*Subject to availability. Booking fee of $7.50 applies.

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2 *Subject to availability. Booking fee of $7.50 applies.

3 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 31 December 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

4 JWS & THE ACO: CONTINUALLY REACHING NEW HEIGHTS

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7 National Tour Partner Maserati is honoured to be the National Tour Sponsor of the ACO and to be able to play a small part in enabling the ACO to welcome Emmanuel Pahud back to Australia. Coming from a non-musical family, Pahud was just four years old when he heard another boy practicing the flute in a nearby apartment in Rome and decided that was the instrument and career for him. And not just the flute. He vowed that he would learn to play the Mozart concerto he could hear from the next room. Just 11 years later he did just that, performing the Mozart Concerto K.313 in G major with the National Orchestra of Belgium. His subsequent career spans a unique range of music, a remarkable list of collaborators and a litany of praise for his music. The program for this performance, created by Richard Tognetti and Emmanuel Pahud, will provide much more than an expression of the range of Emmanuel Pahud s unique talent with the flute. It will also demonstrate the power and beauty of the flute, its sensitivity, and ability to move the human spirit and lift the heart. Driven by a similar passion for more than a century, Maserati also drives the human spirit and arouses the heart. It is this commonality of purpose, to enhance life, that we believe makes Maserati such a natural fit with the ACO and why we are so proud of our association with Australia s finest chamber orchestra and its justifiable worldwide reputation. Glen Sealey Chief Operating Officer Maserati Australia & New Zealand NATIONAL TOUR PARTNER 2017 National Concert Season 7

8 SKI ASPEN SNOWMASS BEST EVER DEALS AT COLORADO S PREMIER SKI RESORTS Contact us for a FREE World s Best Ski Holidays brochure SKI10 Adults US$675* Child/Teen (7-17) & Senior US$418* 10 day lift pass. Pay by 15 Oct SK 30 I SKI 30 Adults US$790* Child/Teen (7-17) US$440* Unlimited 30 day lift pass. Pay by 15 Oct. KIDS SKI FREE (7-12 years) with purchase of equipment rental*. UP TO 40% OFF LUXURY ASPEN HOTELS & APARTMENTS *Valid 1 Jan to 30 Mar Must be purchased in conjunction with discounted accommodation packages. Kids Ski Free receive free lifts for same amount of days as ski rental purchase, minimum 2 days. Converted at current exchange rate (at 14 July SKI10 Adults AU$889 Child/Teen/Snr AU$550, SKI30 Adults AU$1039 Child/Teen AU$579). Early booking and other conditions apply to all offers. deals@travelplanski.com Call visit Offices in Sydney and Melbourne. ATAS Accreditation No: A TPN4926

9 EXPERIENCE A TRUE HOME AWAY FROM HOME COMO THE TREASURY When the talented musicians from ACO perform in Perth, we are dedicated to ensuring they have an elegant, contemporary base to rest and recuperate. COMO The Treasury is a sophisticated 48-room hotel in the revitalised historic centre of Perth. With restaurants, bars and the world-renowned COMO Shambhala wellness offerings all within our heritage building, we re at the very heartbeat of the state capital. Visit comohotels.com/thetreasury to learn more, or contact our dedicated reservations team by calling or ing res.thetreasury@comohotels.com.

10 Stay in Touch Join the conversation. Tag 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 you 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. Emmanuel Pahud will be broadcast on Sunday 15 October at 2pm. 10 Australian Chamber Orchestra

11 Message from the Managing Director Our guest artists and collaborators are vital to the sense of adventure and unknown that our musicians feel as they come into the studio to rehearse before setting off to perform around Australia and the world. Over the years the Orchestra has developed special artistic relationships with a handful of artists who share with us their influences, vision, performance styles and repertoire; players like Giovanni Sollima, Patricia Kopatchinskaja, Steven Isserlis and Emmanuel Pahud have each built a strong musical rapport and innate sense of trust with the ACO. We are so pleased to welcome Emmanuel Pahud back to Australia, having toured with him a number of times internationally since his debut with us in This program traces a Franco-Germanic lineage from JS Bach to his son CPE Bach, from Franck to Ravel and Debussy. This musical journey gives Emmanuel the opportunity to stand alone in the spotlight with two stunning, but very different, works for solo flute. Bringing programs like these to the stage takes a certain vision from supporters who also value a balance of continuity and innovation, and these are certainly present in our National Tour Partner for these works, Maserati. We are proud of the partnership that we have built with them since 2010 and warmly thank them for their ongoing support. The ACO s next National Concert Season has recently been launched with a program that celebrates our players and embraces our collective passion to create and consume music that takes us outside our everyday lives. I encourage you to secure your seats and come with us on another musical adventure in Richard Evans 2017 National Concert Season 11

12 Music has always been a part of my life. If I go for an extended period of time without playing my violin I get really irritable. I guess it s like an addiction! HELENA RATHBONE

13 Emmanuel Pahud APPROXIMATE DURATION (MINUTES) Richard Tognetti Director & Violin Emmanuel Pahud Flute CPE BACH Flute Sonata in A minor, Wq.132 I. Poco Adagio II. Allegro III. Allegro JS BACH Ricercar a 6 from The Musical Offering, BWV1079 RAVEL (arr. Richard Tognetti) String Quartet in F major I. Allegro moderato Très doux II. Assez vif Très rythmé III. Très lent IV. Vif et agité INTERVAL 20 MINUTES 3 28 The concert will last approximately one hour and 45 minutes. DEBUSSY Syrinx for Solo Flute FRANCK (arr. Richard Tognetti) Sonata in A major for Flute and Strings I. Allegretto ben Moderato II. Allegro III. Recitativo-Fantasia: Ben Moderato IV. Allegretto poco mosso The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary National Concert Season 13

