thibaud Pavlovic-Hobba Violin Nicole Divall Viola Chair sponsored by Ian Lansdown Melissa Barnard Cello Chair sponsored by Martin Dickson am & Susie Dickson 40

41 Players dressed by Willow and SABA Julian Thompson 4 Cello Chair sponsored by The Grist & Stewart Families Maxime Bibeau 5 Principal Bass Chair sponsored by Darin Cooper Foundation Stefanie Farrands Guest Principal Viola 20 August only Principal Viola Chair sponsored by peckvonhartel architects Courtesy of Tasmanian Symphony Orchestra Nathan Greentree Viola Lachlan O Donnell Viola Alexandra Partridge Cello Sally Walker Guest Principal Flute Courtesy of The Conservatorium, University of Newcastle Matthew Larsen Guest Principal Clarinet Courtesy of Malaysian Philharmonic Orchestra Ben Hoadley Guest Principal Bassoon Courtesy of Omega Ensemble Jackie Hansen Bassoon 8 August only Courtesy of Adelaide Symphony Orchestra Ben Jacks Guest Principal Horn Courtesy of Sydney Symphony Orchestra Euan Harvey Horn Courtesy of Sydney Symphony Orchestra Joseph Nizeti Electronics, Electric Guitar, Percussion Tamara-Anna Cislowska Piano Evan Mannell Percussion TECHNICAL STAFF Bob Scott Audio Engineer Felix Abrahams Audio Systems Engineer David Fitzgerald Technical & Audio Assistant Louis Thorn AV Operator & Designer Philip Paterson Lighting Operator 1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2 Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. 3 Maja Savnik plays a 1714 Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 4 Julian Thompson plays a 1729 Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Guarneri del Gesù, kindly donated to the ACO by Peter Weiss ao. 5 Maxime Bibeau plays a late-16th-century da Salò bass kindly on loan from a private Australian benefactor. 41

42 ACO BEHIND THE SCENES BOARD Guido Belgiorno-Nettis am Chairman Liz Lewin Deputy Bill Best John Borghetti ao Judy Crawford John Kench Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner John Taberner Nina Walton Peter Yates am Simon Yeo ARTISTIC DIRECTOR Richard Tognetti ao ADMINISTRATIVE STAFF EXECUTIVE OFFICE Richard Evans Managing Director Alexandra Cameron-Fraser Chief Operating Officer Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer ARTISTIC OPERATIONS Luke Shaw Director of Artistic Operations Anna Melville Artistic Administrator Lisa Mullineux Tour Manager Ross Chapman Touring & Production Coordinator Nina Kang Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant EDUCATION Phillippa Martin ACO Collective & ACO Virtual Manager Vicki Norton Education Manager Caitlin Gilmour Education Coordinator FINANCE Fiona McLeod Chief Financial Officer Yvonne Morton Financial Accountant & Analyst Dinuja Kalpani Transaction Accountant Samathri Gamaethige Business Analyst DEVELOPMENT Anna McPherson Director of Corporate Partnerships Jill Colvin Director of Philanthropy Yeehwan Yeoh Investor Relations Manager Lillian Armitage Capital Campaign Executive Tom Carrig Corporate Partnerships Manager Camille Comtat Corporate Partnerships Executive Sally Crawford Patrons Manager Jen Sanford Acting Events Manager Max Stead Development Executive Kay-Yin Teoh Corporate Partnerships Administrator Belinda Partyga Researcher MARKETING Antonia Farrugia Director of Marketing Caitlin Benetatos Communications Manager Rory O Maley Digital Marketing Manager Cristina Maldonado Marketing & Communications Executive Shane Choi Marketing Coordinator Hilary Shrubb Publications Editor Dean Watson Customer Relations & Access Manager Colin Taylor Ticketing Sales & Operations Manager Gene Smith Ticketing Officer Christina Holland Office Administrator Robin Hall Archival Administrator AUSTRALIAN CHAMBER ORCHESTRA ABN 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) Box Office aco@aco.com.au Web aco.com.au 42

