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ACO AT EMANUEL SYNAGOGUE MONDAY 19 OCTOBER • 7:00PM
Hear the acclaimed Australian Chamber Orchestra in its 40th Anniversary year, for the first time in the elegant surrounds of Emanuel Synagogue. Led by Richard Tognetti, celebrating his own 25th Anniversary as this world-renowned Orchestra’s Artistic Director, the ACO will perform a showcase of string repertoire from Tchaikovsky’s lyrical Serenade for Strings, to Schubert’s exquisite Death and the Maiden, to the lively Youkalil by Weill, the power and drama of Mendelssohn’s Violin Concerto in E Minor and the haunting beauty of Ravel’s Kaddish. The concert will also include a short performance by talented young musicians from Emanuel School and other associated schools.
Emanuel Synagogue 7 Ocean Street, Woollahra
Monday 19 October, 7:00pm (doors open 6:30pm)
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Premium package $160 (includes drinks and canapés with Richard Tognetti and the ACO musicians following the performance) • A Reserve $110 • B Reserve $85 Book at www.emanuel.org.au/ACO • Enquiries aco@emanuel.org.au / 02 9389 6444 Lead Patron The Narev Family
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FAURE Après un rêve SAINT-SAËNS Cello Concerto No.1 in A minor HEINZ HOLLIGER Meta arca BARTÓK Divertimento BOCCHERINI Cello Concerto No.10 in D major* HAYDN Symphony No.59 in A major, ‘Fire’* PĒTERIS VASKS Cello Concerto No.2, ‘Klātbūtne’ (Australian Premiere)*
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TA RR AWA RR A FES TIVAL F E AT UR ING T HE A C O | 19–2 0 M A RC H 2 016 With a blend of fine art, live music and stunning views, this weekend-long festival in the Yarra Valley, only an hour from Melbourne, features intimate concerts directed by Richard Tognetti.
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Limited to 200 guests, the Festival experience includes a masterclass, guided tours of the museum’s exquisite Panorama exhibition and, of course, music from the ACO. SATURDAY 19 MARCH 2016
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12.30pm Music by Debussy and Enescu 6.00pm Music by Handel, Pärt, Vivaldi, Glass and Mendelssohn
The ACO’s Principal Partner Virgin Australia has put together attractive holiday packages to the Yarra Valley including TarraWarra Festival tickets. See aco.com.au/virgin for package details.
SUNDAY 20 MARCH 2016 11.00am Masterclass 2.30pm Music by the Bach Family
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N AT ION A L T OUR PA R T NER
On behalf of BNP Paribas, I am delighted to present the Mozart’s Last Symphonies tour by the Australian Chamber Orchestra. Our support of the ACO, spanning nine years, has been a natural fit because we share many common goals, including leading our respective fields by being innovative, energetic and committed. The BNP Paribas Foundation has been engaged in major philanthropic initiatives for over 30 years, focussing our activities across three main fields: the arts, social inclusion and the environment. We approach our philanthropic partnerships in the same way we approach business: we nurture close collaboration to fully understand our partners’ needs and provide long-term support. Commitment is something we hold in great esteem at BNP Paribas and we are very proud of our 134-year history supporting the local Australian economy and the aspirations of our clients. We trust that you will enjoy this world-class performance by the Australian Chamber Orchestra as they share the last three symphonies composed by a musical genius.
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The changing seasons inspired Vivaldi to compose his most colourful work – The Four Seasons, which bookends our 2015 season. To celebrate #ACO15, we’re offering you the chance to win a special Four Seasons prize pack. Simply upload your best ‘season’ shots to Instagram, tagging @austchamberorchestra and #my4seasons. Terms and conditions apply, visit aco.com.au/instacomp for details.
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YOU CAN NOW EXPERIENCE THE ACO IN NEW PLACES. Introducing ACO VIRTUAL, the Australian Chamber Orchestra’s new virtual installation. This world first will be travelling around Australia, giving everyone the chance to get up close, like never before, to this critically acclaimed orchestra. Find out more at aco.com.au/acovirtual CommBank is proud to be the Founding Partner of ACO VIRTUAL.
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ME S S AGE F ROM T HE GENER A L M A N A GER Although they were not written in the last year of Mozart’s life, the Symphonies 39, 40 and 41 represent his final thoughts on the symphonic form. It’s impossible to imagine what a 42nd symphony might have sounded like – where could the composer go after the gripping contrapuntal exuberance of the last movement of the Jupiter? I can’t help thinking that, with the last bars of that final movement, Mozart is throwing down the challenge with the words: ‘Top that!’ While the ACO is celebrating its 40th birthday and the 25th anniversary of Richard Tognetti’s artistic directorship, we are very pleased to be doing so in partnership with our national tour partner BNP Paribas. BNP Paribas enables the ACO to bring this remarkable program to audiences around the country, and we are deeply grateful to them and their new CEO Australia and New Zealand, James Gibson, for their longstanding support of the Australian Chamber Orchestra. Celebration is the theme of these concerts, yet, on a personal note, they will be a little emotional for me as they are the last concerts of the ACO which I will enjoy as the Orchestra’s General Manager. At the end of October, I leave the ACO to take up the newly created position of Executive Director, Performing Arts at the Sydney Opera House. My friends are telling me that I must be crazy to leave what must surely be one of the best jobs in the country! It has been a privilege to serve the ACO as its General Manager over the last five and a half years. I have loved every moment, and have been nourished by the superb music-making of the Orchestra and the boundlessly imaginative Richard Tognetti. Most satisfying of all has been the torrent of enthusiasm and support from you, the audience, for the performances of the Orchestra. I look forward to remaining the ACO’s most passionate advocate and to adding my voice to the chorus of bravos which ring out as the last notes fade at concerts in the future. Timothy Calnin General Manager
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“Life is no brief candle to me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.” GEORGE BERNARD SHAW
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MOZ A R T ’S L A S T SY MPHONIE S
Richard Tognetti Director & Violin WOLFGANG AMADEUS MOZART Symphony No.39 in E-flat major, K.543 Symphony No.40 in G minor, K.550 INTERVAL Symphony No.41 in C major, K.551 ‘Jupiter’
Approximate durations (minutes): 29 – 35 – INTERVAL – 31 The concert will last approximately two hours, including a 20-minute interval.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 13
W H AT YOU A R E A BOU T T O HE A R The 25-year-old Mozart arrived in Vienna in 1781, broke and with no prospects. But what he did have on his arrival in Europe’s music capital was his hard-won independence. It was not only independence from his nemesis, the Archbishop of Salzburg, but it was also independence from his interfering father Leopold.
PICTURED: The Mozart family in 1780–81 by Della Croce. Right: Constanze Mozart as portrayed in 1782 by her brother-in-law Joseph Lange.
Soon after his arrival in Vienna, Mozart wrote to his father asking him to stop writing unpleasant and unhelpful letters. Worse than that from Leopold’s perspective, he moved in with the Weber family whose various daughters offered Mozart plenty of amorous interest and whose very presence in the younger Mozart’s life sent Mozart senior apoplectic. When Mozart married Constanze Weber, Leopold’s reaction was predictable – blind fury and an increasing estrangement between father and son that would last until Leopold’s death in 1787. Not only was Constanze penniless and – in Leopold’s eyes – from a disreputable family, but as time was to prove she was as hopeless at handling money as Mozart himself. But she and Mozart loved each other and she certainly must have been an inspiration to him, because from the time of their marriage onwards, Mozart turned out masterpiece after masterpiece, and during the 1780s he enjoyed particular success in the fields of opera and the piano concerto. And then, for no apparent reason, during the summer of 1788 he turned his attention back to the symphony, composing his three greatest works in the form – now known as Nos. 39, 40 and 41 – in the space of little more than six weeks. No one truly knows who he wrote them for, whether performances were planned, or what his intentions or motivations were. But perhaps it was simply
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“Fate is so hostile to me, but only in Vienna, that even when I want to, I cannot make any money.” MOZART one of those rare instances in which Mozart actually found the time to write what he himself wanted to write – rather than having to satisfy commissions. Much has been written about the suffering which Mozart supposedly endured while he was composing these great symphonies. While the stories of near-starvation and lack of appreciation make for compelling reading, they are rather exaggerated. The later Viennese years from 1787 onwards were in fact a period of artistic and in some ways personal triumph for him. The death of his father in 1787 had curiously lifted a great weight from his shoulders, his operatic success in Prague had made him happier on a professional level than he had ever been before, he was happily married to a woman who returned his love, and his appointment as a composer at the Viennese imperial court involved little work for a modest but reliable income.
