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4 As a proud partner of the ACO, we invite you to discover Langton s with a $100 VOUCHER *. Langton s is Australia s leading fine wine specialist. Alongside our fine wine auctions and complimentary personalised brokerage service we have recently launched a new online wine store. Register today to discover a rich and diverse selection of fine wine. Please quote voucher code: ACO100 Visit or call to speak with a personal wine broker. We look forward to hearing from you. TERMS & CONDITIONS Langton s $100 Wine Discount Offer Terms & Conditions: Offer is valid until 30th November 2014 on purchases with a minimum value of $500 in one transaction when the unique voucher code ACO100 is used. Offer is strictly for personal use and cannot be resold. Offer may be redeemed once per customer, and is valid for single use only. Offer is not transferrable for cash, cannot be used in conjunction with any other offer and cannot be used for auctions under $3, Langton s Pty Ltd. All rights reserved.



7 NATIONAL TOUR PARTNER As one of the world s leading oil and gas companies, Total appreciates that technical excellence, hard work, creativity and innovation are important drivers of success. When looking to form a flagship arts partnership in Australia, it was just these attributes that attracted Total to the Australian Chamber Orchestra and its unique and exceptional musical performances. For the second year, Total will be a National Tour Partner of the ACO, supporting the Tognetti s Beethoven tour. For Total, the partnership with ACO reflects a growing commitment to Australia and the communities where it operates. As a major partner in two LNG projects, providing technical and project management expertise, as well as undertaking both offshore and onshore exploration, Total is an active participant in Australia s oil and gas industry investing many billions in 2014 alone. With Australia a key focus for Total globally, Total hopes to continue to make a positive contribution to exciting artistic endeavours for as many as possible to experience. I very much hope you enjoy tonight s performance. NATIONAL TOUR PARTNER DAVID MENDELSON MANAGING DIRECTOR TOTAL EXPLORATION & PRODUCTION AUSTRALIA AUSTRALIAN CHAMBER ORCHESTRA 1

8 Vale Peter Sculthorpe Adrienne Levinson The ACO is to Peter Sculthorpe as a tree is to soil. Peter wrote for the ACO right through its history, right from the very word go. I recall vividly as a kid hearing the ACO in Wollongong City Hall playing the music of Peter Sculthorpe. The sounds of Sculthorpe were the sounds of the ACO and they sat powerfully and wonderfully beside the music of Vivaldi, Tchaikovsky and Mozart. In fact, I was there, at the Wollongong City Hall in May 1976 when the ACO performed its first ever collaboration with Peter, his haunting Lament for Strings. When I first joined the ACO and got to know the man himself I was touched by his humility, gentleness and resoluteness. He wrote many pieces for the orchestra and we look forward to having one hell of a time remembering him through his music over the coming years. I always thought that Peter the man had lived since time began and would live forever. His music, I believe, will live forever. The great filmmaker Tony Palmer recently got in touch with me, asking to help raise funds for a film about Peter Sculthorpe. Now of course it will be an eternal regret that Tony wasn t able to make this film before Peter died. But let s hope that now Tony will get the support his project deserves to bring to the cinema the life and music of Australia s greatest ever composer, Peter Sculthorpe. Richard Tognetti 8 Aug AUSTRALIAN CHAMBER ORCHESTRA

9 SCULTHORPE WORKS COMPOSED FOR AND PREMIERED BY THE ACO Lament for Strings (1976) For the Australian Chamber Orchestra First performance: 26 May 1976, City Hall, Wollongong NSW: Australian Chamber Orchestra Port Essington (1977) Commissioned by Musica Viva Australia for the Australian Chamber Orchestra First performance: 16 August 1977, Mayne Hall, University of Queensland, Brisbane QLD: Australian Chamber Orchestra Little Suite for Strings (1983) For the Australian Chamber Orchestra First performance: 22 September 1983, Sydney Opera House: Australian Chamber Orchestra First Sonata for Strings (1983) Commissioned by Musica Viva Australia for the Australian Chamber Orchestra First performance: 29 November 1983, Sydney Opera House: Australian Chamber Orchestra Second Sonata for Strings (1988) Commissioned by the Australian Chamber Orchestra First performance: 19 May 1988, UK, Brighton Festival, St Martin s Church: Australian Chamber Orchestra/ Carl Pini Nourlangie (1989) Commissioned by the Australian Chamber Orchestra First performance: 24 October 1989, Australia, Queensland Performing Arts Complex, Brisbane: John Williams/Michael Askill/Australian Chamber Orchestra/Richard Hickox Lament (1991) For the Australian Chamber Orchestra First performance: , Australia, Sydney Opera House: Raphael Wallfisch/Australian Chamber Orchestra Djilile (2001) For the Australian Chamber Orchestra First performance: June 2001, Chandos recording sessions, Sydney: Australian Chamber Orchestra/ Richard Tognetti Chaconne (2009) Dedicated to Richard Tognetti; commissioned by the Australian Chamber Orchestra to mark the occasion of Richard Tognetti s 20th anniversary as leader and artistic director of the orchestra First performance: 8 August 2009, Richard Tognetti (violin), Australian Chamber Orchestra, Llewellyn Hall, Canberra School of Music, Canberra Peter Sculthorpe (20 April August 2014) Our good friend Peter was Australia s foremost classical music composer, and one of our most original and distinctive creative voices in any medium. Born and schooled in Launceston, he undertook university studies at Melbourne, under Bernard Heinze, and Oxford, where in 1958 his tutor, composer Edmund Rubbra, prophetically dubbed him Australia s Bartók. Another English mentor, musicologist Wilfrid Mellers, saw that it was paradoxically at Oxford that the homesick young Antipodean discovered his true identity, becoming the first composer to make a music distinctively Australian. Back home he responded to his father s death in 1961 by composing his austerely Australian string orchestra classic Irkanda IV. It earned him the attention of arts leaders including Nugget Coombs and Robert Helpmann, and resulted in opera, ballet and chamber music commissions, as well as a place at the head of a questing new wave of young composers including Nigel Butterley, George Dreyfus, Larry Sitsky, and the late Richard Meale. His appointment to the teaching staff of Sydney University in 1964 was a turning point in his own creative development. Thrown in at the deep end, he recalled, by Professor Donald Peart, he found himself teaching Asian traditional music, which in turn deeply influenced his own music. Sculthorpe learned double bass so he could join the string orchestra at Melbourne University s Conservatorium in the late 1940s. Since then, music for strings has formed the core of his output as a composer: in his 18 string quartets (one more than Beethoven!), and many scores for string chamber orchestra. When a group of his friends formed the Australian Chamber Orchestra in 1975, it was inevitable that Peter would compose for them. His first work for the ACO was the sombre Lament for Strings (1976). His second, Port Essington (1977), created a dramatic mix of historic and contemporary sounds to reimagine an early colonial settlement in the Carpentaria. In 1989, he returned to the gulf country in his concerto, Nourlangie, for the ACO and guitarist John Williams. Over their almost 40-year shared history, Peter composed nine new scores for the ACO, the last the Chaconne, to celebrate Richard s 20th anniversary as artistic director. In turn, the ACO has made three all-sculthorpe CDs, as well as championing his music at home and abroad. Sculthorpe showed Australian classical music how to become more truly itself, by moving on from its foundational European focus, and situating us firmly in our own place and region. For Australian music post-sculthorpe, Europe is the Antipodes! As we celebrate a musical life completed and contemplate his ongoing legacy and after Sculthorpe himself has been accorded due plaudits for having been so exceptionally himself Australia too should take a bow for creating him! AUSTRALIAN CHAMBER ORCHESTRA 3