14 The Program PICTURED: Carl Philipp Emanuel Bach PICTURED: Johann Sebastian Bach PICTURED: Claude Debussy At first glance it might appear that Carl Philipp Emanuel and his father Johann Sebastian are odd fellows out in this ostensibly French program Debussy, Ravel, and the Franco- Belgian Franck, but subject it to closer scrutiny, and the French connection pervades. The great King Frederick of Prussia, for whom CPE was in servitude as the court composer, admired all things French, indeed he mainly spoke French, speaking German only to servants or when forced to. Frederick s abiding passions for literature and music, with a snooty predilection for French culture including wigs, powder, perfume and the flute, all no doubt underscored by a very oh-so accent were in stark contrast to his father Frederick William s preference for German, domestic violence and war mongering, with habitual thrashings of the young Prince; even extending to an 18th-century honour killing, beheading young Fred s male lover in plain view of the poor hapless Prince. Alive today, one wonders which box he would have ticked. This obsession française was also intrinsic to CPE s compositional style. Radically experimental and with a keen scent for new trends, we find CPE at the vanguard of the rapidly evolving Voltairean Age of Reason. The inclusion of JS Bach s Ricercar a 6 alongside a work by his son (written in the same year), provides us with the apt contrast of the timelessness of the elder s music with the son s more à la mode flute sonata. The Ricercar, a six-part fugue, was written after JS went to the historically defining dinner at the court of Frederick the Great in Potsdam. Having recently acquired a new Silbermann fortepiano he was keen for Johann Sebastian to take it for a spin. Such was the longheld anticipation for this happening that Bach s visit even made it to the palace gazette. Frederick commanded JS to improvise a fugue on a 20-note theme (possibly penned by the King himself) but Old Bach under-promised and over-delivered, spawning The Musical Offering, comprising two ricercars, ten canons and a sonata. James Gaines book, Evening in the Palace of Reason, not only takes us into the extraordinary meeting of two of the most formidable characters in history, but constructs for us a portal into one of the crucibles of the modern era, where Voltairean Reason is pitted against Mythology and superstition. 14 Australian Chamber Orchestra

15 The Ricercar is written for an unspecified instrumentation, possibly keyboard, in six parts. Is it true that JS holds a unique position, that his works more than others can absorb extreme yoga poses; from the Swingle Singers, Jacques Loussier, Wendy Carlos, through to Calvinistic brigades of early music mavens, (who are similar in kind to US constitutional originalists) with all and sundry in between? Bach s music does seem to work no matter whatever style; so long as one delivers with a keen sense of clarity. PICTURED: Maurice Ravel In this particular instance we are mainly strings, but Webern is whispering in our ears, having made a curious and texturally arresting reworking of this same Ricercar for larger orchestra. Even though there is a respectable amount of repertoire for the flute, some composers including Mozart didn t think much of it as a solo instrument, Wolfgang infamously writing to his Papa: you know I am quite powerless to write for an instrument [the flute] which I cannot bear. Disparaging words, indeed, but no doubt had Emmanuel Pahud had the chance to play the Pied Piper to Mozart s sentiments he would ve changed his mind. Still, he composed far more for flute than he did for cello PICTURED: Emmanuel Pahud Photo by Josef Fischnaller Seasoned more by Germanic music and traditions than anything French, and with a first attempt inspired by none other than Wagner s second wife Cosima, César Franck s Violin and Piano Sonata was put on the map by the Tsar of Franco-Belgian violin playing, Eugène Ysaÿe. César Franck wrote nothing for the solo flute, or cello for that matter, and although there is a version sanctioned by the composer for cello, we can but only imagine that Franck would be similarly swayed by Pahud s magic. Even though its cyclical form is controlled and its structure etched perfectly in its original for piano, there is an explosive, elemental force begging for an expanded orchestral landscape. PICTURED: César Franck Richard Tognetti 2017 National Concert Season 15

16 The Music CARL PHILIPP EMANUEL BACH Born Weimar 1714 Died Hamburg 1788 FLUTE SONATA IN A MINOR, WQ.132 Composed 1747 I. Poco Adagio II. Allegro III. Allegro PICTURED: A portrait of Carl Philipp Emanuel Bach by Johann Philipp Bach. Emanuel Bach was the second eldest of JS Bach s many talented sons, and is possibly the most famous. His father was his only real teacher, which makes it all the more surprising and wonderful that Emanuel has such a distinctive voice of his own. Like Telemann who, incidentally, was his godfather he receives some credit for bringing musical tastes closer to the Classical age of Mozart and Schubert. As a child, he followed his father s work to Cöthen and Leipzig, then did as several other eminent German composers (including Handel, Heinichen and Schütz) and diverted from a musical path to study law, graduating in Frankfurt an der Oder in It was JS Bach s ambition that his sons should attend university if possible, to give them greater intellectual insulation than he had enjoyed from the vagaries of freelance employment. After his graduation in 1738, though, Emanuel returned to music, and passed the next fifty years in only two positions: the first, as court harpsichordist and personal accompanist for the flute-playing Frederick the Great in Berlin, and then in 1768, succeeding his godfather Telemann as Kantor at the Johanneum in Hamburg. Living as he did in that transitional period between the High Baroque and the Classical era, his music is an intriguing combination of the two, and invariably more serious in intent than the lighter, fluffier galanterie of his younger half-brother Johann Christian. Emanuel gently blamed his employer for many of his stylistic limitations because he was constrained by Frederick s ability, or lack thereof! Emanuel spent 30 years in service at the court of Frederick the Great in Berlin. Frederick was a keen musician, but no progressive, greatly preferring the old style of music to the new, wild kind. Emanuel complained that at court he was more constricted in his compositions than in the few works he wrote only for myself. The relationship 16 Australian Chamber Orchestra

17 PICTURED: Flute Concert with Frederick the Great in Sanssouci by Adolphe Menzel. Emanuel complained that at court he was more constricted in his compositions than in the few works he wrote only for myself. between monarch and musician was never an easy one, perhaps because Emanuel refused to sycophantically adjust his accompaniments to accommodate the king s less than perfect flute playing. The Sonata in A minor for solo flute was written in 1747, the same year that his father, Johann Sebastian visited him in Berlin and wrote The Musical Offering, whose Ricercar a 6 is also included on this program. In three movements, the opening Poco Adagio in 3/8 is unhurried, luxurious even, with a beautiful array of tonal colours. There is scant information in the score outlining dynamics, articulation and ornamentation. There is a short but dazzling cadenza to close the movement. The Allegro second movement is much lighter and bouncier, skipping buoyantly through a range of tonalities before closing in the tonic A minor. The final movement continues the momentum, the sense of lightness and joy ensuring an overall feeling of contentment, despite the minor key. No one knows for sure if the piece was originally intended for King Frederick to perform his flute playing, while competent, was by no means virtuosic. Whatever the case, this is indeed a beautiful and regal piece of music that has well and truly earned its place as one of the finest standards of flute repertoire National Concert Season 17