PICTURED: Now a museum, this house was rented by Mozart in 1787.
Contrary to what he wrote to his friends, even before the appointment to the Court, Mozart was doing very well financially. In 1787, for instance, he earned three times the salary of the head physician at Vienna’s main hospital. And that was in a year in which he didn’t perform in public for eight months. He and Constanze had a permanent servant and various other household helpers. From time to time Mozart even owned his own horse and carriage. He had plenty of room to work, he owned his own billiard table and had lots of quality furniture. But while the exact causes of Mozart’s financial problems are difficult to assess, what we do know is that at the time he composed his final three symphonies, Mozart was sending letter after letter to his friends begging for money. There were 20 in all between 1788 and 1791, each more desperate than the last. The first was sent to fellow mason Michael Puchberg in June 1788. ‘Unfortunately,’ it read in part, ‘Fate is so hostile to me, but only in Vienna, that even when I want to, I cannot make any money.’ Three more similar letters followed in quick succession. In them, Mozart gave a number of reasons for his indebtedness – poor subscriptions to his concerts, a failed edition of string quintets, the insistence of a boorish and greedy former landlord, and an unfortunate incident with a pawnbroker among them. But there was no similar impoverishment within Mozart’s creative resources and the period June-August 1788 would go down in history as one of classical music’s most astonishing summers, with Mozart composing three symphonies which, even today, remain at the pinnacle of artistic achievement. 15
T HE L A S T T HR EE SY MPHONIE S WOLFGANG AMADEUS MOZART Born Salzburg 1756 Died Vienna 1791
PICTURED: Posthumous painting of Mozart [detail] by Barbara Krafft in 1819.
SYMPHONY NO.39 IN E-FLAT MAJOR, K.543 I. Adagio – Allegro II. Andante con moto III. Menuetto and Trio: Allegretto IV. Allegro Speculation over the origins and meaning of the first of the three final Symphonies, in E-flat major, K543, is particularly intense, in part because of the enigmatic mood of the work as a whole. From the very first bars – only the third time that Mozart’s symphonies follow the Haydn-esque convention of a slow introduction – it’s hard to tell if this is drama or play. Grave chords announce portent, but then, like sunlight breaking through clouds, a radiant shimmer of strings fills the scene with the promise of typically Mozartian elation, only to be juxtaposed
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once more with the kind of ominous orchestral thundering that might greet the Stone Guest in Don Giovanni. If Mozart was ever to become Mahler, it would be here at the very opening of the Symphony No.39, where all the joys and gravity and contradictory trials of life are bundled together into one curiously coherent whole. It was this tumultuous emotional journey which prompted Hermann Albert to describe the Symphony No.39 as ‘Mozart’s Romantic symphony’. There’s a foreboding here at the outset, made all the more intense, post-factum, through the knowledge that Mozart’s beloved sixmonth-old daughter Theresia died from intestinal cramps just three days after the manuscript was signed off on 26 June 1788.
PICTURED: The inside of what is thought to be the lodge New Crowned Hope (Zur Neugekrönten Hoffnung) in Vienna. It is believed that Wolfgang Amadeus Mozart is depicted at the extreme right, sitting next to his close friend Emanuel Schikaneder. Oil painting, on display in the Vienna Museum Karlsplatz.
So what does this first instalment in the near-miraculous trilogy ‘mean’? For some, there is an association with Freemasonry, its strange 6/4 chords, horn echoes in the main theme, its key signature of E-flat major, and rapid mood changes suggesting the kinds of secret Masonic codes more often linked with The Magic Flute. Autobiographically it’s possible to align the prevailing mood of happiness-within-high-drama with a letter Mozart wrote in the previous year, where he described death as ‘that best and truest friend of man ... [the thought of which] … is not only no longer terrifying to me, but is indeed very soothing and consoling.’ Certainly we know from his correspondence
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…[death] “that best and truest friend of man ... is not only no longer terrifying to me, but is indeed very soothing and consoling.” MOZART that around this time he was fighting a battle against ‘dismal thoughts’ which were intruding on his creative process, despite his living, in another contradictory account in his pleading letters, ‘agreeably and comfortably’. But right from the outset, it’s clear that this is a work of the highest creative inspiration. As Eric Blom wrote, ‘if one were asked to consider which work by any composer is the most serenely, the most consistently and continuously beautiful ... I think that one could not possibly fail to arrive at this work.’ Tension is created at the outset through timpani and a certain harmonic ambiguity, but as the Allegro proper enters, it’s resolved into the noble key of E-flat major, its typically boisterous Mozartian mood now tinged with autumnal shades of brown, as if ever-conscious of the transience of beauty – indeed of that very transience itself being the source of the beauty. That main theme is essentially a cantilena emerging from stillness but embellished throughout by trumpets and timpani, and descending scale passages in the violins. The second subject is more muted, with Mozart making particularly plaintive use of the clarinets which here in this symphony take the place of the more usual oboes. A brief development then leads to an elaborated version of the first theme, before the movement concludes, fanfare-style, with a rousing tutti flourish. A hesitant but nevertheless somehow determined little rising figure then begins the slow movement – one almost imagines some animated creature emerging from the earth to sniff around the surroundings, gradually growing in confidence as it proceeds beyond its immediate locale. Suddenly, drama emerges and the movement proper, predominantly in A-flat major, gets underway, its three key thematic groups tossed back and forth between strings and wind, with the muted instrumental colours of bassoon and clarinet particularly to the fore. The melody of the famous Minuet – essentially a rustic dance – is instantly recognisable, as is the glorious theme shared between the two clarinets in the Trio. Eventually, though, the tension is released in the Allegro finale, where for the first time in this most emotionally-equivocal of Mozartian symphonies, unbridled joy is released, the gaiety transcending whatever circumstances of the everyday that fought in vain to restrain and oppress Mozart’s indomitable creative spirit 18
SYMPHONY NO.40 IN G MINOR, K.550 I. Molto allegro II. Andante III. Menuetto and Trio: Allegretto IV. Allegro assai The great G minor Symphony, K.550 was only the second minor-key work which Mozart would complete in the form – the other, No.25, was also in G minor. But while minor keys were rare, Mozart nevertheless had models to follow in the G minor symphonies of Haydn (No.39 and No.83) and JC Bach (Op.6, No.6). All, including Mozart’s own, were conceived in the spirit of Sturm und Drang, the turbulent, pre-revolutionary movement that was sweeping literature at the time.
PICTURED: Unfinished enlarged portrait of Mozart by his brother-in-law Joseph Lange.
And Mozart’s Symphony No.40 in G minor is one of the greatest examples of the form, being filled with a tempestuous passion which made it appeal to the Romantics more than any of his other symphonies (even more than the so-called ‘Romantic’ 39th). Mozart wrote two different versions of the symphony, one without clarinets and one with them. It has been suggested that the clarinets may have been added in April 1791 when an orchestra under Salieri, and featuring the great clarinettists Johann and Anton Stadler, performed an unidentified ‘grand symphony’ by Mozart. In any case, nowadays it tends to be performed with the clarinets – the instrument whose haunting beauty dominated Mozart’s later instrumental works. G minor was, of course, Mozart’s ‘special’ key in which he poured out his most dramatic emotions. The String Quintet, K.516, the Piano Quartet, K.478 and parts of Don Giovanni all make striking use of the key, and this great Symphony is probably the finest example of them all. Over a pulsating viola accompaniment, the violins in octaves state one of the most famous opening themes in all music. It’s no less tragic for being so elegant. Indeed this extraordinary balance between turbulent passion and a refined sense of style gives the symphony its enduring appeal. Everyone, it seemed, had their own private interpretation of its meaning. Richard Wagner commented on its ‘indestructible beauty’. Robert Schumann wrote of its ‘floating Grecian grace’, while for Mendelssohn, that magnificent opening theme offered a stern rebuke to Liszt who proclaimed that the piano could reproduce any orchestral sound. ‘I’d just like to hear the first eight bars of Mozart’s G minor Symphony, with that delicate figure on the violas, played on the piano as they sound in the orchestra, and then I’d believe it,’ Mendelssohn is reported to have said. While there is an authentic second subject in the major key, the distinctive two-quaver one-crotchet rhythm dominates 19
“I’d like to hear the first eight bars of Mozart’s G minor Symphony … played on the piano … and then I’d believe it.” MENDELSSOHN this opening movement. Even at its most elegant, this opening Molto allegro continually threatens to, and often does, break out once again in a passion which provides a salutary reminder that at the time of its composition the beginnings of the French Revolution were just a year away. The modulations do a similar thing. It’s one of the most chromatic movements in all Mozart – but in that it will be outdone by the Finale.