43 VENUE SUPPORT ADELAIDE TOWN HALL 128 King William Street, Adelaide SA 5000 GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) Web adelaidetownhall.com.au Martin Haese Lord Mayor Mark Goldstone 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) Box Office Web qpac.com.au Christopher Freeman am Chair John Kotzas Chief Executive Australian National University AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music William Herbert Place (off Childers Street), Acton, Canberra VENUE HIRE INFORMATION Telephone (02) ARTS CENTRE MELBOURNE PO Box 7585, St Kilda Road, Melbourne VIC 8004 Telephone (03) Box Office Web artscentremelbourne.com.au James MacKenzie President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer GRAND VENUES OF NEWCASTLE CITY HALL Owned and operated by the City of Newcastle 290 King Street, Newcastle NSW 2300 Telephone (Venue & Event Coordinators) (02) Ticketek Box Office (02) PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000 PO Box 3041, East Perth WA 6892 Telephone (08) Web perthconcerthall.com.au Brendon Ellmer General Manager CITY RECITAL HALL LIMITED 2 12 Angel Place Sydney NSW 2000 Administration (02) Box Office (02) Web Renata Kaldor ao Chair, Board of Directors Elaine Chia CEO SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Telephone (02) Box Office (02) infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer 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. 43

44 MOUNTAIN TOUR DATES & PRE-CONCERT TALKS Tour presented by Pre-concert talks take place 45 minutes before the start of every concert. Please share our concert program with your companion/s, where possible one between two. Our programs are also available on our website for download. Thu 3 Aug, 6.45pm Newcastle City Hall Pre-concert talk by Anna Melville Tue 8 Aug, 6.45pm Adelaide Town Hall Pre-concert talk by Anna Melville Mon 14 Aug, 6.15pm Brisbane QPAC Concert Hall Pre-concert talk by Anna Melville Sat 5 Aug, 7.15pm Canberra Llewellyn Hall Pre-concert talk by Joseph Nizeti Wed 9 Aug, 6.45pm Perth Concert Hall Pre-concert talk by Anna Melville Tue 15 Aug, 7.15pm Sydney City Recital Hall Pre-concert talk by Anna Melville Sun 6 Aug, 1.45pm Melbourne Arts Centre Melbourne Pre-concert talk by Anna Melville Mon 7 Aug, 6.45pm Melbourne Arts Centre Melbourne Pre-concert talk by Anna Melville Sat 12 Aug, 6.15pm Sydney City Recital Hall Pre-concert talk by Anna Melville Sun 13 Aug, 1.15pm Sydney City Recital Hall Pre-concert talk by Anna Melville Wed 16 Aug, 6.15pm Sydney City Recital Hall Pre-concert talk by Anna Melville & Jennifer Peedom Sun 20 Aug, 1.15pm Sydney Opera House Pre-concert talk by Anna Melville & Jennifer Peedom Pre-concert speakers are subject to change. This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN ABN This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published. Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: Fax: admin@playbill.com.au Website: Chairman & Advertising Director Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager Production Classical Music David Cooper OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) , Fax (64 4) Auckland: PO Box , Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) , Fax (64 9) , Mobile , admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) , Fax (44) Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK WCH 38; (852) , Fax (852) Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 E (1st Floor) Jalan SS 22/25, Damansara Jaya, Petaling Jaya, Selangor Darul Ehsan; (60 3) , Fax (60 3) Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore ; (65) , Fax (65) South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) , Fax (27) All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title Playbill is the registered title of Playbill Proprietary Limited. Title Showbill is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO /

45 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 The late Amina Belgiorno-Nettis PRINCIPAL CHAIRS Richard Tognetti ao Artistic Director & Lead Violin The late Michael Ball ao & Daria Ball Wendy Edwards Peter & Ruth McMullin Andrew & Andrea Roberts Helena Rathbone Principal Violin Kate & Daryl Dixon Satu Vänskä Principal Violin Kay Bryan Principal Viola peckvonhartel architects Timo-Veikko Valve Principal Cello Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation CORE CHAIRS VIOLIN Glenn Christensen Terry Campbell ao & Christine Campbell Aiko Goto Anthony & Sharon Lee Foundation Mark Ingwersen Julie Steiner & Judyth Sachs Ilya Isakovich The Humanity Foundation Liisa Pallandi The Melbourne Medical Syndicate Maja Savnik Alenka Tindale Ike See Di Jameson VIOLA Ripieno Viola Philip Bacon am Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Grist & Stewart Families ACO COLLECTIVE Pekka Kuusisto Artistic Director & Lead Violin Horsey Jameson Bird GUEST CHAIRS Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Annie Corlett 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 Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao ACO BEQUEST PATRONS The ACO would like to thank the following people, who remembered the Orchestra in their wills. Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Director of Philanthropy, on The late Charles Ross Adamson The late Kerstin Lillemor Andersen The late Mrs Sybil Baer The Estate of 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 Estate of Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller The late Josephine Paech The late Richard Ponder The late Mr Geoffrey Francis Scharer The Estate of Scott Spencer 45