10 ACO.COM.AU VISIT THE WEBSITE TO: Prepare in advance PDF and e-reader versions of the program are available at aco.com.au one week before each tour begins, together with music clips and videos. Have your say Let us know what you thought about this concert at aco.com.au or Be part of the ACO community For behind-the-scenes news and updates follow us on Facebook or a_c_o or visit acoblog.com.au Receive the ACO enewsletter Sign up for the ACO enewsletter at aco.com.au and receive links to new videos and concert programs, plus special offers including invitations to meet the musicians. ACO ON THE RADIO ABC CLASSIC FM: Northern Lights, Southern Skies (A c O 2 ) Mon 24 Nov, 8pm Marwood s Serenade Mon 24 Nov, 9pm Tognetti s Beethoven Sat 6 Dec, 8pm UPCOMING TOURS Marwood s Serenade 14 Nov 30 Nov Paganini/Tognetti 10 Dec (Melbourne only) FREE PROGRAMS To save trees and money, we ask that you please share one program between two people where possible. PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue. MESSAGE FROM THE GENERAL MANAGER Artistic collaboration is at the heart of the program in this series of concerts featuring mostly the music of Beethoven. Is there any other piece of music in the orchestral repertoire which relies so heavily on the spirit of collaboration and musical democracy than Beethoven s Triple Concerto? The gathering of a piano trio in the heart of a symphony orchestra to debate musical ideals and arguments is a unique concept which only a genius like Beethoven could devise. In the context of a wide-screen musical narrative, an intense dramatis personæ of violin, cello and piano make their individual entrances then jostle each other for prominence against the Greek chorus of the orchestra, each voice distinctive, at times combative but ultimately concerted, in a large-scale, Pinteresque musical plot. Beethoven s Triple Concerto is the feature film version of the musical interplay which characterises the ACO s approach to music room for each big, individual personality to fill out their character, but always in the context of the full-length screenplay of the composer s vision. It was a rare privilege for the musicians of the ACO to be deeply involved in the genesis and evolution of Jonny Greenwood s Water. When Radiohead wound up their 2012 world tour in Australia, Jonny stayed on for several weeks to get to know Richard and the ACO and to start work on a new work which, over the next 18 months, became this ravishingly beautiful score which was unveiled to the world on the ACO s most recent European tour. London s Telegraph gave the concert an unbeaten five star verdict and audiences in London, Dublin and Birmingham rose to their feet in rapt appreciation as this magical score came to life before their eyes and ears. Taking a big, Beethoven-size orchestra on a national tour is no small undertaking, and we are hugely grateful to our National Tour Partner Total for making it possible for audiences around Australia to hear this concert which brings together the foundation stones of symphonic repertoire with the latest expression of orchestral music. TIMOTHY CALNIN General Manager Australian Chamber Orchestra 4 AUSTRALIAN CHAMBER ORCHESTRA

11 TOGNETTI S BEETHOVEN RICHARD TOGNETTI Violin TIMO-VEIKKO VALVE Cello YEVGENY SUDBIN Piano BEETHOVEN BEETHOVEN Coriolan Overture, Op.62 Concerto for violin, cello and piano in C major, Op.56 I. Allegro II. Largo III. Rondo alla Polacca INTERVAL JONNY GREENWOOD Water (AUSTRALIAN PREMIERE) BEETHOVEN Symphony No.1 in C major, Op.21 I. Adagio molto Allegro con brio II. Andante cantabile con moto III. Menuetto (Allegro molto e vivace) IV. Finale (Adagio Allegro molto e vivace) Approximate durations (minutes): 8 33 INTERVAL The concert will last approximately one hour and 45 minutes including a 20-minute interval. Pre-concert talks will take place 45 minutes before the start of every concert at the venue. CANBERRA MELBOURNE PERTH SYDNEY Llewellyn Hall Sat 1 Nov 8pm Pre-concert talk by Ken Healey am Arts Centre Sun 26 Oct 2.30pm Mon 27 Oct 8pm Pre-concert talk by Alistair McKean Concert Hall Wed 29 Oct 7.30pm Pre-concert talk by James Ledger Opera House Sun 2 Nov 2pm Mon 3 Nov 8pm Pre-concert talk by Ken Healey am The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. AUSTRALIAN CHAMBER ORCHESTRA 5

12 Ludwig van BEETHOVEN (b. Bonn 1770 d. Vienna 1827) Beethoven s compositional career can be divided into three periods: early, middle and late. In the music of his early period, reaching its peak around 1800, he quite audibly takes up where Haydn and Mozart left off. But in his early thirties, he began to follow what he described as a new path, and entered a middle period of tempestuous changes in his music and thinking. Napoleon, the inspirational republican hero of the Third Symphony, dashed Beethoven s hopes by declaring himself emperor and tyrannising Europe. Napoleon s final defeat in 1815 roughly coincides with the end of Beethoven s middle period and the emergence of his so-called late style. BEETHOVEN Coriolan Overture, Op.62 (Composed 1807) In the first years of the 19th century, Vienna experienced what scholar Winton Dean once described as an avalanche of French opera. Popular fashion had swung suddenly and decisively from comic opera (opera buffa) in Italian or German, to what was known as Revolutionary rescue opera or comédie-héroïque. Broadly speaking, these pieces cultivate realistic settings, with a recurrent, politically apt theme of the dramatic release of an innocent hero from unjust imprisonment. The most successful composer of rescue opera was the Italian-born Luigi Cherubini ( ), whose comédie-héroïque, Lodoïska took post- Revolutionary Paris by storm in 1791 and in many respects set the template: the heroine is imprisoned by an evil Count; the hero enters the Count s castle disguised but is himself captured. A horde of Tartars obligingly destroys the castle in revenge for the Count s cruelty, thus allowing the hero to rescue the heroine from the burning tower in which she has been imprisoned. The avalanche that buried Vienna included Lodoïska, and works by Méhul, Boïeldieu and, later, Gaspare Spontini. The musical contrast between the fleet-footed wit of opera buffa and the visceral, overwhelming excitement of the new French music could not be greater, and Beethoven loved it. In later life he praised Spontini (like Cherubini, an Italian by birth) for knowing how to evoke the noises of war in music, and, more particularly, Cherubini himself, whom Beethoven regarded as the greatest living composer after himself, of course. (Cherubini, failing to return the compliment, was privately scathing about everything from Beethoven s vocal writing to his personal brusqueness.) Beethoven was drawn to the powerful musical rhetoric of these operas, which he used in works like the Eroica Symphony, but also to their subject matter. In several pieces from his heroic period the decade or so from 1802 on he examines the concept of heroism as outlined by poet Friedrich Schiller in his 1793 essay, On the Nature of Pathos. Pathos here is not sentimental sadness, but an aspect of tragedy. For Schiller, the true hero is one whose reason equips him to rise above suffering and despair and thus attain freedom. For Beethoven, such heroism is embodied in several characters that feature in his works: Prometheus, who defied the gods on behalf of humanity and suffered as a result; Florestan, in Beethoven s own rescue opera, Fidelio; the nationalist freedom-fighter Egmont in Goethe s play of that name, for which Beethoven wrote incidental music. All are highminded individuals who suffer for their dedication to the greater good. 6 AUSTRALIAN CHAMBER ORCHESTRA

13 Act V, Scene III of Shakespeare s Coriolanus. Engraved by James Caldwell from a painting by Gavin Hamilton. The Roman hero known as Coriolanus is a slightly ambiguous version of this type. According to Roman historian Plutarch, one Gaius Marcius received the toponymic, or nickname, Coriolanus in the early years of the Roman Republic (that is, in the 5th century BC) having led a successful military campaign against the neighbouring Volsci and taken their city of Corioli. Later, as the victim of domestic politics in Rome, and, as a politician, incensed at being at the whim of the plebeians (or common people), Coriolanus defects to the Volscian side vowing vengeance on Rome; only the last-minute intervention on the battlefield of his wife and mother stays his hand. The result, in Plutarch s history and the play Shakespeare based on it, is that Coriolanus is assassinated. Beethoven, however, knew the story from a not entirely successful play by contemporary Viennese playwright Heinrich von Collin. Collin s Coriolan is based on the story as told by Shakespeare though with the crucial difference that the hero does the honourable thing and takes his own life rather than being killed. As Richard Wagner later put it, Beethoven s overture to Coriolan (to use the German form of the name) depicts a man of untameable force, unsuited to a hypocrite s humility. Page 1 of Beethoven s Coriolan Overture Beethoven s Coriolan Overture was written in 1807 for concert performance; Collin s play had ended its run two years before. Described by a contemporary as overwhelming, gigantic, the piece is effectively a symphonic poem that displays Beethoven s genius as a musical dramatist, encapsulating the overall shape of the play and its protagonist s character in a very short span. In C minor, the key preferred by Beethoven for so much of his most tragic music the Sonate pathétique, Fifth Symphony and Sonata Op.111, to name but a few it begins with characteristic rhetoric: low, powerful unisons AUSTRALIAN CHAMBER ORCHESTRA 7