PICTURED: Symphony No.40 second movement – Andante.
The violas get the Andante underway too, just as they did in the opening movement. In E-flat major, this slow movement would perhaps be serene if it weren’t for the unsettling effects which Mozart continually introduces. It’s built around clashes of a semitone, and as in some of Haydn’s most challenging later symphonies, the rhythm is disrupted by displaced accents. It has a kind of throbbing effect, with little twitches and flutters punctuating its onward progress. The Minuet is scarcely innocent either. Built out of three-bar phrases and again with a pronounced dissonance, it encloses a Trio in G major which provides a kind of ray of sunlight through dark clouds. The agitation which has characterised so much of the Symphony returns in the final movement. From an eight-note ascending figure known as a ‘Mannheim rocket’ (not unlike that which Beethoven would employ in the Scherzo to his Fifth Symphony) the movement lurches into life with speed and intensity. Now the modulations of the first movement become even more pronounced and chromatic – before the main theme is done it will have touched all twelve notes. How bizarre this must have sounded to Mozart’s contemporaries! And yet, amidst all the disturbing emotion there remains that characteristic Mozartian grace and fluency. Only Mozart could achieve so much beauty out of so much apparent pain.
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SYMPHONY NO.41 IN C, K. 551 ‘JUPITER’ I. II. III. IV.
Allegro vivace Andante cantabile Menuetto and Trio: Allegretto Molto allegro
In early 1788, Mozart composed a comic aria to the words ‘You’ve but a sluggish wit, Dear Signor Pompeo! Go learn a bit of the ways of the world.’ It was tossed off without much thought or care for use in some forgotten opera buffa by Albaratelli playing in Vienna at the time. The aria too might have been forgotten by history had not, a few months later, Mozart re-appropriated it for use in a prominent place in his final symphony. A spoof on Signor Pompeo’s ignorance is hardly the stately or ‘god-like’ sentiment which one might normally anticipate when encountering the celestially-titled ‘Jupiter’, Mozart’s Symphony No.41. But then Mozart was never one to aggrandise his own musical accomplishments. Here in the manuscript of his final symphony he used this frankly silly little inscription to round out the otherwise solemn and splendid main theme of the first movement. It’s a measure of Mozart’s genius that the theme’s use in the symphony is somehow perfectly appropriate. Only Mozart could have gotten away with it.
PICTURED: Drawing of Mozart in silverpoint, made by Dora Stock during Mozart’s visit to Dresden, April 1789. 21
… the nickname [‘Jupiter’] stuck, despite the absence of any internal or external evidence to support its suitability. In fact Mozart never called this symphony the ‘Jupiter’ at all. He simply headed the score as ‘Sinfonia’. Close to unknown and quite possibly unperformed during Mozart’s lifetime, it only gained popularity in a piano arrangement by Muzio Clementi in 1823, as England embraced Mozart’s later music and particularly his apparent ‘Roman themes’. And so with its use in concerts by Salomon and Cramer in Britain, and in Clementi’s piano arrangement, the nickname stuck, despite the absence of any internal or external evidence to support its suitability. The ‘Jupiter’ is the third symphony in the astonishing trilogy composed between 26 June and 10 August 1788, just three years before his death. Scored for flute, oboes, bassoons, horns, trumpets, timpani and strings – but interestingly with no clarinets – the symphony is a fitting conclusion to the majestic sequence of symphonies which Mozart completed in his maturity. It is so rich in invention, and so complete in structure, indeed, that one can almost imagine that in it and its two illustrious predecessors, Mozart had said all he needed to say in the form – hence the appearance of no subsequent symphonies in the three years that remained before the composer’s premature death in 1791. The abrupt fanfare and grand Allegro vivace which open the symphony establish an imperial mood which is quite typical of Mozart’s orchestral works in this key, but the intrusion of the comic aria as the second of two subsidiary themes provides the necessary contrast. Indeed that comic theme provides the basis for much of the development which follows – including setting up a ‘false recapitulation’ halfway through! A series of audacious modulations based on the opening fanfare then lead into the recapitulation proper and a return of the vaguely military feel which permeated the early part of the movement. The Andante cantabile in F major is one of Mozart’s most eloquent, and famous, slow movements. From the melodic and untroubled outset on muted violins, this second movement proceeds towards a C minor in which expressive figures for strings are punctuated by strident chords. The effect is oddly unsettling and the syncopations and occasional chromaticism make this one of the greatest of Mozart’s slow movements. Haydn thought so too. He quoted this movement in his own Symphony No.98, which he was composing when he heard of Mozart’s death. Haydn also admired the Minuet, which is perhaps this great symphony’s least understood movement. Amidst the heroism 22
PICTURED: Four additional themes are heard in the ‘Jupiter’s’ finale, which is in sonata form, and all five motifs are combined in the fugal coda.
which surrounds it, this third movement emerges with superficial simplicity. But it is scored with such subtlety (listen in particular to the gently arching string figures at the opening), its trio is so closely integrated into the fabric of the symphony as a whole, and its chromaticism is so far-reaching, that its apparent modesty is deceptive. Perhaps most of all, it provides a fascinating context in which the tour-de-force finale can emerge. Where in the earlier parts of his symphonic career, Mozart was a ‘first movement man’, here in his final symphony he shifts the dramatic weight to the end. There are five themes in the finale and Mozart puts them through all manner of contrapuntal inventions. In fact there is such structural complexity that the 19th-century Germans knew the Jupiter as ‘the Symphony with the fugal finale’, although strictly speaking the movement is in sonata form with fugato episodes. Mozart probably found the model in the work of his friend Michael Haydn, but he makes this concluding movement distinctly his own. It’s a masterpiece in which the astonishing technical facility of the composing never gets in the way of the listener’s enjoyment – perhaps after all a truly Olympian achievement! Martin Buzacott © 2015 23
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IN T ERV IE W W I T H R ICH A R D T OGNE T T I LOOKING BACK ON 25 Y E ARS WITH MOZ ART’S L AST SY MPHONIES Tonight’s performance of Mozart’s Last Symphonies marks the 25th anniversary since Frans Brüggen conducted the same program with the ACO in Richard Tognetti’s first year as leader. Martin Buzacott caught up with Richard to talk about his memories of that event, and also his current view of these Mozart masterpieces. MB: Richard, how well do you remember those first performances of the final three symphonies of Mozart under Frans Brüggen 25 years ago? RT: I remember them quite well actually. I remember the sense of clarity that Brüggen brought. He wasn’t just ‘dabbing Dettol antiseptic’ on the music as you sometimes get with English so-called specialists in early music, who like authenticating and rubber-stamping things. He had a sense of structure, a sense of space and breathing that I recall quite clearly and he also had an air of mysticism about him. He was almost like a white-haired guru, with charisma, an ‘Ausstrahlung’, as the Germans say. Without dominating the Orchestra, he made people want to go with him, into his realm. MB: Physically, what was he like on the podium? RT: He was very frail. He had the pallid, yellow face of a smoker, and then it emerged later that he’d been a heavy drinker and it probably killed him. He wasn’t ebullient. He wasn’t verbose. He wasn’t funny. He was mysterious. He came out of the hippie era and that’s when the early-music movement really was at its glorious best, I think, when they were rebels. It wasn’t really about authenticating things – that was a furphy, the notion that we are reinterpreting the classics just how the composers intended. We’re not. We’re still putting them through the prisms of our own imaginations. MB: Brüggen was an early musician who became a conductor later in life. Many of the great recordings of the late Mozart symphonies that people know are by the legendary conductors like Böhm and Karajan. You bring a kind of a ‘third perspective’ to this in that you play/direct the symphonies. How does that change the perspective? RT: Strictly speaking it’s incorrect to have a conductor there. More than likely Mozart played from the keyboard and certainly deferred to the Concertmaster, who was the real director. If Mozart was conducting, it would have been more a ‘beating time’ and he wouldn’t have been the charismatic leader of men that conductors have become in post-Wagnerian times. And so the Concertmaster, the leader-cumconductor, is my role and it feels real and right and true. The violin is just a far more expressive baton, and so, rather than trying to express 25
Photo by Mick Bruzzese
the musical direction with clumsy words, I can play it, and indicate what I’m after. You don’t have that power as a soundless conductor. MB: So how will these performances of the Mozart final symphonies differ from the ones you’ve given individually over the years? RT: Every performance differs in some way. It depends on who you’ve got on stage, what that stage is, and your own mood. But structurally, they’ve developed. Certainly the tempi have changed. It’s not like Beethoven symphonies where we have specific metronome marks. In Mozart the tempo indications are just in Italian – ‘Allegro con brio’ and so forth. So therefore we don’t have specific rules on exactly how fast we’re meant to play the works, and that leaves it up to us to interpret. I’ve re-evaluated certain tempi over the years due to the very sophisticated process of ‘finger in the wind’. But even then, you get into a hall and you have to change! Ultimately it’s about the listener. MB: These three symphonies were written in under three months. Some people have said it’s almost like one work with 12 movements. Do you subscribe to that theory?