46 ACO CONTINUO CIRCLE The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Director of Philanthropy, on for more information. Every gift makes a difference. Steven Bardy Ruth Bell David Beswick Dr Catherine Brown-Watt & Mr Derek Watt Sandra Cassell Mrs Sandra Dent Peter Evans Carol Farlow Suzanne Gleeson Lachie Hill David & Sue Hobbs Penelope Hughes Toni Kilsby & Mark McDonald Mrs Judy Lee Selwyn M Owen Michael Ryan & Wendy Mead Ian & Joan Scott Cheri Stevenson Leslie C Thiess Ngaire Turner G.C. & R. Weir Margaret & Ron Wright Mark Young Anonymous (14) ACO RECONCILIATION CIRCLE Contributions to the ACO Reconciliation Circle directly support ACO music education activities 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 about becoming a member of the Circle, please contact Jill Colvin, Director of Philanthropy, on Colin & Debbie Golvan Kerry Landman Peter & Ruth McMullin Patterson Pearce Foundation Sam Ricketson & Rosie Ayton ACO EXCELLENCE FUND PATRONS ACO Excellence Fund Patrons assist with the ACO s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on Dr Jane Cook Paul & Roslyn Espie Robert & Jennifer Gavshon Mirek Generowicz Carole A.P. Grace Doug Hooley Mike & Stephanie Hutchinson Geoff & Denise Illing Baillieu Myer ac Gina Olayiwola David Shannon J Skinner Christina Scala & David Studdy Mike Thompson Dr Jason Wenderoth Anonymous (3) ACO NEXT ACO Next is an exciting philanthropic program for young supporters, engaging with Australia s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on MEMBERS Clare Ainsworth Herschell Lucinda Bradshaw Justine Clarke Amy Denmeade Jenni Deslandes & Hugh Morrow Mandy Drury Anthony Frith & Amanda Lucas-Frith Rebecca Gilsenan & Grant Marjoribanks Ruth Kelly Aaron Levine & Daniela Gavshon Royston Lim Gabriel Lopata Rachael McVean Carina Martin Barry Mowzsowski James Ostroburski Nicole Pedler & Henry Durack Michael Radovnikovic Jessica Read Louise & Andrew Sharpe Emile & Caroline Sherman Tom Smyth Michael Southwell Helen Telfer Karen & Peter Tompkins Nina Walton & Zeb Rice Peter Wilson & James Emmett Thomas Wright Anonymous (1) 46

47 ACO TRUSTS & FOUNDATIONS Holmes à Court Family Foundation The Ross Trust 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, Principal Violin. The Fund s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ex Isolde Menges, now on loan to Violinist Maja Savnik. The Fund s third asset is the 1616 ex-fleming Antonio and Hieronymus Amati Cello, played in this concert by Principal Cello Timo-Veikko Valve. For more information, please call Yeehwan Yeoh, Investor Relations Manager on Peter Weiss ao PATRON, ACO Instrument Fund BOARD MEMBERS Bill Best (Chairman) Jessica Block John Leece am Julie Steiner John Taberner PATRONS VISIONARY $1m+ Peter Weiss ao LEADER $500,000 $999,999 CONCERTO $200,000 $499,999 The late Amina Belgiorno-Nettis Naomi Milgrom ao OCTET $100,000 $199,999 John Taberner QUARTET $50,000 $99,999 John Leece am & Anne Leece Anonymous SONATA $25,000 $49,999 ENSEMBLE $10,000 $24,999 Leslie & Ginny Green Peter J Boxall ao & Karen Chester Leslie C. Thiess SOLO $5,000 $9,999 PATRON $500 $4,999 Michael Bennett & Patti Simpson Leith & Darrel Conybeare Dr Jane Cook Geoff & Denise Illing Luana & Kelvin King Jane Kunstler John Landers & Linda Sweeny Genevieve Lansell Bronwyn & Andrew Lumsden Patricia McGregor Trevor Parkin Elizabeth Pender Peter & Victoria Shorthouse Robyn Tamke Anonymous (2) 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 Downey Garry & Susan Farrell Gammell Family Edward Gilmartin Tom & Julie Goudkamp Philip Hartog Peter & Helen Hearl Brendan Hopkins Angus & Sarah James Daniel & Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman 47