18 SUGGESTED READING PICTURED: CPE Bach PICTURED: JS Bach Evening in the Palace of Reason by James Gaines If Carl Philipp Emanuel Bach had not gone to work for Frederick the Great, there is every chance that his father, Johann Sebastian. never would have met Frederick the Great and his Musikalisches Opfer (The Musical Offering) would never have been written. In telling the story of The Musical Offering, it is CPE, not JS Bach, who is the hero. For It was CPE who arranged for his father to visit, thus enabling King Frederick to issue the challenge for JS to improvise a fugue. This theme was to become known as the Royal Theme, and from this challenge one of the greatest fugues ever written came into being the Ricercar a 6 from The Musical Offering. At the time Johann Sebastian was nearing the end of his life and his son, Carl Philipp Emanuel was at a turning point. It is possible he wanted to show off to his father, using Frederick s new, ostentatious keyboard as the vehicle. As for Frederick, he was no doubt hoping to embarrass the great composer with an impossible task (he apparently took delight in puncturing men s egos ). James Gaines account of that Sunday evening, in May 1747, when Johann Sebastian Bach, at the invitation of Frederick the Great, came to Potsdam to take dinner with him and Carl Philipp Emanuel Bach, is an engrossing read, including accounts of other historical figures including Lully, George I, Pachelbel, Descartes, Newton and Handel. PICTURED: Detail from a portrait of Frederick the Great by Anna Dorothea Therbusch 18 Australian Chamber Orchestra

19 JOHANN SEBASTIAN BACH Born Eisenach 1685 Died Leipzig 1750 PICTURED: Johann Sebastian Bach PICTURED: Frederick the Great of Prussia RICERCAR A 6 FROM THE MUSICAL OFFERING, BWV1079 Composed 1747 In May of 1747, Johann Sebastian Bach paid a visit to his son Carl Philipp Emanuel at his workplace, the Potsdam court of Frederick the Great of Prussia ( ). Frederick was a model philosopher king, possessing a brilliant, if merciless, military mind (annexing much of Poland), and a deep interest in music and ideas. He played host to Enlightenment luminaries such as Voltaire and the mathematicians Lagrange and Euler, he was a talented flautist and maintained an orchestra to accompany him in CPE s or Joachim Quantz s flute concertos, and even his own compositions (which are rather pedestrian, but probably better than anything composed by royalty since). He was responsible for bringing Germany, and his capital Berlin, into the gloriously modern 18th century. Accordingly, his Potsdam palace was decked out with the latest inventions, including fifteen experimental pianofortes built by Gottfried Silbermann. Frederick dropped hints to CPE that he d very much like to meet Johann Sebastian and hear what he thought of the pianoforte but nothing had come of it, until he discovered the name of JS Bach in a list of strangers who had arrived at the palace for the evening s concert. After the necessary protocols, the King ushered Bach around the palace as he improvised on this or that piano. Bach asked Frederick for the subject of a fugue for Bach to work out, extempore. The King, perhaps cruelly, provided an especially knotty theme and requested that Bach attempt to improvise in six parts, but here the composer demurred because the subject wouldn t work, and instead played a six-part fugue on a theme he d prepared earlier. The next day, Bach was taken to all the organs in Potsdam so that Frederick could enjoy his performance on them. Bach returned to Leipzig and worked on the theme that Frederick had supplied, including a three- and a six-part treatment, plus assorted canons and a sonata for flute, violin and continuo and sent them to the King in a set he called Musikalisches Opfer (The Musical Offering). The Ricercar a 6 is in six parts, based on a single theme, and is arguably the finest fugue ever written by Bach National Concert Season 19

20 MAURICE RAVEL Born Ciboure 1875 Died Paris 1937 STRING QUARTET IN F MAJOR Composed Arranged for strings by Richard Tognetti I. Allegro moderato Très doux II. Assez vif Très rythmé III. Très lent IV. Vif et agité PICTURED: Maurice Ravel PICTURED: Ravel s autograph, August 1924 Ravel s Quartet is so assured, original and admired that it s hard to believe it was his first real go at writing serious chamber music. Still harder is it to comprehend why, at the time, so many of his teachers and professors felt he should give up composing and stick to the piano. It is dedicated to one of the more encouraging tutors (Gabriel Fauré) and even he may have received it with mixed feelings. Ravel s parents were keen amateur musicians. Unusually, they seem to have wholeheartedly supported their son s career plans. His father had a formal musical qualification and perhaps there was a sense in which they were pleased to offer young Maurice opportunities that they had been unable to pursue themselves. Ravel senior was a successful engineer (was this why the composer collected mechanical and wind-up toys throughout his life?). Hints of Madame Ravel s Basque heritage also coloured Maurice s musical style, with many of his works inspired by or tinged with Spanish and Moorish themes. The family had moved to Paris shortly after Ravel was born. It was a wonderful time and place for a young musician, with a thriving Conservatoire and in 1889 the inspiring and still-famous Paris Exposition. Still, he struggled a bit with his musical studies. He gained prizes at the Conservatoire for his piano performance, but no one liked his harmony and counterpoint. He was dropped from the class and left in Undaunted, he pursued his compositional urges and re-enrolled in Fauré s composition class and Gédalge s counterpoint tutorial, believing it to be essential for his development. 20 Australian Chamber Orchestra