14 answered by high, dissonant chords. As at the opening of the Eroica Symphony, the apparent simplicity of the texture creates huge tension, as it is by no means clear what the actual tempo or metre of the music is until the subsequent statement of the first real theme, whose urgent rhythmic nature is somehow heightened by its being stated so quietly at first. The piece has a sonata design, so, after a burst of noise based on the first theme, a contrasting, lyrical major-key theme emerges. Some have interpreted it as representing the feminine characters whose pleas avert full-scale war; in any case it is not long before this theme is captured by the minor-key mood. Beethoven s development of his material consists of some of the most explosive and violent music he ever wrote, combining aspects of the two themes, obsessively repeated motifs and the doom-laden music of the opening before a curious ending: the music disintegrates, like the end of the Eroica s slow movement, as Coriolanus rage brings about his own destruction. BEETHOVEN Concerto for violin, cello and piano in C major, Op.56 (Composed 1803) I. Allegro II. Largo III. Rondo alla Polacca Begun in 1803, four years before Coriolan, the Triple Concerto was first performed only in 1808 after the composition of that crop of heaven-storming works at the home of Prince Lobkowitz, (who had hosted the premiere of the Coriolan Overture the previous year). Details about the performance are few, and it has been assumed that the piano part was written for the Archduke Rudolf, Beethoven s student and soon-to-be patron. Coriolan and the Triple Concerto could not offer a more complete contrast. Where the Overture is concentrated, the Concerto is expansive; C minor pathos gives way to C major joy, terse motifs to lengthy tunes. Beethoven s other major works from around this time include the Eroica Symphony, the Razumovsky Quartets and the Kreutzer Sonata all pieces in which the composer has radically expanded the scale of a conventional genre, and, as we have seen, developed a Archduke Rudolf of Austria, Beethoven s student and later patron. Detail from a portrait by Johann Baptist von Lampi. 8 AUSTRALIAN CHAMBER ORCHESTRA

15 Beethoven, 1804 Further listening We asked pianist Yevgeny Sudbin for his favourite recordings of Beethoven s Triple Concerto: The recordings by Daniel Barenboim, Itzhak Perlman and Yo-Yo Ma with the Berlin Philharmonic Orchestra (EMI, 1995) and Sviatoslav Richter, Mstislav Rostropovich and David Oistrakh under the baton of Herbert von Karajan with the Berlin Philharmonic Orchestra (EMI, 1969) are both classics. For those in our audience who are particularly interested in even earlier recordings, the 1960 Wolfgang Schneiderhan, Pierre Fournier and Geza Anda with Radio-Symphonie- Orchester Berlin conducted by Ferenc Fricsay on Deutsche Grammophon is well worth a listen. powerful rhetoric, derived partly from the style of French rescue opera, with which to fill it. The Triple Concerto has something of the same scale: its opening movement is the longest in any of Beethoven s concertos, but the rhetoric is something else again. The work is the cause of perplexity or even embarrassment for some commentators precisely because of its geniality and tunefulness, its lack of conflict, and because, with its team of soloists, it formally seems to hark back to the sinfonia concertante of the classical period (Mozart and Haydn each produced examples) or the Baroque concerto grosso. In reaction, this in turn has led to performances that have tried to make the piece into the weighty Beethovenian masterpiece it is felt that it should be. One of the most perceptive recent appraisals was made by critic Tom Service, who points out that it is not really a concerto, in that there is little or no dramatic dialogue between soloists and orchestra, but rather an amplified piano trio, with the orchestra beefing up the textures but often reduced to no more than generic accompaniment. This is merely to describe, rather than dismiss the piece, and certainly not to say that those beefed-up textures are not glorious in themselves. It begins with one of those Beethovenian gambits where soft active motifs suddenly inflate to create big sound before the solo trio takes up the major thematic material. This establishes the pattern of the movement, where more and more of the material, especially in the extensive central development section, is entrusted to the trio; there Beethoven creates intricate contrapuntal sections, and moves to chromatic and minor-key passages that make the return of the sunny C major opening material more than satisfying. The slow movement in A-flat major (a relatively distant key from C) is a short and sublimely lyrical piece, spun out of a melody given to the cello at the top of its range. The strings then play a soulful duet while the piano weaves delicate bell tones around them. Beethoven varies, rather than develops his material, whose trajectory is downward, leading to quiet, dark repeated chords from the orchestra. As so often in Beethoven (compare, for instance, the transition from third to final movement in the Fifth Symphony) the music seems to retreat into silence as it transforms into something new: in this case a Polish dance tune (polacca) in 3/4 announced by the cello. This forms the basis for a brilliant rondo, where the theme returns after a series of contrasting episodes, including an Allegro in 2/4, which is swept away as the music returns to the joyous polacca material. AUSTRALIAN CHAMBER ORCHESTRA 9

16 Jason Evans Jonny GREENWOOD (b. Oxford 1971) Greenwood is no stranger to classical music. His early musical interests included Messiaen and Ligeti and he started out as a viola player. He plays several other instruments too, including piano, organ, banjo, glockenspiel and harmonica, and he has a particular love for the ondes martenot. Jonny Greenwood is best known as the lead guitarist of the band Radiohead, which he joined while still at school. He started to study psychology and music at Oxford Brookes University, but only finished his first term before leaving to sign a six-album deal with EMI and start his recording career with Radiohead. Radiohead have since realised phenomenal success, with multi-platinum album sales and a massive worldwide following. GREENWOOD Water (AUSTRALIAN PREMIERE) (Composed 2013) Jonny Greenwood joined the band Radiohead while still at school in the UK, and left university after one term to pursue a recording career with Radiohead for the EMI label. A one-time violist, Greenwood s early musical interests included contemporary composers like Messiaen and Ligeti; the influence of the former is evident in the use that Greenwood made of the ondes Martenot (an electronic instrument beloved of Messiaen) on Radiohead s immaculately engineered album Kid A (2000), and the slewing, ondes-like string writing that creates a dissolving sheen of sound towards the end of a track like How to disappear completely. His first published composition, smear, features two ondes Martenots and ensemble and has been recorded by the London Sinfonietta. Greenwood has subsequently been composer in residence with the BBC Concert Orchestra and more recently the London Contemporary Orchestra. He has composed in a variety of classical genres and in 2007 was nominated for Breakout Composer of the Year by the International Film Music Critics Association. His film scores include Bodysong, There Will be Blood, Norwegian Wood, We Need to Talk about Kevin and The Master. Water is the result of collaboration with the Australian Chamber Orchestra when Greenwood was in residence with the orchestra in Writing in The Guardian, Greenwood described composing for concerts instead of recordings, which is a new way of thinking about music for me. I love the impermanence of the music live: it s played in the room which is itself infinitely variable from one concert to another and then it s gone, soaked into the walls. Unlike recordings, it isn t identical to the previous performance or the next one. Water is scored for piano and keyboard, two flutes, two tanpuras (which are played in these performances by one musician on one tanpura, with the sound of the second instrument produced electronically) and strings. The score has as a superscription the final couplet from British poet Philip Larkin s short lyric Water from The Whitsun Weddings. The poem begins: If I were called in To construct a religion I should make use of water. It ends with an image of a glass of clear water: Where any angled light Would congregate endlessly. Greenwood s work begins with five overlapping ostinatos, or repeated figures, in 6/4 time in the violins and keyboard. 10 AUSTRALIAN CHAMBER ORCHESTRA