48 ACO SPECIAL PROJECTS STRANGER THAN FICTION FILMS PARTNERS 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 Mountain was developed and financed with the assistance of Screen Australia. ACO MOUNTAIN PRODUCERS SYNDICATE The Australian Chamber Orchestra would like to thank the following people for their generous support of Mountain: Phil & Rosie Harkness Peter & Janette Kendall 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 SPECIAL COMMISSIONS PATRONS Peter & Cathy Aird Josephine Kay & Ian Bredan Mirek Generowicz Anthony & Conny Harris Rohan Haslam Bruce Lane David & Sandy Libling Robert & Nancy Pallin Team Schmoopy Rebecca Zoppetti Laubi INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities: Linda & Graeme Beveridge Anthony & Sharon Lee Foundation Doug Hooley Professor Anne Kelso ao Bruce & Jenny Lane Delysia Lawson John Leece am Friends of Jon & Caro Stewart Mike Thompson Anonymous (1) JEWISH MUSEUM PATRONS LEAD PATRON PATRONS Marc Besen ac & Eva Besen ao SUPPORTERS The Ostroburski Family Julie Steiner FRIEND Leo & Mina Fink Fund EMANUEL SYNAGOGUE PATRONS CORPORATE PARTNERS Adina Apartment Hotels Meriton Group LEAD PATRON The Narev Family PATRONS David Gonski ac Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips ACO COLLECTIVE QUEENSLAND REGIONAL TOUR Lead Patrons Philip Bacon am Andrew Clouston Dr Ian Frazer ac & Mrs Caroline Frazer In memory of Lady Maureen Schubert Marie-Louise Theile & Felicity Schubert Urbane Restaurant Group Patrons Cass George Shay O Hara Smith Syd Williams qc Hamilton Wilson ACO UK SUPPORTERS Ambassadors Brendan & Bee Hopkins Friends John & Kate Corcoran Hugo & Julia Heath John Taberner Patricia Thomas Supporters John Coles Isla Baring 48

49 ACO NATIONAL EDUCATION PROGRAM The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is 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. If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) or jill.colvin@aco.com.au Donor list current as at 17 July PATRONS Marc Besen ac & Eva Besen ao Janet Holmes à Court ac EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Geoff Alder Australian Communities Foundation Ballandry Fund Steven Bardy & Andrew Patterson Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis Rod Cameron & Margaret Gibbs Michael & Helen Carapiet Stephen & Jenny Charles In memory of Wilma Collie Rowena Danziger am & Ken Coles am Irina Kuzminsky & Mark Delaney Kate & Daryl Dixon Eureka Benevolent Foundation Mr & Mrs Bruce Fink Dr Ian Frazer ac & Mrs Caroline Frazer Daniel & Helen Gauchat Kimberley Holden John & Lisa Kench Miss Nancy Kimpton Liz & Walter Lewin Andrew Low Anthony & Suzanne Maple-Brown Jim & Averill Minto Louise & Martyn Myer Foundation Jennie & Ivor Orchard James Ostroburski & Leo Ostroburski The Bruce & Joy Reid Trust Andrew & Andrea Roberts Mark & Anne Robertson Margie Seale & David Hardy Rosy Seaton & Seumas Dawes Tony Shepherd ao Anthony Strachan Leslie C. Thiess David & Julia Turner Shemara Wikramanayake Libby & Nick Wright Peter Yates am & Susan Yates Peter Young am & Susan Young E Xipell Anonymous (3) DIRETTORE $5,000 $9,999 The Abercrombie Family Foundation Jon & Cheyenne Adgemis Geoff Ainsworth & Jo Featherstone Peter Atkinson Will & Dorothy Bailey Charitable Gift The Belalberi Foundation Helen Breekveldt Veronika & Joseph Butta Darrel & Leith Conybeare Suellen and Ron Enestrom Paul & Roslyn Espie Bridget Faye am JoAnna Fisher & Geoff Weir Angelos & Rebecca Frangopoulos Louise Gourlay oam Liz Harbison Annie Hawker Insurance Group Australia Limited I Kallinikos The Key Foundation Kerry Landman Anthony & Sharon Lee Foundation In memory of Dr Peter Lewin Lorraine Logan Macquarie Group Foundation David Maloney & Erin Flaherty Libby and Peter Plaskitt John Rickard Greg Shalit & Miriam Faine Peter & Victoria Shorthouse Sky News Australia Jeanne-Claude Strong Petrina Slaytor Alenka Tindale Ivan Wheen Simon & Amanda Whiston Cameron Williams Hamilton Wilson Woods Foundation Anonymous (6) MAESTRO $2,500 $4,999 Jennifer Aaron Annette Adair David & Rae Allen Stephen & Sophie Allen Andrew Andersons David & Helen Baffsky 49