21 He wore sidewhiskers and all his hair emphasised the contrast between his striking head and his tiny body. He liked loud ties and frilly shirts... COLLETTE Once again, he didn t do well kind souls suggest he was too original or ahead of his time, though others suspect he just didn t apply himself. Dropped from class for the second time, he was allowed to continue to sit in on Fauré s lectures. In other ways, he was doing the right things for a young composer: putting on performances of his works and meeting useful people in elegant salons. He read widely and listened to everything that came his way. Collette described him at this time: He wore side-whiskers and all his hair emphasised the contrast between his striking head and his tiny body. He liked loud ties and frilly shirts... As a result of all this activity, he was not entirely without friends when he failed to win the Prix de Rome, the principal composition prize in France, for a record fifth time. It became a huge public scandal ( l Affaire Ravel ) and eventually forced the resignation of the head of the Conservatoire, widely believed to have skewed the results in favour of his own students. The Quartet is often linked with that of Debussy s, written 10 years earlier. The two works do make an interesting comparison (each composer only ever wrote one quartet). Debussy s is all about harmony and harmonic innovation; Ravel s is (perhaps surprisingly, given his academic sagas) more tightly grounded in counterpoint and form. Maybe it s a sign of that engineering father... PICTURED: Ravel in Paris in 1914 with Vaslav Nijinsky and Bronislava Nijinska National Concert Season 21

22 PICTURED: A rare photo of Igor Stravinsky and Maurice Ravel. With hindsight, it s unlikely he would have written something as vivacious and uncomplicatedly witty as the Quartet, except as the very young man he was in One of the things which makes us describe a composer as great is an early sense of a distinct and individual voice, and each quartet has this quality in abundance. Each, too, shows one of the great recent musical innovations, attributed to Franck thematic unity across all movements, where themes cycle throughout the work. In Ravel s case in particular this technique gives a very satisfying sense of cohesion through four quite different movements. The opening Allegro moderato introduces one of the principal themes, while a second theme (doubled at two octaves between violin and viola) has a widely-spaced texture which gives the movement a sense of light and clarity often described as typically French. It is not unemotional, but it is not sweatily passionate in the way so much late-romantic music can be. The second movement, fast and rhythmic, launches into an arresting pizzicato theme. There is a contrasting middle section (a chance for the cello to shine) before the opening music returns to round off the movement at breathless pace. The third movement draws on that middle section in a rather triste atmosphere the minor key tonality provides something of a respite after all the pizzicato which preceded it and also sets up the finale. The final movement, Vif et agité, is dazzling. It effortlessly links and combines themes and motifs from all over the work, presenting them in new ways and sustaining the interest right up to the climactic moments. The Quartet was one of the works which cemented Ravel s position in French music. His remarkable career was interrupted, like so many, by the Great War. He volunteered in 1914 and became an ambulance driver (calling his van Adelaide after his ballet what does this say about his driving?). Late in 1916 he became seriously ill and shortly afterwards his mother died. She had been his principal emotional support, and the combined effects of illness, her death and war took an impossibly heavy toll on his life, well-being and composition. With hindsight, it s unlikely he would have written something as vivacious and uncomplicatedly witty as the Quartet, except as the very young man he was in Australian Chamber Orchestra

23 CLAUDE DEBUSSY Born St Germain-en-Laye 1862 Died Paris 1918 SYRINX FOR SOLO FLUTE Composed 1913 Claude Debussy is revered by almost all the composers who lived after him. His courage in pursuing his own individual artistic path, and the intellectual rigour and curiosity he brought to it, are still of sufficient weight to provoke a sense of awe. At a time when most composers were writing soaring melodies and huge bombastic nationalist scores, he became entranced by the rippling tones of music from the Javanese gamelan at the Paris Exhibition of What followed was a collection of revolutionary works: suggestive rather than bluntly descriptive; poignant in their atmosphere and intensity rather than their tunes ; beautiful but not always straightforward. The harmony was the most extraordinary thing instead of following the neat conclusions of perfect cadences and other such rules, its use of whole-tone scales in particular lends it a slippery, elusive quality that intrigues the ear. Wagner, Mahler and Schoenberg all pushed conventional harmony to its limits. It s almost as though Debussy decided not to play that game at all, and found a completely new way to go about it. PICTURED: Claude Debussy 2017 National Concert Season 23

24 PICTURED: Debussy playing the piano, with composer Ernst Chausson looking on. We must agree that the beauty of a work of art will always remain a mystery... CLAUDE DEBUSSY From an unusually working-class background, Debussy was a talented young pianist and on the strength of his skill in performance, gained admission to the Paris Conservatoire in However, there were other, better pianists in his class, and perhaps not unwillingly, he began to study composition with more seriousness, winning the prestigious Prix de Rome in 1884, which meant spending two years at the Villa Medici in Rome. After these two years in Rome, Debussy returned to Paris where he found his place with the literary crowd of Symbolists. In 1890, he wrote his first orchestral masterwork, Prélude à l après-midi d un faune, based on a poem by Stéphane Mallarmé. The opening flute solo captures the erotic air of the poem. Syrinx, originally known as La Flûte de Pan harks back to the Prélude. It was composed in 1913 to accompany a scene in Gabriel Mourey s play Psyché, Louis Fleury, to whom the work is dedicated, played the part in the original production. He also championed the work, regularly playing it in concert, so much so that it became a part of the standard flute repertoire. It wasn t published as Syrinx until 1927, nine years after Debussy s death. The piece is for solo flute and is only 35 bars in length. It tells the story of the god Pan s amorous pursuit of the nymph Syrinx. Syrinx does not return Pan s love and turns herself into a water reed to hide in the marshes. Pan cuts these reeds to make into pipes, in turn killing his love. 24 Australian Chamber Orchestra

25 CÉSAR FRANCK Born Liège 1822 Died Paris 1890 SONATA IN A MAJOR FOR FLUTE AND STRINGS Arranged by Richard Tognetti Composed 1886 I. Allegretto ben Moderato II. Allegro III. Recitativo-Fantasia: Ben Moderato IV. Allegretto poco mosso PICTURED: César Franck César Franck was a very talented young pianist. He was accepted into the Brussels Conservatoire before he d turned eight, and scooped the pool of prizes for sightreading and improvising against much older students. Alas, his father saw an opportunity for easy cash and little César-August-Jean-Guillaume-Hubert was trotted out as a prodigious virtuoso in salons and concert halls across the Low Countries. In his early teens, he was keeping the family alive with income earned through performing and teaching. No less an authority than Liszt who was very taken with young César correctly identified that Franck had all the technique of a virtuoso but lacked that other essential quality for a sustainable career; namely decent social skills and an ability to schmooze (not that he put it quite like that). The Franck family moved between Belgium and Paris a number of times, searching for a breakthrough, but eventually César had something of a nervous breakdown from the pressure. After a disappointing concert on 1 January 1846, he seems to have left the family home. In 1848, Paris was a highly dramatic place to be the air was full of revolution, politics, attempted regicide and bloodshed. Somewhere in all this turmoil, Franck was eking out a living as a teacher and organist. He was earning enough to marry the actress Félicité Saillot Desmousseaux in June of that year, rather to his parents dismay. By this time Franck had written a number of showy little trifles for his virtuoso days; and now branched out into the world of symphonic poems and an opera, although these remained unpublished and presumably unheard. Readers may begin 2017 National Concert Season 25