Photo by Edward Sloane
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RT: Well they all sound immediately like Mozart, and the textures are pretty similar, but whether he wrote them to be played as three I doubt. I mean, he was forced to become opportunistic. He wasn’t like a modern-day composer sponsored by the Austrian Council of the Arts to go on a holiday to the Tyrol to write symphonies, and then come back and they’re performed once. He was a craftsman looking for business and it seems there are three plausible reasons why they were written. If I remember correctly, these are: 1) that he might have
had an opportunity to go to London; 2) that he wanted to write them as a single opus, as a set that he could sell in the same way that Handel and Corelli did – but that doesn’t sound very plausible to me because he didn’t do that with anything else; and 3) that they were a commission that fell through and he was left with these finished pieces. Now that’s interesting because there are other commissions that fell through but when the commissions stopped, he stopped composing, so there are these remaining ‘torsos’ of works. But these are not ‘torsos’. They are fully completed works. At one point we didn’t think that they were ever performed in his lifetime but that can’t be right. It’s scant, but there’s a little bit of proof that they were performed. The Symphony No.40 in G minor for instance exists in two versions with different wind orchestrations. If they’d been intended merely as ‘art-for-art’s sake’, he wouldn’t have done that. MB: Interesting year he wrote them in, 1788. It was just a year before the storming of the Bastille. Would you know from the works alone that there was social change afoot? RT: No. He wasn’t a political composer. He famously said about Voltaire that: ‘That ungodly dog is dead.’ So he wasn’t a political composer but when you talk about performing his music authentically, there is definitely a social context that needs to be considered. When, all those years ago, we did his opera Mitridate, Erin Helyard and I were researching the performance context and the nature of Mozart’s audience. So, first of all there were drugs: the port of Venice was bringing in all sorts of new drugs; then there was youth – most of the audience were young; and they were talking, in a really raucous way, during the opera; and finally, there were pissoirs at the sides of the venues. Now those four things are pretty radical aren’t they! Nowadays, of course, most classical music audiences are older; they sit there in silence; there are nice, clean toilets; and let’s not even talk about the drugs, except to say the modern concert environment is now anti-drugs, other than sipping a glass of wine or something. So the idea that Mozart wrote them as three ‘grand symphonies’ to be performed in a sort of sacramental way in a concert hall with people quiet, attentive and paying him lots of money is just absurd. There’s no way. MB: What will be your key messages for the Orchestra when you go into rehearsals for these concerts? RT: We’ve played the great ‘Jupiter’ and the 40th Symphony a lot. But we haven’t played No.39 for many, many years. We play the last movement of the Jupiter as an encore – after a Beethoven symphony it’s a pretty whizz-bang thing to do. One thing you get with Mozart, and no other composer comes close, is dancing on your own joy. MB: Could you ever have imagined where you would be now, and particularly where the Orchestra would be? RT: No. It has been, at times, a slow and rocky road. You can’t move the Australian Chamber Orchestra to the middle of Europe. That didn’t matter though because I didn’t want to go and live in Europe. I wanted to stay here. And I think we are in a pretty healthy state actually – you need innovation in order to pursue excellence. And that’s what we have always been aiming for. 27
AC O NE W S
Photo by Fiora Sacco
MEDICI AND MAJOR PATRONS’ DINNER On Tuesday 1 September, Carla Zampatti ac generously hosted a very special dinner at her home to thank the ACO’s Medici and Major Patrons for their invaluable support of the Orchestra. In the time-honoured fashion of the great Medici family, our Medici Patrons support individual players’ chairs and help us attract and retain musicians of the highest calibre. Guests were treated to a wonderful, intimate performance by Richard, Satu, Sascha and Melissa, followed by a delicious dinner by longstanding partner of the ACO, Katering. Our heartfelt thanks to Carla Zampatti for her hospitality, to Mark and Kate White and their team at Katering, Peter Lehmann Wines, Langton’s and Poho Flowers. And of course, a huge thank you to our Medici and Major Patrons for their invaluable support.
RIGHT: Wendy Edwards, Ian Wallace, John Taberner Photo by Fiora Sacco 28
PICTURED – THIS PAGE: RIGHT: Este Darin-Cooper, Anthony and Sharon Lee BELOW LEFT: Marc Besen ac, Guido Belgiorno-Nettis am BELOW RIGHT: Grant Lang, Mark Ingwersen BOTTOM: Carla Zampatti ac, Philip Bacon am, Roslyn Packer ao, Akira Isogawa Photos by Fiora Sacco
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AC O NE W S FOUR SE ASONS AT CR ANL ANA Our annual Melbourne Fundraising Dinner, presented by Georg Jensen, was held on Thursday 3 September at Cranlana, the historic home of the Myer family. Richard, Satu, Glenn, Sascha and Tipi gave a magical performance of Vivaldi’s The Four Seasons, setting the perfect tone for the incredible four-course feast, inspired by each of the seasons, by two of Relais & Châteaux’s finest young chefs from the Barossa Valley: Ryan Edwards (Appellation) and James Zerella (Hentley Farm Restaurant). The event was a great success, raising $140,000 to support our National Education Program and, in particular, our education activities in Victoria over the coming year. This support will help us to continue our focus on Victorian primary school children from disadvantaged and refugee backgrounds as well as launch a new initiative with the Royal Children’s Hospital Education Institute in Melbourne to offer a music program to children in the hospital. Peter Yates am Photo by Kit Haselden
ABOVE RIGHT: Martyn Myer ao and Louise Myer RIGHT: Chefs James Zerella and Ryan Edwards Photos by Kit Haselden 30
We would like to thank Martyn and Louise Myer for hosting the event at Cranlana, as well as Peter Yates and the Melbourne Development Council for their support.
RIGHT: Christine Campbell, Jenny Charles, Terry Campbell ao Photos by Kit Haselden
BELOW LEFT: Joanna Szabo, Dimitra Loupasakis, Jasmin Kaur BELOW RIGHT: Ben Brady, Jenny Senior, Bill Downey Photos by Kit Haselden
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R ICH A R D T OGNE T T I ARTISTIC DIREC TOR & VIOLIN
“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.” THE DAILY TELEGRAPH (UK) 2015 marks the 25th year of Richard Tognetti’s artistic directorship of the Australian Chamber Orchestra. Born and raised in Wollongong NSW, Richard has established an international reputation for his compelling performances and artistic individualism.