17 The ACO has recently returned from a triumphant tour of Europe, where they gave the world premiere of Jonny Greenwood s Water at the National Concert Hall in Dublin on 2 October, followed by performances in London and Birmingham. Greenwood s beguiling work was greeted with rapturous ovations in all three venues and the critics were similarly enthralled: [the Greenwood] was an evocative piece, programmatic in parts and using complex compositional devices to imaginative effect. Bachtrack, 4 October, National Concert Hall, Dublin Greenwood is developing a cunning sense of form, to go with the sharp ear for harmony and texture he s always had. The Telegraph, 8 October, Queen Elizabeth Hall, London Greenwood s soundscape was organic and persuasive. The Guardian, 9 October, Symphony Hall, Birmingham BEETHOVEN Symphony No.1 in C major, Op.21 (Composed 1800) I. Adagio molto Allegro con brio II. Andante cantabile con moto III. Menuetto (Allegro molto e vivace) IV. Finale (Adagio Allegro molto e vivace) Each figure is restricted to a few notes from the C major Lydian scale (that is, with an F-sharp in the mix), so the texture, while active, is essentially consonant, like ripples in water. This music adds long notes from lower strings, and the tanpuras (long-necked fretless lutes) which outline C major tonality in free rhythm throughout the piece. Flutes and violas add chromatic colouring, and ornate figures from the solo first violin lead to the work s first major climax. The section continues with string tutti contrasting with leaner ensemble episodes, increasingly elaborate solo writing and an exploration of the icy timbre of string harmonics. This last sound is used for a passage where the players are given rhythmic freedom to create glinting pile-ups of sonority. A section marked Moderato follows, beginning with a simple two-part, but dissonant, idea in 3/8 that gathers in intensity and volume as it spreads through the orchestra. This issues in a section of extended techniques for the strings such as bowing behind the bridge and striking muffled strings with a guitar plectrum. These provide new rhythmic ostinatos (repeated patterns), which lead to a texture of simple rhythm but closely chromatic harmony. The final section is in a slow 3/8, where cluster chords swell and recede in the orchestra s middle register, the tanpuras progressively detune, and the faster phrases in the keyboard, winds and upper strings make use, where possible, of note-bending. This, like earlier passages in free rhythm, creates an effect of deliquescence, illustrating both Larkin s image of light and water, and Greenwood s cultivation of the ephemeral nature and the infinite variability of live performance. By the end of the 18th century composers like Joseph Haydn had established the conventional form of the classical symphony: two fast-ish outer movements that create drama out of the contrast of themes in different keys, and, for the inner movements a slow, songlike one, and a lively dance in triple time. In his late middle age, Haydn s symphonies enjoyed huge popularity among the growing middle-class audiences in Paris and London. On the way to London once he visited the city of Bonn, and was impressed with the music of the young Beethoven, whom he invited to study with him in Vienna. In 1792 Beethoven travelled to Vienna to receive, as his patron Count Waldstein put it, the spirit of Mozart at the hands of Haydn. Things didn t quite work out that way: Beethoven was inclined, even at that age to be arrogant (Haydn called him the Grand Mogul, and once, in exasperation, an atheist!) AUSTRALIAN CHAMBER ORCHESTRA 11

18 Beethoven s Symphony No. 1 in C major, Op. 21, was dedicated to Baron Gottfried van Swieten, an early patron of the composer. Further listening Many of the past century s legendary interpreters have made several sets of recordings of the entire cycle of Beethoven Symphonies (including Karajan, Bernstein, Furtwängler, Klemperer, Kleiber, Böhm), and there are a few others worth mentioning: The Chamber Orchestra of Europe s 1991 cycle, under Nikolaus Harnoncourt (Teldec) The 2013 release of the Bavarian Radio Symphony Orchestra cycle with Mariss Jansons (BR Klassik) John Eliot Gardiner s fleet-footed interpretation with the Orchestre Révolutionnaire et Romantique (Archiv Produktion) Leipzig Gewandhaus Orchestra s 2011 release under their current Music Director Riccardo Chailly (Decca) Chicago Symphony Orchestra s Grammy-winning first cycle ( ) under Georg Solti (Decca) and Haydn seems, understandably enough, to have been preoccupied with his international stardom: some musicologists have found the exercises that Beethoven did for Haydn, and noted that he didn t always correct all the mistakes. Nevertheless, Beethoven soon became established as a performer and composer in his own right, but he waited some years before tackling forms that Haydn had made his own, especially the symphony. The First Symphony appeared in 1800 and, like much of Haydn s music, is basically comic: at the every opening, Beethoven uses, three times (and twice in the wrong key), a two-chord gesture or cadence usually reserved for the end of a piece. But we hear some hints of tragedy as the movement progresses. In the slow movement he pokes gentle fun at the learned style, and his minuet the threeto-a-bar dance is too fast to dance to. He would soon refer to this kind of movement as a scherzo, or joke. The finale begins with a gag, too a slow introduction seems to be having trouble getting off the ground until suddenly it is as though a spring has been released and the music s energy revealed. With this and the Second Symphony Beethoven staked an honourable claim as heir to the Viennese classical tradition of Haydn and Mozart, but, as we have heard in Coriolan, he would, in a few short years, blow that tradition apart. PROGRAM NOTES BY GORDON KERRY AUSTRALIAN CHAMBER ORCHESTRA

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20 Paul Henderson-Kelly Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today. THE DAILY TELEGRAPH (UK) 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 releases available as a 5CD Box set: ABC Classics ) Musica Surfica (DVD) Best Feature, New York Surf Film Festival As director: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop RICHARD TOGNETTI ao ARTISTIC DIRECTOR & LEADER AUSTRALIAN CHAMBER ORCHESTRA Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia and Creative Associate of Classical Music for Melbourne Festival. Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti s Violin Concerto with the Sydney Symphony. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig. In 2003, Tognetti was co-composer of the score for Peter Weir s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll s surf film Horrorscopes and, in 2008, created The Red Tree, inspired by illustrator Shaun Tan s book. He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa. As well as directing numerous recordings by the ACO, Tognetti has recorded Bach s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. A passionate advocate for music education, Tognetti established the ACO s Education and Emerging Artists programs in Richard Tognetti 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. 14 AUSTRALIAN CHAMBER ORCHESTRA

21 YEVGENY SUDBIN PIANO This confirms [Yevgeny Sudbin] as one of the most important pianistic talents of our time. INTERNATIONAL RECORD REVIEW Select Discography BEETHOVEN Piano Concerto 3 & MOZART: Piano Concerto 24 BIS 1978 BEETHOVEN Piano Concertos 4 & 5 BIS 1758 RACHMANINOV Symphony No.1 & Piano Concerto No.1 BIS 2012 LISZT, SAINT-SAËNS & RAVEL BIS 1828 SUDBIN PLAYS SCRIABIN BIS 1568 RACHMANINOV Rhapsody on a Theme of Paganini & Symphony No.3 BIS 1988 SUDBIN PLAYS CHOPIN BIS 1838 In the midst of a seven-year, 14-album collaboration with BIS Records, all of Yevgeny Sudbin s recordings to date have met with unprecedented critical acclaim. His release of works by Scriabin was chosen as CD of the Year by London s Daily Telegraph, CD of the Month by BBC Music Magazine, and was awarded the MIDEM Classical Award for best solo instrument CD at Cannes. Sudbin has performed in many of the world s finest venues, both in recital and with orchestra. His recent recitals include appearances at Tonhalle (Zurich), Wigmore Hall Master Series (London), Concertgebouw (Amsterdam), San Francisco Performances, the Gilmore International Piano Festival and ProArte Musical (Montreal and Puerto Rico). Recent orchestral engagements include performances of Scriabin s Piano Concerto with the London Philharmonic under Neeme Järvi, and Shostakovich Piano Concerto No.2 with the Philharmonia under Sokhiev, both at the Royal Festival Hall in London, and his debut at the Mostly Mozart Festival under Osmo Vänskä at Lincoln Center s Avery Fisher Hall, New York. He also made debut appearances with New Jersey Symphony Orchestra, Atlanta Symphony Orchestra, Bergen Philharmonic and the Royal Liverpool Philharmonic, and recordings with the Singapore Symphony Orchestra and Bergen Philharmonic. He also performed in the Southbank International Piano Series in London and in the Master Pianist Series at the main Concertgebouw Hall, Amsterdam. Other recent engagements with orchestra include performances with the Minnesota Orchestra, Seattle Symphony, San Francisco Symphony, the Tonhalle Orchestra, the London Philharmonic Orchestra and BBC Scottish Symphony Orchestra. Sudbin s performance of Rachmaninov s Concerto No.1 with the BBC Philharmonic under Tortelier at the 2008 BBC Proms was described by the Telegraph as sublime. Sudbin has performed at music festivals throughout the world including the Aspen Festival and La Roque d Antheron, and he is a frequent participant at the Verbier Festival in Switzerland. In 2008, Sudbin embarked on recording the complete cycle of Beethoven concertos for BIS. This is a multi-year undertaking in collaboration with the Minnesota Orchestra under Osmo Vänskä, and the first of these recordings was released to overwhelming critical acclaim. AUSTRALIAN CHAMBER ORCHESTRA 15