26 PICTURED: Franck at the organ of St Clotilde Basilica, Paris, to build a picture of a quietly spoken, gentle organist who liked to jot down a few scores here and there when he could squeeze it in between Sunday masses and giving lessons in keyboard and harmony. Almost unnoticed, he was developing a reputation as an exceptional teacher of composers, and as an original and thoughtful composer himself. Unfortunately, at that time in France, composers found fame and glory almost exclusively through opera, not the kind of instrumental works which Franck was mostly writing. In 1871, Franck was appointed as organ professor at the Paris Conservatoire. His organ classes became the place to be for many of the budding great names of French composition: Duparc, d Indy and Chausson among them. Franck s own music, too, championed by his students, began to attract notice; and he was suddenly off and running with a tremendous late flowering of creativity in the last 15 years of his life. People are fond of attributing at least some of this amazing transformation to the effect of a beautiful and vivacious 26 Australian Chamber Orchestra

27 ... what is more immediately striking for the listener is Franck s astonishingly emotional quality. PICTURED: Eugène Ysaÿe to whom Franck dedicated this sonata. student, Augusta Holmès. She must have been pretty interesting, because various luminaries agreed that the entire Conservatoire is in love with her, no doubt including her composition teacher César Franck. The Piano Quintet of 1879 which was dedicated to her was described by Madame Franck as disgusting, which may tell us something! In these late works, Franck demonstrates his mastery of large-scale form. The same themes are heard across all the movements through the kind of so-called cyclic form which attracted such attention for Beethoven and then again for Liszt. It s much harder to sustain interest in a theme for an extended period of time across a whole work, than it is to just deal with it for one movement and then move on to something else. It s possible to attribute this skill at least in part to Franck s renowned excellence at improvisation, still a key element in being a decent church organist. But what is more immediately striking for the listener is Franck s astonishingly emotional quality. Whether you choose to hear it as a spiritual outpouring or a more earthly, sensuous one, it is a truly great embodiment of the Romantic period intensely personal, unrestrained, compelling. The Sonata in A major of 1886 was given as a wedding present to Franck s compatriot, the famous violin virtuoso Eugène Ysaÿe, on his marriage to Louise Bourdeau. Ysaÿe adored the work immediately. He played it thereafter, introducing Franck s music to a wide audience in the only way possible in those days before recordings. It remains a cornerstone of the violin recital repertoire. However, it is possible that Franck may have originally intended the work for cello; and at the very least, designated a second edition of the published sonata as for violin or cello. Many cellists have embraced the work, and indeed the darker tones of the lower instrument like the oboe, often called into use by composers wanting to wring a bit of extra emotion out of the situation seem to suit it perfectly. So, it seems reasonable that this work could also be played by other instruments, including flute, as you will hear in these performances. And Richard Tognetti has taken this thinking a step further, arranging the work for 2017 National Concert Season 27

28 ... it seems reasonable that this work could also be played by other instruments, including flute... string accompaniment in lieu of piano. At the forefront of his concern was making sure the string parts remained sufficiently transparent in texture that the solo flute was left alive and well. Similarly, the bellicose, agitated quality of the second movement required judicious handling in order to adapt the very pianistic language for strings, without losing any of the tumultuous emotion of the original. The freely expressive Recitativo-Fantasia may have been Franck s most personal statement (what was he trying to say with this wordless recitative?). The canonic nature of the finale offered the challenge of leaving its delicacy intact within the richer texture of an orchestra. The initial theme is glimpsed yet again, but transformed into a context of radiance and resolution. All notes by Australian Chamber Orchestra 2017 GRAND DINING TO MATCH A GRAND PERFORMANCE GPO Grand Theatre Dining offers world-class dining experiences - the perfect beginning or ending to a world-class performance. INTERMEZZO RISTORANTE BOOKINGS mail@gpogrand.com PRIME RESTAURANT INTERMEZZO RISTORANTE 28 Australian Chamber Orchestra POSTALES RESTAURANT GPO CHEESE & WINE ROOM

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30 Emmanuel Pahud Flute Swiss-and-French flautist Emmanuel Pahud began studying music at the age of six. He graduated in 1990 with First Prize from the Paris Conservatoire, and went on studying with Aurèle Nicolet. He won First Prize at the Duino, Kobe and Geneva Competitions, and at age 22 Emmanuel joined the Berliner Philharmoniker as Principal Flute under Claudio Abbado, a position which he still holds today. In addition, he enjoys an extensive international career as soloist and chamber musician. Emmanuel appears regularly at leading concert series, festivals and orchestras worldwide, and has collaborated as a soloist with top conductors such as Abbado, Antonini, Barenboim, Boulez, Fischer, Gergiev, Gardiner, Harding, Järvi, Maazel, Nezet-Séguin, Orozco-Estrada, Perlman, Pinnock, Rattle, Rostropovich and Zinman. Emmanuel is a dedicated chamber musician and regularly gives recitals with pianists Eric Le Sage, Alessio Bax, Yefim Bronfman, Hélène Grimaud, Stephen Kovacevich, as well as jazzing with Jacky Terrasson. In 1993, Emmanuel founded the Summer Music Festival in Salon de Provence together with Eric Le Sage and Paul Meyer, which is still a unique chamber music festival today. He also continues chamber music performances and recordings with Les Vents Français with top wind players François Leleux, Paul Meyer, Gilbert Audin and Radovan Vlatkovic. He is committed to expanding the flute repertoire and commissions new flute works every year to composers such as Elliott Carter, Marc-André Dalbavie, Thierry Escaich, Simon Holt, Toshio Hosokawa, Michaël Jarrell, Luca Lombardi, Philippe Manoury, Matthias Pintscher and Christian Rivet. Since 1996 Emmanuel has recorded exclusively for EMI / Warner Classics, one of the most significant contributions to recorded flute music: more than 25 recordings which all have received unanimous critical acclaim and winning awards. Emmanuel was honoured to Chevalier dans l Ordre des Arts et des Lettres for his contribution to music, and is HonRAM of the Royal Academy of Music. He also is an Ambassador for Unicef. Photo by Fabien Monthubert 30 Australian Chamber Orchestra