50 Brad Banducci & Anna Dudek The Beeren Foundation Mr & Mrs Daniel Besen Neil & Jane Burley The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov Caroline & Robert Clemente Laurie & Julie Ann Cox Carol & Andrew Crawford Anne & Tom Dowling Ari & Lisa Droga Maggie & Lachlan Drummond Cass George John & Jenny Green Warren Green Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Ros Johnson Peter Lovell Jennifer Senior & Jenny McGee The Alexandra & Lloyd Martin Family Foundation Jenny Nicol OneVentures Sandra & Michael Paul Endowment Prof David Penington ac Kenneth Reed am Patricia H Reid Endowment Pty Ltd Ruth & Ralph Renard Mrs Tiffany Rensen Fe and Don Ross D N Sanders Paul Schoff & Stephanie Smee & Friends Maria Sola Howard & Hilary Stack John & Josephine Strutt Susan Thacore Nicky Tindill Ralph Ward-Ambler am & Barbara Ward-Ambler Westpac Group Don & Mary Ann Yeats Professor Richard Yeo Anonymous (5) VIRTUOSO $1,000 $2,499 Barbara Allan Jane Allen Lyn Baker & John Bevan Adrienne Basser Doug & Alison Battersby In memory of Anne & Mac Blight David Blight & Lisa Maeorg Robin Beech Berg Family Foundation Jessica Block Dr David & Mrs Anne Bolzonello In memory of Peter Boros Brian Bothwell Vicki Brooke Diana Brookes Dr Catherine Brown-Watt psm & Mr Derek Watt Sally Bufé Gerard Byrne & Donna O Sullivan Ian and Brenda Campbell Terry Campbell ao & Christine Campbell Ray Carless & Jill Keyte Ann Cebon-Glass Patrick Charles Gay Cruickshank Dr Peter Clifton Angela & John Compton R & J Corney Peter & Penny Curry Ian Davis & Sandrine Barouh Michael & Wendy Davis Martin Dolan In memory of Ray Dowdell Dr William F Downey Emeritus Professor Dexter Dunphy Wendy Edwards Dr Linda English Peter Evans Julie Ewington Penelope & Susan Field Elizabeth Finnegan Michael Fogarty Don & Marie Forrest Chris & Tony Froggatt Anne & Justin Gardener M Generowicz Kay Giorgetta Brian Goddard Grussgott Trust Kingsley Herbert Jennifer Hershon Lachie Hill Christopher Holmes Doug Hooley Michael Horsburgh am & Beverley Horsburgh Penelope Hughes Professor Emeritus Andrea Hull ao Sue Hunt John Griffiths & Beth Jackson Owen James Anthony Jones & Julian Liga Brian Jones Bronwen L Jones Mrs Angela Karpin Airdrie Lloyd Gabriel Lopata Garth Mansfield oam & Margaret Mansfield oam Kevin & Deidre McCann Mr and Mrs Greg & Jan Marsh Jane Tham & Philip Maxwell In memory of Rosario Razon Garcia Helen & Phil Meddings Nola Nettheim Barry Novy & Susan Selwyn Paul O Donnell Mimi Packer Leslie Parsonage Dr S M Richards am & Mrs M R Richards Em Prof A W Roberts am Richard & Sandra Royle J Sanderson In Memory of H. St. P. Scarlett Lucille Seale Mr John Sheahan qc Diana & Brian Snape am Dr Peter & Mrs Diana Southwell-Keely Keith Spence 50