22 TIMO-VEIKKO VALVE CELLO His tone was so stunningly beautiful that a single note emitting from his instrument communicated more than others can express in a lifetime. CHICAGO CLASSICAL MUSIC Timo-Veikko Tipi Valve is one of the most versatile musicians of his generation performing as a soloist, chamber musician and orchestral leader on both modern and period instruments. Valve studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden, focusing in solo performance and chamber music in both institutions. Tipi has performed as a soloist with all major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. ACO s 2015 season includes the world premiere of an arrangement of Olli Mustonen s Cello Sonata for cello and chamber orchestra, commissioned by Valve and the ACO. In 2006 Valve was appointed Principal Cello of the Australian Chamber Orchestra with whom he frequently appears as soloist. He also curates the ACO s chamber music series in Sydney. Tipi is a founding member of Jousia Ensemble and Jousia Quartet. Valve s instrument is attributed to both Guarneri filius Andreæ and Guarneri del Gesù from 1729, generously on loan from Mr Peter William Weiss ao AUSTRALIAN CHAMBER ORCHESTRA

23 ACO Musicians Richard Tognetti Artistic Director & Lead Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Rebecca Chan Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Ike See Violin Christopher Moore Principal Viola Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW. AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEADER Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra s performances span popular masterworks, adventurous crossartform projects and pieces specially commissioned for the ensemble. Founded in 1975 by John Painter am, this string orchestra comprises leading Australian and international musicians. The Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig. Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised. Several of the ACO s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius and Mark Ingwersen plays the 1714 Guarneri ex Isolde Menges, both violins owned by the ACO Instrument Fund; Christopher Moore plays a 1610 Maggini viola, on loan from an anonymous benefactor; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter Weiss ao, and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti s three-time ARIA Award-winning Bach recordings, multi-award-winning documentary film Musica Surfica and the complete set of Mozart Violin Concertos. The ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna s Musikverein, Amsterdam s Concertgebouw, London s Southbank Centre and New York s Carnegie Hall. In 2005 the ACO inaugurated a national education program including a mentoring program for Australia s best young string players and education workshops for audiences throughout Australia. aco.com.au AUSTRALIAN CHAMBER ORCHESTRA 17

24 MUSICIANS ON STAGE Photos: Jack Saltmiras RICHARD TOGNETTI AO Artistic Director & Violin Chair sponsored by Michael Ball AM & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts SATU VÄNSKÄ Principal Violin Chair sponsored by Kay Bryan AIKO GOTO Violin Chair sponsored by Anthony & Sharon Lee Foundation MARK INGWERSEN Violin ILYA ISAKOVICH Violin Chair sponsored by Australian Communities Foundation Connie & Craig Kimberley Fund IKE SEE* Violin ZOË BLACK Violin VERONIQUE SERRET Violin CHRISTOPHER MOORE Principal Viola Chair sponsored by peckvonhartel architects Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andræ violin kindly on loan from the ACO Instrument Fund. ] Ike See plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. Christopher Moore plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor. v Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. # Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from a private Australian benefactor. 18 AUSTRALIAN CHAMBER ORCHESTRA

25 MUSICIANS ON STAGE Photos: Jack Saltmiras ALEXANDRU-MIHAI BOTA Viola Chair sponsored by Philip Bacon AM NICOLE DIVALL Viola Chair sponsored by Ian Lansdown CAROLINE HENBEST Viola TIMO-VEIKKO VALVE v Principal Cello Chair sponsored by Peter Weiss ao MELISSA BARNARD Cello Chair sponsored by Martin Dickson am & Susie Dickson JULIAN THOMPSON # Cello Chair sponsored by The Clayton Family MAXIME BIBEAU Principal Bass Chair sponsored by Darin-Cooper Family Players dressed by AKIRA ISOGAWA Violins LIISA PALLANDI GLENN CHRISTENSEN 1 SUZANNE VON GUTZEIT 2 Cello EVE SILVER 3 Double Bass PAUL ELLISON 4 Flutes GEORGES BARTHEL SALLY WALKER 5 Oboes SHEFALI PRYOR 6 MICHAEL PISANI 7 Clarinets CRAIG HILL 7 ASHLEY SUTHERLAND Bassoons JANE GOWER 8 GYÖRGYI FARKAS Horns BOSTJAN LIPOVSEK 9 RACHEL SILVER 6 Trumpets KURT KÖRNER 10 LEANNE SULLIVAN 11 Timpani BRIAN NIXON Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert Tanpura VINOD PRASANNA 1 Courtesy of Queensland Symphony Orchestra 2 Courtesy of Stuttgart Chamber Orchestra 3 Courtesy of West Australian Symphony Orchestra 4 Courtesy of Rice University Shepherd School of Music 5 Courtesy of University of Newcastle, Conservatorium of Music 6 Courtesy of Sydney Symphony Orchestra 7 Courtesy of Melbourne Symphony Orchestra 8 Courtesy of Orchestre Révolutionnaire et Romantique 9 Courtesy of RTV Slovenian Symphony Orchestra 10 Courtesy of Camerata Salzburg 1 1 Courtesy of University of Sydney, Conservatorium of Music AUSTRALIAN CHAMBER ORCHESTRA 19

26 The ACO trusts its events to Katering - why don t you? Providing a complete service in hospitality: one call one contact one manager to organise the entire event From weddings, birthdays and corporate functions to intimate dinner parties at home ACO Chairman s Council Cocktail Party (02)

27 ACO BEHIND THE SCENES BOARD Guido Belgiorno-Nettis am Chairman Angus James Deputy Bill Best John Borghetti Liz Cacciottolo Chris Froggatt John Grill ao Heather Ridout ao Andrew Stevens John Taberner Richard Tognetti ao Artistic Director ADMINISTRATION STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager Alexandra Cameron-Fraser Strategic Development Manager Joseph Nizeti Executive Assistant to Mr Calnin & Mr Tognetti AO ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Alan J. Benson Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Simon Lear Audio Engineer EDUCATION Phillippa Martin ACO 2 & ACO VIRTUAL Manager Vicki Norton Education Manager Sarah Conolan Education Coordinator FINANCE Steve Davidson Corporate Services Manager Yvonne Morton Accountant Shyleja Paul Assistant Accountant DEVELOPMENT Rebecca Noonan Development Manager Jill Colvin Philanthropy Manager Penelope Loane Investor Relations Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Ali Brosnan Patrons Manager Sally Crawford Development Coordinator MARKETING Derek Gilchrist Marketing Manager Mary Stielow National Publicist Hilary Shrubb Publications Editor Chris Griffith Box Office Manager Dean Watson Customer Relations Manager Deyel Dalziel-Charlier Box Office & CRM Database Assistant Christina Holland Office Administrator INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist 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) Facsimile: (02) Box Office: Website: aco.com.au AUSTRALIAN CHAMBER ORCHESTRA 21

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29 ACKNOWLEDGEMENTS GOVERNMENT SUPPORT VENUE SUPPORT LLEWELLYN HALL School of Music Australian National University William Herbert Place (off Childers Street) Acton, Canberra VENUE HIRE INFORMATION Telephone: Fax: PO Box 7585 St Kilda Road, Melbourne Vic 8004 Telephone: (03) Facsimile: (03) Website: artscentremelbourne.com.au VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Ms Dana Hlavacek Mr Sandy Clark Ms Catherine McClements Mr Julian Clarke am Mr Graham Smorgon am Mr Jim Cousins ao Mr David Vigo EXECUTIVE GROUP Mr Geoff Street, Interim Chief Executive Ms Jodie Bennett, Chief Operating Officer Ms Louise Georgeson, Executive Development & Strategy Ms Sarah Hunt, Executive Programming, Marketing & Media Mr Kyle Johnston, Executive Sales & Customer Services Arts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure as many Victorians as possible can experience the joy of the performing arts here in Melbourne. FOR YOUR INFORMATION The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area. St George s Terrace, Perth PO Box Y3056 East St George s Terrace, Perth WA 6832 Telephone: AEG OGDEN (PERTH) PTY LTD PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Assistant Technical Manager Paul Richardson Event Coordinator Penelope Briffa Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips PERTH THEATRE TRUST Chairman The Hon. Mr Peter Blaxell SYDNEY OPERA HOUSE TRUST Mr John Symond am (Chair) Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am SYDNEY OPERA HOUSE EXECUTIVE Chief Executive Officer Louise Herron am Chief Operating Officer Claire Spencer Director, Programming Jonathan Bielski Director, Theatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, Marketing Anna Reid Director, External Affairs Brook Turner SYDNEY OPERA HOUSE Administration: Bennelong Point Box Office: GPO Box 4274, Facsimile: Sydney NSW 2001 Website: sydneyoperahouse.com AUSTRALIAN CHAMBER ORCHESTRA 23