31 Richard Tognetti Director & Violin 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. Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today. THE DAILY TELEGRAPH (UK) Photo by 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 2017 National Concert Season 31

32 Australian Chamber Orchestra From its first concert in November 1975 to today, 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 cellist John Painter, the ACO originally comprised just 13 players. Today, the ACO has grown to 17 players, who between them play around 100 performances across Australia each year. Led by Artistic Director Richard Tognetti, who has been at the helm since 1990, the ACO seeks to inspire and challenge with repertoire that is both brilliantly dazzling and unrelentingly powerful. This energy and spirit of adventure isn t confined to the country they call home; the ACO s international touring schedule sees the Orchestra performing in many of the world s greatest concert halls including Amsterdam s Concertgebouw, London s Barbican Centre and Royal Festival Hall, Vienna s Musikverein, New York s Carnegie Hall, Birmingham s Symphony Hall and Frankfurt s Alte Oper. Their performances have left their mark on more than 40 countries around the globe spanning Europe, Asia Pacific, and North and Latin America. The ACO regularly performs and collaborates with artists who share their passion for forging new paths and creating new musical destinations: from such musicians as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Olli Mustonen, Brett Dean and Ivry Gitlis, to Neil Finn, Jonny Greenwood, Katie Noonan, Danny Spooner, Barry Humphries and Meow Meow; and visual artists and film makers, including Michael Leunig, Bill Henson, Shaun Tan, Jon Frank, and Jennifer Peedom. In addition to their demanding touring schedule, the Orchestra records for the world s top labels. Their recordings of Bach s works for solo violin won three consecutive ARIA Awards. Recent releases include Mozart s Last Symphonies, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. Documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents. 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 32 Australian Chamber Orchestra

33 Musicians on Stage Richard Tognetti 1 Leader & Violin Chair sponsored by the late Michael Ball am & Daria Ball, Wendy Edwards, Peter & Ruth McMullin, Andrew & Andrea Roberts Satu Vänskä 2 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 Thibaud Pavlovic-Hobba Violin Nicole Divall 4 Viola Chair sponsored by Ian Lansdown Timo-Veikko Valve 5 Principal Cello Chair sponsored by Peter Weiss ao Melissa Barnard Cello Chair sponsored by Martin Dickson am & Susie Dickson Benjamin Adler Violin Rosalind Ventris Guest Principal Viola Chair sponsored by peckvonhartel architects Players dressed by Willow and SABA Julian Thompson 6 Cello Chair sponsored by The Grist & Stewart Families Maxime Bibeau 7 Double Bass Chair sponsored by Darin Cooper Foundation Nathan Greentree Viola 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 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 4 Nicole Divall plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor. 5 Timo-Veikko Valve plays a 1616 Hieronymus and Antonio Amati cello kindly on loan from the ACO Instrument Fund. 6 Julian Thompson plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, donated to the ACO by Peter Weiss ao. 7 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor National Concert Season 33

34 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 Tom Carrig Corporate Partnerships Manager Sarah Morrisby Philanthrophy Manager Sally Crawford Patrons Manager Lillian Armitage Capital Campaign Manager Yeehwan Yeoh Investor Relations Manager Jen Sanford Acting Events Manager Camille Comtat Corporate Partnerships Executive Belinda Partyga Researcher Kay-Yin Teoh Corporate Partnerships Administrator Max Stead Development Executive 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 Australia Telephone (02) Box Office aco@aco.com.au Web aco.com.au 34 Australian Chamber Orchestra

35 Venue Support 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 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 National Concert Season 35

36 Emmanuel Pahud TOUR PRESENTED BY TOUR DATES & PRE-CONCERT TALKS 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. Sat 30 Sep, 7.15pm Canberra Llewellyn Hall Pre-concert talk by Vincent Plush Sun 1 Oct, 1.45pm Melbourne Arts Centre Melbourne Pre-concert talk by Lucy Rash Tue 3 Oct, 6.45pm Melbourne Arts Centre Melbourne Pre-concert talk by Lucy Rash Wed 4 Oct, 6.45pm Perth Concert Hall Pre-concert talk by Rosalind Appleby Sat 7 Oct, 6.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson Sun 8 Oct, 1.15pm Sydney Opera House Pre-concert talk by Francis Merson Mon 9 Oct, 6.15pm Brisbane QPAC Concert Hall Pre-concert talk by Gordon Hamilton Tue 10 Oct, 7.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson Wed 11 Oct, 6.15pm Sydney City Recital Hall Pre-concert talk by Francis Merson Fri 13 Oct, 12.45pm Sydney City Recital Hall Pre-concert talk by Tanja Binggeli 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 / Australian Chamber Orchestra

37 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 The late John Harvey ao 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 late Prof. Janet Carr The late Mrs Moya Crane The late Colin Enderby The late Neil Patrick Gillies The late John Nigel Holman The late Dr S W Jeffrey am The late Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller The late Josephine Paech The late Richard Ponder The late Mr Geoffrey Francis Scharer The late Scott Spencer 2017 National Concert Season 37

38 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 ACO Reconciliation Circle ACO Excellence Fund Patrons Ngaire Turner G.C. & R. Weir Margaret & Ron Wright Mark Young Anonymous (15) 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 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 Carole A.P. Grace Rohan Haslam Doug Hooley Mike & Stephanie Hutchinson Geoff & Denise Illing Baillieu Myer ac 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 Shevi de Soysa 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) 38 Australian Chamber Orchestra