Photo by Jack Saltmiras
SELECT DISCOGRAPHY AS SOLOIST: BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679 BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three Bach releases available as a 5CD Box set: ABC Classics 476 6168) VIVALDI The Four Seasons BIS SACD-2103 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
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 1989. 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 is also Artistic Director of the Festival Maribor in Slovenia. 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, Tognetti has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene 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. 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 Horrorscopes; and created The Red Tree, inspired by Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica. Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor. He has given more than 2500 performances with the Australian Chamber Orchestra. 33
AUS T R A L I A N CH A MBER ORCHE S T R A 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 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 Caroline Henbest Viola Daniel Yeadon Cello
“If there’s a better chamber orchestra in the world today, I haven’t heard it.” THE GUARDIAN (UK) This year marks the 40th anniversary of the Australian Chamber Orchestra. From its first concert in November 1975 to its first concert of 2015, the Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble. Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 20 players (three part-time), giving more than 100 performances in Australia each year, as well as touring internationally. From red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland. The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries, and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank. The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards, and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.
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MUSICI A NS ON S TAGE
Richard Tognetti ao 1 Artistic Director & Violin
Helena Rathbone 2 Principal Violin
Glenn Christensen Violin
Chair sponsored by Michael Ball am & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts
Chair sponsored by Kate & Daryl Dixon
Chair sponsored by Terry Campbell ao & Christine Campbell
Aiko Goto Violin
Mark Ingwersen 3 Violin
Ilya Isakovich Violin
Chair sponsored by Anthony & Sharon Lee Foundation
Chair sponsored by Ian Wallace & Kay Freedman
Chair sponsored by The Humanity Foundation
Liisa Pallandi Violin
Ike See Violin
Alexandru-Mihai Bota Viola
Chair sponsored by The Melbourne Medical Syndicate
Chair sponsored by Di Jameson
Chair sponsored by Philip Bacon am
Photos by Jack Saltmiras
1. Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2. Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 3. Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 35
MUSICI A NS ON S TA GE
Nicole Divall Viola
Timo-Veikko Valve 4 Principal Cello
Melissa Barnard Cello
Chair sponsored by Ian Lansdown
Chair sponsored by Peter Weiss ao
Chair sponsored by Martin Dickson am & Susie Dickson
Players dressed by AKIRA ISOGAWA
Julian Thompson 5 Cello
Maxime Bibeau 6 Principal Bass
Chair sponsored by The Clayton Family
Chair sponsored by Darin Cooper Foundation
Maja Savnik Violin
Taka Kitazato Oboe
Erwin Wieringa Horn
Courtesy of Slovenian Philharmonic Orchestra
Craig Hill Clarinet
Courtesy of Akademie für Alte Musik Berlin
Madeleine Boud Violin
Courtesy of Melbourne Symphony Orchestra
Rachel Silver Horn Courtesy of Sydney Symphony Orchestra
Emmanuel Francois Guest Principal Viola
Ashley Sutherland Clarinet
Kurt Körner Trumpet
Sally Walker Flute
Jane Gower Bassoon
Courtesy of Camerata Salzburg
Courtesy of The Conservatorium, University of Newcastle
Courtesy of Orchestre Révolutionnaire et Romantique
Benoît Laurent Oboe
Lisa Goldberg Bassoon
Courtesy of Conservatoire Royal de Bruxelles
Photos by Jack Saltmiras 36
Leanne Sullivan Trumpet Brian Nixon Timpani Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert
4. 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. 5. Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 6. Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from a private Australian benefactor.
ACO BEHIND T HE S CENE S BOARD
EDUCATION
MARKETING
Guido Belgiorno-Nettis am Chairman
Phillippa Martin Ac O 2 & ACO VIRTUAL Manager
Derek Gilchrist Marketing Manager
Angus James Deputy
Zoe Arthur Acting Education Manager
Mary Stielow National Publicist
Bill Best John Borghetti Liz Cacciottolo Judith Crompton John Grill ao Heather Ridout ao Andrew Stevens John Taberner Peter Yates am Simon Yeo
Caitlin Gilmour Education Assistant
Hilary Shrubb Publications Editor
FINANCE
Leo Messias Marketing Coordinator
Richard Tognetti ao Artistic Director
Maria Pastroudis Chief Financial Officer Steve Davidson Corporate Services Manager Yvonne Morton Accountant
Cristina Maldonaldo Communications Coordinator Chris Griffith Box Office Manager Dean Watson Customer Relations Manager
ADMINISTRATIVE STAFF
Shyleja Paul Assistant Accountant
EXECUTIVE OFFICE
DEVELOPMENT
Deyel Dalziel-Charlier Box Office & CRM Database Assistant
Timothy Calnin General Manager
Rebecca Noonan Development Manager
Christina Holland Office Administrator
Jessica Block Deputy General Manager
Jill Colvin Philanthropy Manager
Robin Hall Subscriptions Coordinator
Alexandra Cameron-Fraser Strategic Development Manager
Penelope Loane Investor Relations Manager
INFORMATION SYSTEMS
Helen Maxwell Executive Assistant to Mr Calnin and Mr Tognetti ao
Tom Tansey Events Manager
ARTISTIC & OPERATIONS
Tom Carrig Senior Development Executive
Luke Shaw Head of Operations & Artistic Planning
Ali Brosnan Patrons Manager
Megan Russell Tour Manager
Sally Crawford Development Coordinator
Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant
Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW. In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail PO Box R21, Royal Exchange NSW 1225 Telephone (02) 8274 3800 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au
37
V ENUE SUPP OR T
QUEENSLAND PERFORMING ARTS CENTRE
AUSTRALIAN NATIONAL UNIVERSITY
ARTS CENTRE MELBOURNE
Cultural Precinct,
Llewellyn Hall School of Music
PO Box 7585, St Kilda Road,
Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101 Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au
William Herbert Place
Melbourne VIC 8004
(off Childers Street), Acton,
Telephone (03) 9281 8000
Canberra
Box Office 1300 182 183
VENUE HIRE INFORMATION Telephone (02) 6125 2527 Email music.venues@anu.edu.au
Web artscentremelbourne.com.au Tom Harley President Victorian Arts Centre Trust Claire Spencer
Christopher Freeman am Chair
Chief Executive Officer
John Kotzas Chief Executive
GRAND VENUES OF NEWCASTLE
CITY RECITAL HALL ANGEL PLACE
SYDNEY OPERA HOUSE
CITY HALL
A City of Sydney Venue
Bennelong Point,
Owned and operated by the City of Newcastle 290 King Street,
2–12 Angel Place, Sydney NSW 2000 GPO Box 3339, Sydney NSW 2001
GPO Box 4274, Sydney NSW 2001 Telephone (02) 9250 7111 Box Office (02) 9250 7777
Telephone (02) 9231 9000
Box Office (02) 8256 2222
infodesk@sydneyoperahouse.com
Web cityrecitalhall.com
Web sydneyoperahouse.com
(02) 4974 2996
Anne-Marie Heath General Manager
Nicholas Moore
Ticketek Box Office
City Recital Hall Angel Place is managed by
(02) 4929 1977
Pegasus Venue Management (AP) Pty Ltd
Newcastle NSW 2300 Telephone (Venue & Event Coordinators)
Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer
Email grandvenues@ncc.nsw.gov.au
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.
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MOZ A R T ’S L A S T SY MPHONIE S
TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY
Pre-concert talks take place 45 minutes before the start of every concert. Tue 29 Sep, 8pm Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am Wed 30 Sep, 7pm Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am Fri 2 Oct, 1.30pm Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am Sat 3 Oct, 7pm Sydney City Recital Hall Angel Place
Sun 4 Oct, 2.30pm Melbourne Arts Centre
Fri 9 Oct, 7.30pm Newcastle City Hall
Pre-concert talk by Alistair McKean
Pre-concert talk by Ken Healey am
Tue 6 Oct, 8pm Melbourne Arts Centre
Sat 10 Oct, 8pm Canberra Llewellyn Hall
Pre-concert talk by Alistair McKean
Pre-concert talk by Ken Healey am
Wed 7 Oct, 7pm Sydney Opera House
Mon 12 Oct, 8pm Brisbane QPAC Concert Hall
Pre-concert talk by Ken Healey am The foyer fanfare for this concert is Fanfare, composed by Luca Warburton (age 14) from Sydney Distance Education High School, NSW. This is a youth creativity project by the Sydney Opera House and Artology.