30 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: Website: Chairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager Production Classical Music Alan Ziegler Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at for a quote on your printing work. 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 , 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

31 ACO MEDICI PROGRAM Mrs Amina Belgiorno-Nettis PATRON 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. PRINCIPAL CHAIRS Richard Tognetti ao Lead Violin Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts Helena Rathbone Principal Violin Kate & Daryl Dixon Satu Vänskä Principal Violin Kay Bryan Christopher Moore Principal Viola peckvonhartel architects Timo-Veikko Valve Principal Cello Peter Weiss ao Maxime Bibeau Principal Double Bass Darin-Cooper Family CORE CHAIRS Violin Rebecca Chan Ian Wallace & Kay Freedman Ilya Isakovich Australian Communities Foundation Connie & Craig Kimberley Fund Aiko Goto Anthony & Sharon Lee Foundation Ike See Mark Ingwersen Violin Chair Terry Campbell ao & Christine Campbell Viola Alexandru-Mihai Bota Philip Bacon am Cello Melissa Barnard Martin Dickson am & Susie Dickson Nicole Divall Ian Lansdown Julian Thompson The Clayton Family GUEST CHAIRS Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett AUSTRALIAN CHAMBER ORCHESTRA 25

32 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 of the Orchestra. The Fund s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ex Isolde Menges, now on loan to Violinist Mark Ingwersen. PETER WEISS ao PATRON, ACO INSTRUMENT FUND BOARD MEMBERS Bill Best (Chairman) Jessica Block Chris Froggatt John Leece am John Taberner PATRONS VISIONARY $1m+ Peter Weiss ao LEADER $500,000 $999,999 CONCERTO $200,000 $499,999 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 SOLO $5,000 $9,999 PATRON $500 $4,999 Dr Jane Cook Leith & Darrel Conybeare John Landers & Linda Sweeny Luana & Kelvin King Bronwyn & Andrew Lumsden Ian & Pam McGaw Patricia McGregor Trevor Parkin Elizabeth Pender Robyn Tamke Anonymous (2) ENSEMBLE $10,000 $24,999 Leslie & Ginny Green Peter J Boxall ao & Karen Chester Amanda Stafford INVESTORS John & Deborah Balderstone Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Marco D Orsogna Philip Hartog Brendan Hopkins Angus & Sarah James Ian Wallace & Kay Freedman 26 AUSTRALIAN CHAMBER ORCHESTRA

33 ACO RECORDING PROJECTS & SPECIAL COMMISSIONS FOUR SEASONS RECORDING PROJECT Patrons Mr Robert Albert ao & Mrs Libby Albert Jennifer Hershon Anthony & Sharon Lee Foundation Strauss Family SPECIAL COMMISSIONS NEVER TRULY LOST by Brenton Broadstock Commissioned by Robert & Nancy Pallin for Rob s 70th birthday in 2013, in memory of Rob s father, Paddy Pallin SPECIAL COMMISSIONS PATRONS Peter & Cathy Aird Gerard Byrne & Donna O Sullivan Mirek Generowicz Peter & Valerie Gerrand Gin Graham Anthony & Conny Harris Rohan Haslam Andrew & Fiona Johnston Tony Jones & Julian Liga Lionel & Judy King Alison Reeve Augusta Supple Dr Suzanne Trist Team Schmoopy Rebecca Zoppetti Laubi Anonymous (1) INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in International Tour Supporters Linda & Graeme Beveridge Jan Bowen Delysia Lawson Ian & Pam McGaw Mike Thompson MELBOURNE HEBREW CONGREGATION PATRONS Lead Patrons Patrons Marc Besen ao & Eva Besen ao The Eddie & Helen Kutner Family The Graham & Minnie Smorgon Family THE GREAT SYNAGOGUE PATRONS Corporate Partners Adina Apartment Hotels Meriton Group Patrons David & Helen Baffsky Leslie & Ginny Green The Narev Family Greg & Kathy Shand Peter Weiss ao AUSTRALIAN CHAMBER ORCHESTRA 27

34 ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director Reserve Bank of Australia Guido Belgiorno-Nettis am Chairman ACO & Executive Director Transfield Holdings Bill Best Leigh Birtles Executive Director UBS Wealth Management Ian Davis Managing Director Telstra Television Maggie Drummond Tony Gill Andrea Govaert Jennie Orchard Tony O Sullivan Margie Seale Peter Shorthouse Client Advisor UBS Wealth Management Mark Stanbridge Partner Ashurst MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chairman) Chairman Royal Institution of Australia Director AIA Ltd Debbie Brady Stephen Charles Christopher Menz Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan qc EVENT COMMITTEES Sydney Lillian Armitage Vanessa Barry Margie Blok Liz Cacciottolo Dee de Bruyn Judy Anne Edwards Sandra Ferman Elizabeth Harbison Bee Hopkins Prue MacLeod Julianne Maxwell Julie McCourt Elizabeth McDonald Sandra Royle Nicola Sinclair John Taberner (Chair) Liz Williams Judi Wolf Brisbane Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn DISABILITY ADVISORY COMMITTEE Amanda Tink Independent Consultant Amanda Tink Consultancy Morwenna Collett Program Manager Arts Funding (Music) Australia Council for the Arts 28 AUSTRALIAN CHAMBER ORCHESTRA

35 ACO DONATIONS PROGRAM The ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive. PATRONS NATIONAL EDUCATION PROGRAM Janet Holmes à Court ac Marc Besen ao & Eva Besen ao TRUSTS AND FOUNDATIONS HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE NEILSON FOUNDATION EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Australian Communities Foundation Annamila Fund Australian Communities Foundation Ballandry Fund Daria & Michael Ball Steven Bardy & Andrew Patterson The Belalberi Foundation Guido & Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin Mark Carnegie Stephen & Jenny Charles The Cooper Foundation Darin-Cooper Family Daryl & Kate Dixon Chris & Tony Froggatt Daniel & Helen Gauchat Dr Edward C. Gray John Grill & Rosie Williams Catherine Holmes à Court-Mather Angus & Sarah James PJ Jopling am qc Miss Nancy Kimpton Bruce & Jenny Lane Prudence MacLeod Anthony and Suzanne Maple-Brown Alf Moufarrige Louise & Martyn Myer Foundation Jennie & Ivor Orchard Alex & Pam Reisner Mark & Anne Robertson Margie Seale & David Hardy Tony Shepherd ao John Taberner & Grant Lang The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Westpac Group E Xipell Peter Yates am & Susan Yates Peter Young am & Susan Young Anonymous (3) DIRETTORE $5,000 $9,999 The Abercrombie Family Foundation Geoff Alder Bill & Marissa Best Joseph & Veronika Butta John & Lynnly Chalk Elizabeth Chernov Clockwork Theatre Inc Andrew Clouston Mr R. Bruce Corlett am & Mrs Ann Corlett Ellis Family Bridget Faye am Michael Firmin Ian & Caroline Frazer David Friedlander Maurice Green am & Christina Green Annie Hawker I Kallinikos Keith & Maureen Kerridge Macquarie Group Foundation David Maloney & Erin Flaherty David Mathlin P J Miller Jacqui & John Mullen The Myer Foundation Bruce Neill Willy & Mimi Packer peckvonhartel architects Elizabeth Pender Bruce & Joy Reid Trust John Rickard Paul Schoff & Stephanie Smee Greg Shalit & Miriam Faine Joyce Sproat & Janet Cooke Emma Stevens Jon & Caro Stewart Anthony Strachan Tamas Szabo Leslie C Thiess Geoff Weir Shemara Wikramanayake Cameron Williams Carla Zampatti Foundation Anonymous (3) MAESTRO $2,500 $4,999 David & Rae Allen Atlas D Aloisio Foundation Will & Dorothy Bailey Charitable Gift Brad Banducci Adrienne Basser Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Andrew Best Patricia Blau Rosemary & Julian Block Gilbert Burton Terry Campbell ao & Christine Campbell Arthur & Prue Charles Caroline & Robert Clemente Robert & Jeanette Corney Judy Crawford Peter Curry Rowena Danziger am & Ken Coles am Dee de Bruyn Elizabeth Dibbs & David Tudehope Kate Dixon Leigh Emmett Suellen & Ron Enestrom Tom Goudkamp oam AUSTRALIAN CHAMBER ORCHESTRA 29