39 ACO Trusts and 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 C. Thiess Anonymous (1) SOLO $5,000 $9,999 PATRON $500 $4,999 In memory of Lindsay Cleland Merilyn & David Howorth Luana & Kelvin King John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Peter McGovern John & Virginia Richardson 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 Paul & Felicity Jensen Daniel & Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven The late Ian Wallace & Ms Kay Freedman 2017 National Concert Season 39

40 ACO Special Projects ACO MOUNTAIN PRODUCERS SYNDICATE The Australian Chamber Orchestra would like to thank the following people for their generous support of Mountain: Executive Producer Martyn Myer ao Major Producers Janet Holmes à Court ac Warwick & Ann Johnson Producers Richard Caldwell Warren & Linda Coli Anna Dudek & Brad Banducci Wendy Edwards David Friedlander Tony & Camilla Gill John & Lisa Kench Charlie & Olivia Lanchester Rob & Nancy Pallin Andrew & Andrea Roberts Peter & Victoria Shorthouse Alden Toevs & Judi Wolf Supporters Andrew Abercrombie Joanna Baevski Ann Gamble Myer Gilbert George Charles & Cornelia Goode Foundation Charles & Elizabeth Goodyear Phil & Rosie Harkness Peter & Janette Kendall 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 2017 EUROPEAN TOUR PATRONS Philippa and John Armfield Steven Bardy & Andrew Patterson Paul Borrud Craig & Nerida Caesar Terry Campbell ao & Christine Campbell Michael & Helen Carapiet Stephen & Jenny Charles Andrew Clouston Robin & Judy Crawford Graham & Treffina Dowland Dr William F Downey Terry & Lynn Fern Stephen Fitzgerald Daniel & Helen Gauchat Nick & Kay Giorgetta Colin Golvan qc & Debbie Golvan Eddie Guillemette Liz Harbison Paul & April Hickman Jay & Linda Hughes Andrew & Lucie Johnson Simon Johnson Steve & Sarah Johnston Russell & Cathy Kane John & Lisa Kench Wayne Kratzmann Mr Christopher D Martin & Mrs Clarinda Tjia-Dharmadi Nicholas McDonald & Jonnie Kennedy Andrew McKenzie Jennifer Senior & Jenny McGee Usmanto Njo & Monica Rufina Tjandraputra James Ostroburski Susan Phillips Andrew & Andrea Roberts The Ryan Cooper Family Foundation Carol Schwartz am & Alan Schwartz am Rosy Seaton & Seumas Dawes Peter Shorthouse Hilary Stack Jon & Caro Stewart John Taberner Jamie Thomas Phillip Widjaja & Patricia Kaunang Simon Yeo 40 Australian Chamber Orchestra

41 ACO Special Projects 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 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 Peer Review Panels EDUCATION PEER REVIEW PANEL Zoe Arthur Jared Furtado John Benson Theo Kotzas Helen Champion Lyn Williams oam Jane Davidson ARTISTIC PEER REVIEW PANEL Yarmila Alfonzetti Elaine Armstrong Toby Chadd Jane Davidson Alan Dodge Melissa King Jim Koehne Siobhan Lenihan Marshall McGuire Katie Noonan John Painter am Anthony Peluso Mary Vallentine ao Lyn Williams oam 2017 National Concert Season 41

42 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 7 August 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 Rowena Danziger am & Ken Coles am In memory of Wilma Collie 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 Di Jameson John & Lisa Kench Miss Nancy Kimpton Liz & Walter Lewin Andrew Low Anthony & Suzanne Maple-Brown Jim & Averill Minto Servcorp 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 E Xipell Peter Yates am & Susan Yates Peter Young am & Susan Young Anonymous (4) DIRETTORE $5,000 $9,999 Jon & Cheyenne Adgemis Geoff Ainsworth & Jo Featherstone Peter Atkinson David and Helen Baffsky The Belalberi Foundation Helen Breekveldt Veronika & Joseph Butta Darrel & Leith Conybeare Suellen & Ron Enestrom Paul & Roslyn Espie Bridget Faye am JoAnna Fisher & Geoff Weir Angelos & Rebecca Frangopoulos 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 The Alexandra & Lloyd Martin Family Foundation Libby & Peter Plaskitt John Rickard Greg Shalit & Miriam Faine Peter & Victoria Shorthouse Sky News Australia Petrina Slaytor Jeanne-Claude Strong Alenka Tindale Ivan Wheen Simon & Amanda Whiston Cameron Williams Woods Foundation Anonymous (4) 42 Australian Chamber Orchestra

43 MAESTRO $2,500 $4,999 Jennifer Aaron Annette Adair David & Rae Allen Stephen & Sophie Allen Will & Dorothy Bailey Charitable Gift Brad Banducci & Anna Dudek The Beeren Foundation 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 John & Jenny Green Warren Green Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Ros Johnson Jennifer Senior & Jenny McGee Jane Morley Jenny Nicol OneVentures David Paradice & Claire Pfister Sandra & Michael Paul Endowment Prof David Penington ac Kenneth Reed am Patricia H Reid Endowment Pty Ltd Ruth & Ralph Renard Mrs Tiffany Rensen Fe & 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 William & Anne Yuille Anonymous (5) VIRTUOSO $1,000 $2,499 Barbara Allan Jane Allen Andrew Andersons In memory of Anne & Mac Blight David Blight & Lisa Maeorg Lyn Baker & John Bevan Adrienne Basser Doug & Alison Battersby 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 & Brenda Campbell Terry Campbell ao & Christine Campbell Ray Carless & Jill Keyte Ann Cebon-Glass Patrick Charles Dr Peter Clifton Angela & John Compton R & J Corney Gay Cruickshank 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 Carmel Dwyer 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 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 Mr and Mrs Greg & Jan Marsh Jane Tham & Philip Maxwell Kevin & Deidre McCann In memory of Rosario Razon Garcia Helen and 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 Julia Champtaloup & Andrew Rothery Richard & Sandra Royle J Sanderson In Memory of H. St. P. Scarlett Lucille Seale 2017 National Concert Season 43