51 Jim & Alice Spigelman Harley Wright & Alida Stanley In memory of Dr Warwick Steele Caroline Storch Andrew Strauss Charles Su & Emily Lo David & Judy Taylor Rob & Kyrenia Thomas Anne Tonkin Ngaire Turner Kay Vernon Prof Roy & Dr Kimberley MacLeod Jason Wenderoth M White Dr Mark & Mrs Anna Yates Rebecca Zoppetti Laubi Anonymous (20) CONCERTINO $500 $999 Juliet Ashworth Elsa Atkin am Rita Avdiev Christine Barker In memory of Hatto Beck Mrs Kathrine Becker Ruth Bell Lynne and Max Booth Debbie Brady Denise Braggett Mrs Ann Bryce Henry and Jenny Burger Mrs Pat Burke Alberto Calderon-Zuleta Helen Carrig Connie Chaird Angela & Fred Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers ClearFresh Water Sally Collier P Cornwell & Cecilia Rice Annabel Crabb Nevarc Inc. John Curotta Sharlene & Steve Dadd Marie Dalziel Mari Davis Rosemary Dean Mrs Sandra Dent Kwong Lee Dow In Memory of Raymond Dudley Pamela Duncan M T & R L Elford Leigh Emmett Agnes Fan Jean Finnegan & Peter Kerr Susan Freeman Louisa Geddes Paul Gibson & Gabrielle Curtin Don and Mary Glue Ian and Ruth Gough Mrs Megan Grace Paul Greenfield & Kerin Brown Annette Gross Kevin Gummer & Paul Cummins Hamiltons Commercial Interiors Lesley Harland Paul and Gail Harris Sue Harvey Sandra Haslam Gaye Headlam Dr Penny Herbert in memory of Dunstan Herbert Dr Marian Hill Sue & David Hobbs Geoff Hogbin Chloe Hooper Dr & Mrs Michael Hunter Robert & Margaret Jackson Barry Johnson & Davina Johnson oam Caroline Jones Irene Kearsey & Michael Ridley Bruce & Natalie Kellett Lionel & Judy King Genevieve Lansell Irene Ryan & Dean Letcher qc Megan Lowe Diana Lungren Janet Matton & Robin Rowe Dr & Mrs Donald Maxwell JA McKernan Louise Miller Justine Munsie & Rick Kalowski G & A Nelson Robyn Nicol Graham North HE and RJ McGlashan Robin Offler Sue Packer Robin Pease Ian Penboss Elizabeth Pender Kevin Phillips Michael Power Mandie & Andrew Purcell Beverly & Ian Pryer Jennifer Rankin Jedd Rashbrooke Jennifer Royle Trish & Richard Ryan ao Garry Scarf & Morgie Blaxill Carol Schwartz am & Alan Schwartz am The Sherman Foundation Ross Steele am Cheri Stevenson Douglas Sturkey cvo am In memory of Dr Aubrey Sweet Gabrielle Tagg Simon Thornton TWF Slee & Lee Chartered Accountants Visionads Pty Ltd Denise Wadley Joy Wearne GC & R Weir Harley and Penelope Whitcombe Kathy White Sally Willis Janie Wittey Sir Robert Woods cbe Michael Zimmerman Brian Zulaikha Anonymous (33) 51

52 ACO 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. Mr Guido Belgiorno-Nettis am Chairman, Australian Chamber Orchestra Mr Matthew Allchurch Partner, Johnson Winter & 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 CEO, Veda Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Michael Chaney ao Chairman, Wesfarmers Mr & Mrs Robin Crawford am Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Mr Bruce Fink Executive Chairman, Executive Channel Holdings Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel Ms Ann Gamble Myer Mr Daniel Gauchat Principal, The Adelante Group Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas Mr John Grill ao Chairman, WorleyParsons Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant Leslie Janusz Hooker Chairman, LJ Hooker Mr Andrew Low Mr David Mathlin 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 Mr Ian Narev Chief Executive Officer Commonwealth Bank Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects Mrs Carol Schwartz am Ms Margie Seale & Mr David Hardy Mr Glen Sealey Chief Operating Officer, Maserati Australasia & South Africa Mr Tony Shepherd ao Mr Peter Shorthouse Senior Partner, Crestone Wealth Management Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Ms Vanessa Wallace & Mr Alan Liddle Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Mr Peter Young am & Mrs Susan Young 52