Pre-concert talk by Gillian Wills
Pre-concert talk by Ken Healey am This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 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.
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AC O MEDICI PROGR A M 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
CORE CHAIRS
GUEST CHAIRS
AMINA BELGIORNO-NETTIS
VIOLIN
PRINCIPAL CHAIRS
Glenn Christensen Terry Campbell ao & Christine Campbell
Brian Nixon Principal Timpani
Richard Tognetti ao Artistic Director & Lead Violin Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts Helena Rathbone Principal Violin
Aiko Goto Anthony & Sharon Lee Foundation Mark Ingwersen Ian Wallace & Kay Freedman Ilya Isakovich The Humanity Foundation
Kate & Daryl Dixon
Liisa Pallandi The Melbourne Medical Syndicate
Satu Vänskä Principal Violin
Ike See Di Jameson
Kay Bryan
VIOLA
Christopher Moore Principal Viola
Alexandru-Mihai Bota Philip Bacon am
peckvonhartel architects Timo-Veikko Valve Principal Cello Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation
Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Clayton Family
ACO L IF E PAT RONS IBM
Mr Martin Dickson am & Mrs Susie Dickson
Mr Robert Albert ao & Mrs Libby Albert
Dr John Harvey ao
Mr Guido Belgiorno-Nettis am
Mrs Alexandra Martin
Mrs Barbara Blackman ao
Mrs Faye Parker
Mrs Roxane Clayton
Mr John Taberner & Mr Grant Lang
Mr David Constable am
Mr Peter Weiss ao
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Mr Robert Albert ao & Mrs Libby Albert FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett
ACO BEQ UE S T PAT RONS For more information on making a bequest, please call Jill Colvin, Philanthropy Manager, on 02 827 3835. The late Charles Ross Adamson
Peter Evans
The late Josephine Paech
The late Kerstin Lillemor Andersen
Carol Farlow
The late Richard Ponder
The late Mrs Sybil Baer
Suzanne Gleeson
Ian & Joan Scott
Steven Bardy
Lachie Hill
The late Mr Geoffrey Francis Scharer
Dave Beswick
The late John Nigel Holman
The Estate of Scott Spencer
Ruth Bell
Penelope Hughes
Leslie C Thiess
The Estate of Prof Janet Carr
The late Dr S W Jeffrey am
G.C. & R. Weir
Sandra Cassell
Estate of Pauline Marie Johnston
Margaret & Ron Wright
The late Mrs Moya Crane
The late Mr Geoff Lee am oam
Mark Young
Mrs Sandra Dent
Mrs Judy Lee
Anonymous (12)
Leigh Emmett
The late Shirley Miller
The late Colin Enderby
Selwyn M Owen
ACO GENER A L PUR P O SE PAT RONS ACO General Purpose Patrons support the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. Andrew Andersons
Penelope Hughes
Dr Jason Wenderoth
John & Lynnly Chalk
Mike & Stephanie Hutchinson
Brian Zulaikha
Paul & Roslyn Espie
Professor Anne Kelso ao
Anonymous (2)
Jennifer Hershon
Douglas & Elisabeth Scott
Peter & Edwina Holbeach
Jeanne-Claude Strong
Michael Horsburgh am & Beverley Horsburgh
ACO NE X T ACO Next is an exciting new philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering a unique musical and networking experience. For more information please call Ali Brosnan, Patrons Manager, on 02 8274 3830. MEMBERS Clare Ainsworth Herschell
Royston Lim
Louise & Andrew Sharpe
Este Darin-Cooper & Chris Burgess
William Manning
Emile & Caroline Sherman
Catherine & Sean Denney
Rachael McVean
Michael Southwell
Alexandra Gill
Barry Mowzsowski
Karen & Peter Tompkins
Rebecca Gilsenan & Grant Marjoribanks
Paris Neilson & Todd Buncombe
Joanna Walton & Alex Phoon
Adrian Giuffre & Monica Ion
Nicole Pedler
Nina Walton & Zeb Rice
Aaron Levine
Michael Radovnikovic
Peter Wilson & James Emmett 41
ACO T RUS T S & F OUNDAT IONS
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
ACO INS T RUMEN T F UND 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 Mark Ingwersen. Peter Weiss ao PATRON, ACO Instrument Fund BOARD MEMBERS Bill Best (Chairman) Jessica Block
SONATA $25,000 – $49,999
INVESTORS
ENSEMBLE $10,000 – $24,999
Stephen & Sophie Allen
Lesley & Ginny Green
John & Deborah Balderstone
Peter J Boxall ao & Karen Chester
Guido & Michelle Belgiorno-Nettis Bill Best
Chris Frogatt
SOLO $5,000 – $9,999
John Leece am
PATRON $500 – $4,999
Carla Zampatti Foundation
John Taberner
Michael Bennett & Patti Simpson
Sally Collier
Leith & Darrel Conybeare
Michael Cowen & Sharon Nathani
Dr Jane Cook
Marco D’Orsogna
VISIONARY $1m+
Geoff & Denise Illing
Garry & Susan Farrell
Peter Weiss ao
Luana & Kelvin King
Gammell Family
Jane Kunstler
Edward Gilmartin
John Landers & Linda Sweeny
Tom & Julie Goudkamp
Genevieve Lansell
Philip Hartog
Bronwyn & Andrew Lumsden
Brendan Hopkins
Patricia McGregor
Angus & Sarah James
OCTET $100,000 – $199,999
Trevor Parkin
Daniel and Jacqueline Phillips
John Taberner
Elizabeth Pender
Ryan Cooper Family Foundation
Robyn Tamke
Andrew & Philippa Stevens
Anonymous (2)
Dr Lesley Treleaven
PATRONS
LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 Amina Belgiorno-Nettis Naomi Milgrom ao
QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous 42
Benjamin Brady
Ian Wallace & Kay Freedman
ACO SPECI A L C OMMIS SIONS & SPECI A L PRO JE C T S Peter & Cathy Aird
THE REEF NEW YORK PRODUCERS’ SYNDICATE
MELBOURNE HEBREW CONGREGATION PATRONS
Gerard Byrne & Donna O’Sullivan
Executive Producers
Mirek Generowicz
Tony & Michelle Grist
LEAD PATRONS
Peter & Valerie Gerrand
Lead Producers
G Graham
Jon & Caro Stewart Foundation
Anthony & Conny Harris
Major Producers
PATRONS
Rohan Haslam
Danielle & Daniel Besen Foundation
Marc Besen ac & Eva Besen ao
John Griffiths & Beth Jackson
Janet Holmes à Court ac
Leo & Mina Fink Fund
Andrew & Fiona Johnston
Charlie & Olivia Lanchester
Drs Victor & Karen Wayne
SPECIAL COMMISSIONS PATRONS
Lionel & Judy King David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson Alison Reeve Augusta Supple Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi
Producers Richard Caldwell Warren & Linda Coli Steve Duchen & Polly Hemphill Wendy Edwards Gilbert George Tony & Camilla Gill Max Gundy (board member ACO US) & Shelagh Gundy
THE GREAT SYNAGOGUE PATRONS CORPORATE PARTNERS Adina Apartment Hotels Meriton Group PATRONS David & Helen Baffsky Leslie & Ginny Green The Narev Family Greg & Kathy Shand
Anonymous (1)
Patrick Loftus-Hill (board member ACO US) & Konnin Tam
INTERNATIONAL TOUR PATRONS
Sally & Steve Paridis (board members ACO US)
EMANUEL SYNAGOGUE PATRONS
Peter & Victoria Shorthouse
CORPORATE PARTNERS
Alden Toevs & Judi Wolf
Adina Apartment Hotels
The ACO would like to pay tribute to the following donors who support our international touring activities in 2015: Linda & Graeme Beveridge Jan Bowen