36 ACO DONATIONS PROGRAM Ross Grant Warren Green Nereda Hanlon & Michael Hanlon am Liz Harbison Peter & Helen Hearl Kimberley Holden Simon & Katrina Holmes à Court John Karkar qc Wendy Hughes Carolyn Kay & Simon Swaney John Kench Julia Pincus & Ian Learmonth Peter Lovell The Alexandra & Lloyd Martin Family Foundation Peter Mason am & Kate Mason Paul & Elizabeth McClintock Jan Minchin Jane Morley Sandra & Michael Paul Endowment Justin Punch Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Chris Roberts Susan & Gary Rothwell The Sandgropers D N Sanders Chris & Ian Schlipalius Jennifer Senior Petrina Slaytor Andrew Strauss John & Josephine Strutt David Thomas oam Peter Tonagh Ralph Ward-Ambler am & Barbara Ward-Ambler Drs Victor & Karen Wayne The WeirAnderson Foundation Ivan Wheen Anna & Mark Yates Anonymous (5) VIRTUOSO $1,000 $2,499 Jennifer Aaron Annette Adair Michael & Margaret Ahrens Peter & Cathy Aird Antoinette Albert Mrs Jane Allen Andrew Andersons Australian Communities Foundation Clare Murphy Fund Philip Bacon am Samantha Baillieu Barry Batson Ruth Bell Justice Annabelle Bennett ao Virginia Berger In memory of Peter Boros Brian Bothwell Jan Bowen Vicki Brooke Diana Brookes Mrs Kay Bryan Sally Bufé Rowan Bunning Neil Burley & Jane Munro Ivan Camens Ray Carless & Jill Keyte Bella Carnegie James Carnegie Roslyn Carter Sandra Cassell Andrew Chamberlain Julia Champtaloup & Andrew Rothery K. Chisholm Angela and John Compton Leith & Darryl Conybeare Martyn Cook Antiques Alan Fraser Cooper P Cornwall & C Rice Laurie & Julie Ann Cox Anne & David Craig Judy Croll Judith Crompton June Danks Michael & Wendy Davis Martin Dolan Anne & Thomas Dowling Dr William F Downey Michael Drew Emeritus Professor Dexter Dunphy am Peter Evans Julie Ewington Ian Fenwicke & Prof. Neville Wills Bill Fleming Elizabeth Flynn Jane & Richard Freudenstein Justin & Anne Gardener In memory of Fiona Gardiner-Hill Paul Gibson & Gabrielle Curtin Colin Golvan qc Fay Grear Kathryn Greiner ao Griffiths Architects Peter Halstead Paul & Gail Harris Jennifer Hershon Reg Hobbs & Louise Carbines Michael Horsburgh am & Beverley Horsburgh Carrie & Stanley Howard Penelope Hughes Stephanie & Mike Hutchinson Phillip Isaacs oam Dee Johnson Brian Jones Bronwen L Jones Genevieve Lansell Mrs Judy Lee Michael Lin Airdrie Lloyd Trevor Loewensohn Robin & Peter Lumley Diana Lungren Greg & Jan Marsh Massel Australia Pty Ltd Jane Mathews ao Janet P Matton Julianne Maxwell Karissa Mayo Kevin & Deidre McCann Brian & Helen McFadyen Donald & Elizabeth McGauchie Ian & Pam McGaw J A McKernan Diana McLaurin Peter & Ruth McMullin Phil & Helen Meddings Graeme L Morgan Roslyn Morgan Suzanne Morgan Marie Morton Nola Nettheim Elspeth & Brian Noxon Paul O Donnell Ilse O Reilly Origin Foundation James & Leo Ostroburski Anne & Christopher Page Prof David Penington ac Matthew Playfair Mark Renehan Dr S M Richards am & Mrs M R Richards Warwick & Jeanette Richmond in memory of Andrew Richmond Josephine Ridge David & Gillian Ritchie Em. Prof. A.W. Roberts am Peter J Ryan Jennifer Sanderson In memory of H. St. P. Scarlett Lucille Seale Gideon & Barbara Shaw Diana & Brian Snape am Maria Sola Keith Spence Cisca Spencer Sydney Airport Dr Charles Su & Dr Emily Lo Magellan Logistics Pty Ltd Robert & Kyrenia Thomas Anne Tonkin Ngaire Turner Venture Advisory Kay Vernon Marion W Wells Barbara Wilby Sir Robert Woods cbe Nick & Jo Wormald Lee Wright Don & Mary Ann Yeats am William Yuille Rebecca Zoppetti Laubi Brian Zulaikha Anonymous (18) CONCERTINO $500 $999 A Ackermann Elsa Atkin am A. & M. Barnes Robin Beech Leigh & Christina Birtles Dr David & Mrs Anne Bolzonello Denise Braggett Jasmine Brunner Tim & Jacqueline Burke Lynda Campbell 30 AUSTRALIAN CHAMBER ORCHESTRA

37 ACO DONATIONS PROGRAM Helen Carrig & Ian Carrig oam J. M. Carvell Scott Charlton Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Georg Chmiel Elizabeth Clayton ClearFresh Water Jilli Cobcroft Carol & Andrew Crawford C Critchley & D Siddle Julie Hopson Professor John Daley & Dr Rebecca Coates Marie Dalziel Lindee & Hamish Dalziell Mari Davis Dr Christopher Dibden David Dix The Hon. Catherine Branson & Dr Alan Down In Memory of Raymond Dudley M T & R L Elford Christine Evans Carol Farlow Penelope & Susan Field Elizabeth Finnegan Jean Finnegan & Peter Kerr Sheila Fitzpatrick in memory of Michael Danos Michael Fogarty Nancy & Graham Fox Brian Goddard George H. Golvan qc & Naomi Golvan Prof Ian & Dr Ruth Gough Victoria Greene Annette Gross Lesley Harland Susan Harte Alan Hauserman & Janet Nash Gaye Headlam Kingsley Herbert Marian Hill Sue & David Hobbs Geoff Hogbin How to Impact Pty Ltd Peter & Ann Hollingworth Pam & Bill Hughes Dr & Mrs Michael Hunter Geoff & Denise Illing Margaret & Vernon Ireland Dr Anne James & Dr Cary James Owen James Barry Johnson & Davina Johnson oam Caroline Jones Geoff Joyce Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso ao Graham Kemp & Heather Nobbs Josephine Key & Ian Breden Grandfather s Axe Wendy Kozica & David O Callaghan qc TFW See & Lee Chartered Accountants Wayne & Irene Lemish Greg Lindsay ao & Jenny Lindsay Andrew & Kate Lister Megan Lowe James MacKean Peter Marshall Ian & Linda Martin Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Jenny McGee H E McGlashan Jeanne McMullin I Merrick Louise Miller John Mitchell John K Morgan Simon Morris & Sonia Wechsler Julie Moses Dr Greg Nelson Patrons list is current as of 10 October J Norman Graham North Richard & Amanda O Brien Robin Offler Leslie Parsonage Deborah Pearson Robin & Guy Pease Michael Peck Kevin Phillips Rosie & Robert Pilat Michael Power Beverly & Ian Pryer Dr Anoop Rastogi Ruth Redpath Manfred & Linda Salamon Garry Scarf & Morgie Blaxill Berek Segan obe am & Marysia Segan John C Sheahan qc Andrew & Rhonda Shelton Sherbourne Consulting Anne Shipton Roger & Ann Smith- Johnstone Dr P & Mrs D Southwell-Keely Alida Stanley & Harley Wright Judy Ann Stewart In memory of Dr Aubrey Sweet Gabrielle Tagg Barrie & Jillian Thompson Matthew Toohey Nev & Janie Wittey G C & R Weir Evan Williams am Ed Wittig Anonymous (23) CONTINUO CIRCLE BEQUEST PROGRAM The late Charles Ross Adamson The late Kerstin Lillemor Andersen Steven Bardy Dave Beswick Ruth Bell Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill The late John Nigel Holman Penelope Hughes Estate of Pauline Marie Johnston The late Mr Geoff Lee am oam Mrs Judy Lee The late Shirley Miller Selwyn M Owen The late Josephine Paech The late Richard Ponder Ian & Joan Scott Leslie C Thiess G.C. & R Weir Margaret & Ron Wright Mark Young Anonymous (11) LIFE PATRONS IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson Dr John Harvey ao Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Ali Brosnan on or at AUSTRALIAN CHAMBER ORCHESTRA 31