53 ACO GOVERNMENT PARTNERS THE ACO THANKS 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) Director, Reserve Bank of Australia Guido Belgiorno-Nettis am Chairman, ACO John Kench Johnson Winter & Slattery MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Colin Golvan qc Jason Li Chairman, Vantage Group Asia Jennie Orchard Peter Shorthouse Senior Partner, Crestone Wealth Management Peter McMullin Chairman, McMullin Group James Ostroburski CEO, Kooyong Group Mark Stanbridge Partner, Ashurst Paul Sumner Chief Executive Officer, Mossgreen Alden Toevs Group Chief Risk Officer, CBA Nina Walton Paul Sumner Chief Executive Officer, Mossgreen Susan Thacore DISABILITY ADVISORY COMMITTEE Morwenna Collett CEO, Accessible Arts Paul Nunnari Manager, Event Access & Inclusion NSW Government Ebru Sumaktas Senior HR Officer, Department of Family and Community Services Alexandra Cameron-Fraser Chief Operating Officer, ACO Sally Crawford Patrons Manager, ACO Vicki Norton Education Manager, ACO Dean Watson Customer Relations & Access Manager, ACO EVENT COMMITTEES SYDNEY Liz Lewin (Chair) Lillian Armitage Lucinda Cowdroy Sandra Ferman JoAnna Fisher Eleanor Gammell Fay Geddes Deb Hopper Lisa Kench Julianne Maxwell Karissa Mayo Elizabeth McDonald Rany Moran John Taberner Lynne Testoni BRISBANE Philip Bacon Kay Bryan Andrew Clouston Dr Ian Frazer ac & Mrs Caroline Frazer Cass George Wayne Kratzmann Shay O Hara-Smith Marie-Louise Theile Beverley Trivett PEER REVIEW PANELS EDUCATION PEER REVIEW PANEL Zoe Arthur John Benson Helen Champion ARTISTIC PEER REVIEW PANEL Yarmila Alfonzetti Elaine Armstrong Toby Chadd Jane Davidson Jane Davidson Jared Furtado Alan Dodge Jim Koehne Siobhan Lenihan Theo Kotzas Lyn Williams oam Marshall McGuire Katie Noonan John Painter am Anthony Peluso Mary Vallentine ao Lyn Williams oam 53

54 ACO PARTNERS WE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT PRINCIPAL PARTNER PRINCIPAL PARTNER: ACO COLLECTIVE NATIONAL TOUR PARTNERS OFFICIAL PARTNERS CONCERT AND SERIES PARTNERS MEDIA PARTNERS EVENT PARTNERS 54

55

56 ACO NEWS ACO ACADEMY Our flagship education program, ACO Academy, took place over the July school holidays and culminated in a public concert at City Recital Hall on 14 July. Twenty-two string students from New South Wales, South Australia, Tasmania, Victoria and Western Australia were handpicked by ACO musicians via a YouTube audition process and participated in an intensive week of rehearsals, chamber music and career advice sessions with ACO musicians and ACO Emerging Artists, under the direction of ACO Academy Leader, Aiko Goto. ABOVE: Emily Su RIGHT: Aiko Goto Academy Leader & Emily Su I really enjoyed the rehearsals and the final concert, as well as performing with other musicians and mentors. I improved my violin technique over the week while having fun! Rena Mori ABOVE: Academy Orchestra in rehearsal BELOW: Benett Tsai BELOW RIGHT: Edward Walton & Thibaud Pavlovic-Hobba 56 PHOTOGRAPHS: Fiora Sacco

57 We would like to thank Aiko and all the ACO members for another wonderful week of the ACO Academy. Emily found it very exciting and stimulating, learning how to listen to others and to blend in. The Suk was a challenging piece, but she got so much out of it... She found the chamber music experience especially enjoyable, and loved playing with and learning from Nikki. The Su Family TOP: Nicole Divall ABOVE RIGHT: Liisa Pallandi and Emily Su ABOVE: Anica Wong RIGHT: Vincent Lo, Academy soloist BELOW: Nathan Greentree (2016 Emerging Artist) BELOW RIGHT: First Violin Section PHOTOGRAPHS: Fiora Sacco 57

58 Every Sunday and Tuesday nights be transported with the best orchestral music from around the world. Check your Foxtel guide for more details.

59 JWS & THE ACO: CONTINUALLY REACHING NEW HEIGHTS

60