Corporate Producer Manikay Partners
Peter Weiss ao
Meriton Group LEAD PATRON The Narev Family
Bee & Brendan Hopkins
ACO ACADEMY BRISBANE
Delysia Lawson
LEAD PATRONS
Mike Thompson
Philip Bacon ao Kay Bryan Dr Ian Frazer ac & Mrs Caroline Frazer Dr Edward Gray
PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
Wayne Kratzmann Bruce & Jocelyn Wolfe PATRONS Andrew Clouston Michael Forrest & Angie Ryan Ian & Cass George Professor Peter Høj Helen McVay Shay O’Hara-Smith Brendan Ostwald Marie-Louise Theile Beverley Trivett 43
ACO N AT ION A L EDUC AT ION PROGR A M 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 Ali Brosnan on (02) 8274 3830 or ali.brosnan@aco.com.au Donor list current as at 14 September 2015 PATRONS
Mark & Anne Robertson
Fraser Hopkins
Marc Besen ac & Eva Besen ao
Margie Seale & David Hardy
Dr Wendy Hughes
Janet Holmes à Court ac
Tony Shepherd ao
I Kallinikos
Peter & Victoria Shorthouse
Keith & Maureen Kerridge
Anthony Strachan
Mrs Judy Lee
John Taberner & Grant Lang
Lorraine Logan
Leslie C. Thiess
Macquarie Group Foundation
Alden Toevs & Judi Wolf
David Maloney & Erin Flaherty
Australian Communities Foundation – Ballandry Fund
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Pam & Ian McDougall
Daria & Michael Ball
David & Julia Turner
P J Miller
Steven Bardy & Andrew Patterson
E Xipell
The Myer Foundation
The Belalberi Foundation
Peter Yates am & Susan Yates
Willy & Mimi Packer
Guido Belgiorno-Nettis am
Peter Young am & Susan Young
peckvonhartel architects
Luca Belgiorno-Nettis am
Anonymous (2)
Elizabeth Pender
EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Australian Communities Foundation – Annamila Fund
Andre Biet Leigh & Christina Birtles Liz Cacciottolo & Walter Lewin Rod Cameron & Margaret Gibbs Mark Carnegie
DIRETTORE $5,000 – $9,999 The Abercrombie Family Foundation Geoff Ainsworth & Jo Featherstone Geoff Alder
Brian & Helen McFadyen
John Rickard Andrew Roberts Paul Schoff & Stephanie Smee Greg Shalit & Miriam Faine Jann Skinner
Stephen & Jenny Charles
Bill & Marissa Best
The Cooper Foundation
Veronika & Joseph Butta
Rowena Danziger am & Ken Coles am
John & Lynnly Chalk
Mark Delaney
Elizabeth Chernov
Ann Gamble Myer
Clockwork Theatre Inc
Daniel & Helen Gauchat
Andrew Clouston
Andrea Govaert & Wik Farwerck
Victor & Chrissy Comino
Dr Edward C. Gray
Leith & Darrel Conybeare
Kimberley Holden
David Craig
Angus & Sarah James
Liz Dibbs
PJ Jopling am qc
Kate & Daryl Dixon
MAESTRO $2,500 – $4,999
Miss Nancy Kimpton
Ellis Family
Michael Ahrens
Bruce & Jenny Lane
Bridget Faye am
David & Rae Allen
Prudence MacLeod
Ian & Caroline Frazer
Ralph Ashton
Anthony & Suzanne Maple-Brown
Chris & Tony Froggatt
Will & Dorothy Bailey Charitable Gift
Alf Moufarrige
Kay Giorgetta
Brad Banducci
Jim & Averill Minto
Tony & Michelle Grist
Doug & Alison Battersby
Louise & Martyn Myer Foundation
Liz Harbison
The Beeren Foundation
Jennie & Ivor Orchard
Kerry Harmanis
Berg Family Foundation
Bruce & Joy Reid Trust
Annie Hawker
Jenny Bryant
44
Joyce Sproat & Janet Cooke Jon & Caro Stewart Mary-Anne Sutherland John Vallance & Sydney Grammar School Geoff Weir Westpac Group Shemara Wikramanayake Cameron Williams Anonymous (8)
Neil & Jane Burley
Samantha Baillieu
Michael Horsburgh am & Beverley Horsburgh
Gilbert Burton
Lyn Baker & John Bevan
Monique D’Arcy Irvine & Anthony Hourigan
Arthur & Prue Charles
Adrienne Basser
Merilyn & David Howorth
Kathryn Chiba
Barry Batson
Penelope Hughes
Caroline & Robert Clemente
Ruth Bell
Stephanie & Mike Hutchinson
Alan Fraser Cooper
Justice Annabelle Bennett ao
Colin Isaac & Jenni Seton
Robert & Jeanette Corney
Virginia Berger
Phillip Isaacs oam
Dee De Bruyn
David & Anne Bolzonello
Will & Chrissie Jephcott
Anne & Thomas Dowling
Brian Bothwell
Brian Jones
Suellen & Ron Enestrom
Jan Bowen
Bronwen L Jones
Euroz Securities Limited
Michael & Tina Brand
Josephine Key & Ian Breden
Jane & Richard Freudenstein
Vicki Brooke
In memory of Graham Lang
John Gandel ao & Pauline Gandel
Diana Brookes
Genevieve Lansell
Tom Goudkamp oam
Dr Catherine Brown-Watt psm
Airdrie Lloyd
Megan Grace
Jasmine Brunner
Robin & Peter Lumley
Warren Green
Sally Bufé
Diana Lungren
Nereda Hanlon & Michael Hanlon am
Gerard Byrne & Donna O’Sullivan
Greg & Jan Marsh
Reg Hobbs & Louise Carbines
Ivan Camens
Janet Matton
Gavin & Christine Holman
Terry Campbell ao & Christine Campbell
Massel Australia Pty Ltd
Simon & Katrina Holmes à Court
Ray Carless & Jill Keyte
Julianne Maxwell
Mark Johnson
James Carnegie
Kevin & Deidre McCann
Roslyn Carter
Ian & Pam McGaw
Andrew Chamberlain
J A McKernan
Julia Champtaloup & Andrew Rothery
Diana McLaurin
Patrick Charles
Phil & Helen Meddings
K. Chisholm
Roslyn Morgan
Peter Clifton
Suzanne Morgan
Peter Mason am & Kate Mason
Angela and John Compton
Glenn Murcutt ao
Paul & Elizabeth McClintock
Laurie & Julie Ann Cox
Baillieu Myer ac
Jane Morley
Carol & Andrew Crawford
Dennis & Fairlie Nassau
Sandra & Michael Paul Endowment
Judith Crompton
Nola Nettheim
Patricia H Reid Endowment Pty Ltd
J & P Curotta
Anthony Niardone
Ralph & Ruth Renard
Ian Davis
Paul O’Donnell
The Sandgropers
Michael & Wendy Davis
Ilse O’Reilly
Stephen Davis
James & Leo Ostroburski
Defiance Gallery
Anne & Christopher Page
Martin Dolan
Prof David Penington ac
Dr William F Downey
Lady Primrose Potter ac
Emeritus Professor Dexter Dunphy am
Beverley Price
Leigh Emmett
Mrs Tiffany Rensen
Ros Johnson John Karkar qc John Kench Julia Pincus & Ian Learmonth The Alexandra & Lloyd Martin Family Foundation
D N Sanders Jennifer Senior & Jenny McGee Petrina Slaytor John & Josephine Strutt Peter Tonagh Ralph Ward-Ambler am & Barbara Ward-Ambler
Peter Evans
Dr S M Richards am & Mrs M R Richards
Simon Whiston
Julie Ewington
Anna & Mark Yates
Ian Fenwicke & Prof. Neville Wills
Warwick & Jeanette Richmond In memory of Andrew Richmond
Anonymous (4)
Elizabeth Finnegan
Josephine Ridge
Bill Fleming
David & Gillian Ritchie
VIRTUOSO $1,000 – $2,499
Elizabeth Flynn
Roadshow Entertainment
Jennifer Aaron
Don & Marie Forrest
Em. Prof. A. W. Roberts am
AJ Ackermann
Anne & Justin Gardener
J. Sanderson
Aberfoyle Partners
Matthew Gilmour
In memory of H. St. P. Scarlett
Alceon Group
Colin Golvan qc
Lucille Seale
Annette Adair
Fay Grear
Gideon & Barbara Shaw
Antoinette Albert
Kathryn Greiner ao
Dr Margaret Sheridan
Jane Allen
In memory of José Gutierrez
Diana & Brian Snape am
Matt Allen
Gail Harris
Maria Sola
Philip Bacon am
Bettina Hemmes
Dr P & Mrs D Southwell-Keely 45
Keith Spence