38 ACO PARTNERS 2014 CHAIRMAN S COUNCIL MEMBERS The Chairman s Council is a limited membership association of high level executives who support the ACO s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra. Mr Guido Belgiorno-Nettis am Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings Aurizon Holdings Limited Mr Philip Bacon am Director Philip Bacon Galleries Mr David Baffsky ao Mr Brad Banducci Director Woolworths Liquor Group Mr Marc Besen ao & Mrs Eva Besen ao Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management Mr Jeff Bond Chief Executive Officer Peter Lehmann Wines Mr John Borghetti Chief Executive Officer Virgin Australia Mr Michael & Mrs Helen Carapiet Mr Jim Carreker Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux Mr Stephen & Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Dr Bob Every Chairman Wesfarmers Ms Tracey Fellows Chief Executive Officer REA Group Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel Mr Richard Freudenstein Chief Executive Officer FOXTEL Ms Ann Gamble Myer Mr Daniel Gauchat Principal The Adelante Group Mr Colin Golvan qc & Dr Deborah Golvan Mr John Grill ao Chairman WorleyParsons Mr Grant Harrod Chief Executive Officer LJ Hooker Mrs Janet Holmes à Court ac Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Mr John Kench Chairman Johnson Winter & Slattery Ms Catherine Livingstone ao Chairman Telstra Mr Andrew Low Chief Executive Officer RedBridge Grant Samuel Mr Didier Mahout CEO Australia & NZ BNP Paribas Mr David Mathlin Ms Julianne Maxwell Mr Michael Maxwell Mr Donald McGauchie ao Chairman Nufarm Limited Mr David Mendelson Managing Director Total E&P Australia Ms Naomi Milgrom ao Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Officer Servcorp Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects Mr Jeffrey Rhoda General Manager IBM Australia & New Zealand Mr Mark Robertson oam & Mrs Anne Robertson Ms Margie Seale & Mr David Hardy Mr Glen Sealey General Manager Maserati Australia & New Zealand Mr Tony Shepherd ao Ms Anne Sullivan Chief Executive Officer Georg Jensen Mr Paul Sumner Director Mossgreen Pty Ltd Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd Mr Michael Triguboff Managing Director MIR Investment Management Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Mr David & Mrs Julia Turner Ms Vanessa Wallace & Mr Alan Liddle Mr Peter Yates am Chairman, Royal Institution of Australia Director, AIA Ltd Mr Peter Young am & Mrs Susan Young 32 AUSTRALIAN CHAMBER ORCHESTRA


40 news ACO NEWS OCTOBER NOVEMBER 2014 FUTURE MUSIC STARS SHINE Emerging Artists Chamber Music Week at Independent Theatre, North Sydney Phillippa Martin Aiko Goto and Nicole Divall rehearse with Emily Sheppard and Rebecca Proietto. Jack Saltmiras 2014 EA violinist Emily Sheppard with Aiko Goto in rehearsal at ACO Studio. Phillippa Martin Phillippa Martin Helena Rathbone, Zoe Freisberg, Katie Yap & Julian Thompson rehearse Beethoven Quartet Op Emerging Artists rehearse Mustonen s Nonet No.2 with their ACO mentors. ACO AT THE On Thursday 21 August, the ACO performed to a capacity crowd for the second time at The Great Synagogue in Sydney. The evening began with a short performance by young string students from Emanuel, Masada and Sydney Grammar, performing a short work by Vivaldi alongside ACO musicians. The concert was the culmination of a workshop they d attended with ACO musicians in the lead up to the concert. Richard Tognetti then led a captivating program featuring works by Haydn, Bach and Tchaikovsky. After the rapturous applause, Richard and the Orchestra played Ravel s haunting Kaddish, as an encore. Our heartfelt thanks are due to Mr Allan Vidor of Adina Apartment Hotels, Mrs Helen Baffsky & Mr David Baffsky ao, Ginny and Leslie Green, the CHAIRMAN S John Symond am very generously opened up his home on Tuesday 19 August for our annual Sydney Chairman s Council and Major Patrons black tie dinner. After a beautiful performance of Debussy s Violin Sonata by Richard Tognetti and Steven Osborne, guests were treated to a very special performance of JS Bach s Concerto for Two Violins featuring Richard and Helena Rathbone and Tchaikovsky s Serenade for Strings. Our thanks to John Symond and Amber Keating for their most generous hospitality and Katering, Peter Lehmann Wines, Langton s and Poho Flowers for their support of the event. Pictured clockwise (from top left): Andrew Clifford, Jane Clifford, Beau Neilson. Judith Neilson and Jeffrey Simpson. John Symond am, Amber Keating, Simon Yeo and Guido Belgiorno-Nettis am. ACO performs at the dinner. Rowena Danziger am and Penelope Seidler. 34 AUSTRALIAN CHAMBER ORCHESTRA

41 GREAT SYNAGOGUE PERFORMANCE Narev Family, Greg & Kathy Shand, Mr Harry Triguboff ao of Meriton Group, and Mr Peter Weiss ao, for their generous support of the Orchestra in this unforgettable concert. Right: School students enjoy performing with the ACO. Below: Helen Baffsky & David Baffsky ao. Below right: ACO led by Richard Tognetti performs in the spiritual surrounds of The Great Synagogue. Photographs: Nadine Saacks COUNCIL & MAJOR PATRONS DINNER Photosgraphs: Jamie Williams AUSTRALIAN CHAMBER ORCHESTRA 35

42 GETTING TO KNOW OUR VALUED SUPPORTERS Katering This year the ACO and its preferred caterer, Katering celebrate 10 years of partnership. If you ve ever been behind the scenes to one of the ACO s private rehearsals, or been to an ACO cocktail party or fundraising gala in Sydney, the chances are you ve been lucky enough to be looked after and fed by Mark and Kate White and their team. We managed to find 10 minutes in Mark and Kate s hectic schedule to ask them a few questions. What s your most popular canapé? Our famous chicken sandwich ( it s hard to beat a great chicken sandwich and a glass of Champagne ) What s the most unusual venue you ve worked at? We ve catered on most of the beaches and parks from Griffith to the Gold Coast. Outdoor and secluded locations have their challenges, but our philosophy is anything is possible. 200 soufflés in the middle of a paddock? No problem! In an average week, how many prawns do you peel? Yes, we peel all our prawns 5 hours before each job. On summer weekends it would be over a thousand. What s your food philosophy? It must look great, taste amazing and it has to have texture. You style and cater for a huge number of weddings what s the current trend? We tend not to follow trends. We encourage the bride and groom to make their wedding a personal reflection of who they are and what s important to them. We often take our inspiration from their personal style, religion and choice of venue. Mark and Kate White Apart from your food, what makes Katering so special? We pride ourselves on giving personal attention to each and every client and taking care of even the smallest details. It s an honour to be invited into people s homes and so our aim is to make our clients feel totally comfortable and confident from the first phone call until we close the door behind us at the end of a great event. Annie Hawker Sydney-based Annie Hawker is a long-term ACO subscriber and donor to our National Education Program. Annie first attended an ACO concert nearly 25 years ago after hearing that the ACO was a young and exciting orchestra, and has been a loyal concert-goer ever since. Annie says: I love the crisp, clear sound and the obvious pleasure which the players get from the music and from their amazing instruments. Watching their interaction as they play is always a thrill. Each concert program extends and challenges my musical knowledge just a little bit, so that over the years I have come to appreciate and even to love a lot of contemporary music as well as the old favourites. Annie s stand-out memory of the ACO was being in the audience for the premiere of Vox Amoris, written by P eteris Vasks in celebration of Richard Tognetti s 20 years as Artistic Director. On supporting the ACO s National Education Program, Annie says: I think that every child in Australia should have access to a musical education and play an instrument of their choice and Annie Hawker I am happy to contribute in some small way. We thank Annie most warmly for her most generous support of the ACO. If you would like more information on the ACO s donations programs, please contact Ali Brosnan, Patrons Manager, on (02) or at 36 AUSTRALIAN CHAMBER ORCHESTRA