44 Mr John Sheahan qc Diana & Brian Snape am Dr Peter & Mrs Diana Southwell-Keely Keith Spence Jim & Alice Spigelman Harley Wright & Alida Stanley Caroline Storch Andrew Strauss Charles Su & Emily Lo Tamas & Joanna Szabo 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 (19) CONCERTINO $500 $999 Juliet Ashworth Elsa Atkin am Rita Avdiev Christine Barker In memory of Hatto Beck Mrs Kathrine Becker Ruth Bell Lynne & Max Booth Debbie Brady Denise Braggett Mrs Ann Bryce Henry & 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 Annabel Crabb Nevarc Inc. John Curotta Sharlene & Steve Dadd Marie Dalziel Mari Davis Rosemary Dean 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 & Mary Glue Colin Golvan qc & Debbie Golvan Ian and Ruth Gough Mrs Megan Grace Paul Greenfield & Kerin Brown Annette Gross Kevin Gummer & Paul Cummins Hamiltons Commercial Interiors Lesley Harland Paul & 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 Barry Johnson & Davina Johnson oam Caroline Jones Irene Kearsey & Michael Ridley Bruce & Natalie Kellett Lionel & Judy King Genevieve Lansell Kwong Lee Dow Irene Ryan & Dean Letcher qc Megan Lowe Diana Lungren Janet Matton & Robin Rowe Dr & Mrs Donald Maxwell HE & RJ McGlashan JA McKernan Louise Miller Justine Munsie & Rick Kalowski G & A Nelson Robyn Nicol Graham North Robin Offler Sue Packer Robin Pease Ian Penboss Elizabeth Pender Kevin Phillips Michael Power Beverly & Ian Pryer Mandie & Andrew Purcell Jennifer Rankin Jedd Rashbrooke Jennifer Royle Trish & Richard Ryan ao Garry Scarf & Morgie Blaxill Carol Schwartz am & Alan Schwartz am The Sherman Foundation Ken Smith 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 & Penelope Whitcombe Kathy White Sally Willis Janie Wittey Sir Robert Woods cbe Michael Zimmerman Brian Zulaikha Anonymous (30) 44 Australian Chamber Orchestra

45 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 Robert Gavshon & Mr Mark Rohald Quartet Ventures Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas Mr John Grill ao Chairman, WorleyParsons Mrs Janet Holmes à Court ao 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 2017 National Concert Season 45

46 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) Chair, Australian Super Guido Belgiorno-Nettis am Chairman, ACO John Kench Jason Li Chairman, Vantage Group Asia Jennie Orchard Peter Shorthouse Senior Partner, Crestone Wealth Management Mark Stanbridge Partner, Ashurst Paul Sumner Chief Executive Officer, Mossgreen Alden Toevs Group Chief Risk Officer, CBA Nina Walton MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Colin Golvan qc Peter McMullin Chairman, McMullin Group James Ostroburski CEO, Kooyong Group 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 BRISBANE Liz Lewin (Chair) Lillian Armitage Lucinda Cowdroy Sandra Ferman Eleanor Gammell Fay Geddes Lisa Kench Julianne Maxwell Karissa Mayo Rany Moran John Taberner Lynne Testoni 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 46 Australian Chamber Orchestra

47 ACO PARTNERS ACO Partners WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT 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 2017 National Concert Season 39 47

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49 ACO News PRINCIPAL PARTNER: ACO COLLECTIVE ACO COLLECTIVE CELEBRATES 10 YEARS! ACO Collective celebrated 10 years of regional touring on a three-week tour of regional New South Wales and Queensland. The Orchestra performed eight public concerts, of which six were completely sold out, along with schools concerts, string workshops and Music & Art sessions at schools in and around Cairns. To celebrate the anniversary, ACO Collective also had special collaborative performances with the Bellingen Youth Orchestra and the Gondwana Indigenous Children s Choir in Cairns. ACO Collective performed in Bellingen on their very first regional tour in 2007, with Richard Tognetti and the Bellingen Strings. This year the newest crop of Bellingen Strings performed a guard of honour for ACO Collective and the Bellingen Youth Orchestra (many of whom were part of that first performance 10 years ago) opened the evening s concert with Elgar s Nimrod along with ACO Collective. In a sold-out concert in Cairns, the ACO continued its ongoing collaboration with the Gondwana Indigenous Children s Choir. The Choir, directed by its Artistic Director and Founder Lyn Williams, and ACO Collective opened the evening s concert by performing together two specially commissioned works by Australian composer Luke Byrne written in conjunction with local Gimuy Walubara Yidinji elder Gudju Gudju, and featuring Yidinji lyrics and dance, as well as two traditional Torres Strait Islander songs National Concert Season 49

50 THE WORLD S FIRST DISCOVERY YACHT TM Yacht Club, Scenic Eclipse Rediscover your tastebuds during a 14 day Transatlantic crossing on Scenic Eclipse. With plenty of days at sea to explore the 10 exceptional on board dining experiences, there will be something for all appetites. Inspired by all four corners of the globe, Scenic Eclipse s culinary creations range from casual to finedining. Enjoy contemporary French fine dining in Lumière, sushi and sake at Asian-fusion venue Koko s, or relax at the Yacht Club s poolside grill. Complementing the on board dining experience will be eight spacious bars and lounges, offering an extensive selection of beverages all included as part of Scenic s signature all-inclusive promise. Inaugural Transatlantic Crossing 14 Day Cruise Miami > Barcelona Grand Deluxe Verandah Suite from $6,970 * pp USA Miami Bahamas 101R Barcelona Spain 13 Gibraltar Visit scenic.com.au/agents for your nearest Scenic Agent SCENIC.COM.AU/ECLIPSE *Conditions apply. Prices are based on per person, twin share in AUD, strictly limited until sold out. Prices include taxes and charges. International flights are not included. For new bookings only, not available in conjunction with any other offer. First non-refundable deposit due within 7 days of booking. Earlybird fares are strictly limited and subject to availability. Early payment discount of $500pp is applied, full cruise payment due by 31/10/2017. Pricing based on 101R cat DD suite correct as of 29/08/2017. For full terms and conditions visit scenic.com.au/terms. ABN SNMA199.

51 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.

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