Marie Dalziel
Greg Lindsay ao & Jenny Lindsay
Geoffrey Stirton & Patricia Lowe
Jill Davies
Dimitra Loupasakis
Dr Charles Su & Dr Emily Lo
Mari Davis
Megan Lowe
Tamas & Joanna Szabo
Dr Christopher Dibden
Dr & Mrs Donald Maxwell
Magellan Logistics Pty Ltd
Kath & Geoff Donohue
H E McGlashan
Victoria Taylor
In memory of Raymond Dudley
Suzanne Mellor
Jane Tham & Philip Maxwell
M T & R L Elford
Tempe Merewether
Robert & Kyrenia Thomas
Christine Evans
I Merrick
Anne Tonkin
Eddy Goldsmith & Jennifer Feller
Louise Miller
Angus Trumble
Penelope & Susan Field
John Mitchell
Ngaire Turner
Jean Finnegan & Peter Kerr
Cameron Moore & Cate Nagy
Kay Vernon
Michael Fogarty
John K Morgan
Rebecca & Neil Warburton
Brian Goddard
Simon Morris & Sonia Wechsler
Marion W Wells
George H. Golvan qc & Naomi Golvan
Julie Moses
Barbara Wilby
Prof Ian & Dr Ruth Gough
Elizabeth Manning Murphy
Gillian Woodhouse
Arnoud Govaert
Dr G Nelson
Nick & Jo Wormald
Grandfather’s Axe
J Norman
Harley Wright & Alida Stanley
Katrina Groshinski & John Lyons
Graham North
Don & Mary Ann Yeats am
Annette Gross
Robin Offler
William Yuille
Lesley Harland
Leslie Parsonage
Rebecca Zoppetti Laubi
Alan Hauserman & Janet Nash
Deborah Pearson
Anonymous (20)
Gaye Headlam
Robin Pease
CONCERTINO $500 – $999
Peter Hearl
Michael Peck
Mrs C A Allfrey
Kingsley Herbert
Kevin Phillips
Elsa Atkin am
Dr Penny Herbert in memory of Dunstan Herbert
Bernard Hanlon & Rhana Pike
Lachie Hill
GV Pincus
Marian Hill
Michael Power
Sue & David Hobbs
Beverly & Ian Pryer
Geoff Hogbin
Angela Roberts
How to Impact Pty Ltd
GM & BC Robins
Peter & Ann Hollingworth
Mrs J Royle
Pam & Bill Hughes
Garry Scarf & Morgie Blaxill
Prof Angela Hull ao
Boris & Jane Schlensky
Mrs Pat Burke
Dr & Mrs Michael Hunter
Berek Segan obe am & Marysia Segan
Hugh Burton-Taylor
Mary Ibrahim
John C Sheahan qc
Lynda Campbell
Dr Vernon & Mrs Margaret Ireland
Andrew & Rhonda Shelton
Heather Carmody
Dr Robert & Mrs Margaret Jackson
Sherborne Consulting
Helen Carrig & Ian Carrig oam
Dr Anne James & Dr Cary James
Florine Simon
J. M. Carvell
Owen James
Roger & Ann Smith-Johnstone
Nada Chami
Barry Johnson & Davina Johnson oam
Mary Stephen
Fred & Angela Chaney
Caroline Jones
Professor Fiona Stweart
Fred & Jody Chaney
Mrs Angela Karpin
Judy Ann Stewart
Dr Roger Chen
Bruce & Natalie Kellett
In memory of Dr Aubrey Sweet
Colleen & Michael Chesterman
Professor Anne Kelso ao
Barbara Symons
Richard & Elizabeth Chisholm
Graham Kemp & Heather Nobbs
Gabrielle Tagg
Stephen Chivers
Jacqueline & Anthony Kerwick
Arlene Tansey
Olivier Chretien
Karin Kobelentz & Miguel Wustermann
David & Judy Taylor
ClearFresh Water
Wendy Kozica & David O’Callaghan qc
Barrie & Jillian Thompson
Paul Cochrane
Ms Sarah R Lambert
Matthew Toohey
Warren & Linda Coli
Prof Kerry A Landman
G C & R Weir
Sally Collier
Philip Lawe Davies
Sally Willis
P. Cornwall & C. Rice
TFW See & Lee Chartered Accountants
Anonymous (24)
Annabel Crabb
Wayne & Irene Lemish
Sam Crawford Architects
David & Sandy Libling
Rita Avdiev A. & M. Barnes Tessa Barnett Robin Beech Elizabeth Bolton In memory of Peter Boros C Bower Denise Braggett The Hon. Catherine Branson & Dr Alan Down
46
Rosie Pilat
ACO CH A IR M A N’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 & Executive Director, Transfield Holdings Aurizon Holdings Limited Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management Mr John Borghetti Chief Executive Officer, Virgin Australia Mr Matt Byrne Director, ROVA Media Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Stephen & Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Dr Bob Every ao Chairman, Wesfarmers Ms Tracey Fellows Chief Executive Officer, REA Group Mr Bruce Fink Executive Chairman, Executive Channel Network
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 James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas Mr John Grill ao Chairman, WorleyParsons Mr Grant Harrod Chief Executive Officer, LJ Hooker Mr Richard Herring Chief Executive Officer, APN Outdoor Mrs Janet Holmes à Court ac
Ms Naomi Milgrom ao Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige Chief Executive Officer, Servcorp Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects 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 Simon & Mrs Katrina Holmes à Court Observant
Mr Paul Sumner Director, Mossgreen Pty Ltd
Mr John Kench Chairman, Johnson Winter & Slattery
Mr Mitsuyuki (Mike) Takada Managing Director & CEO, Mitsubishi Australia Ltd
Ms Catherine Livingstone ao Chairman, Telstra
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Mr Andrew Low
Mr David & Mrs Julia Turner
Mr David Mathlin
Ms Vanessa Wallace & Mr Alan Liddle
Ms Julianne Maxwell
Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Mr Michael Maxwell Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank
Mr Peter Young am & Mrs Susan Young
47
AC O GOV ER NMEN T PA R T NER S THE ACO THANKS ITS 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 Arts NSW.
QUEENSLAND REGIONAL TOURING PARTNER
The ACO’s Queensland regional touring is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.
AC O COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE
MELBOURNE DEVELOPMENT COUNCIL
EVENT COMMITTEES
Heather Ridout ao (Chair) Director, Reserve Bank of Australia
Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
SYDNEY
Debbie Brady
Sandra Ferman
Paul Cochrane Investment Advisor, Bell Potter Securities
Fay Geddes
Ann Gamble-Myer
Lisa Kench
Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings Bill Best Maggie Drummond Tony Gill Andrea Govaert John Kench Chairman, Johnson Winter & Slattery Jennie Orchard Tony O’Sullivan Peter Shorthouse UBS Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton
48
Colin Golvan qc
John Taberner (Chair) Lillian Armitage Judy Anne Edwards
Julie Goudkamp Elizabeth Harbison Julianne Maxwell Elizabeth McDonald
Shelley Meagher Director, Do it on the Roof
Catherine Powell
James Ostroburski Director, Grimsey Wealth
Liz Williams
Joanna Szabo Simon Thornton Partner, McKinsey & Co.
Nicola Sinclair Lynne Testoni Judi Wolf BRISBANE Philip Bacon Kay Bryan Andrew Clouston Ian & Caroline Frazer Cass George
DISABILITY ADVISORY COMMITTEE
Edward Gray
Amanda Tink Independent Consultant, Amanda Tink Consultancy
Wayne Kratzmann
Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts
Marie-Lousie Theile
Helen McVay Shay O’Hara-Smith Beverley Trivett Bruce and Jocelyn Wolfe
ACO PA R T NER S WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT PRINCIPAL PARTNER
FOUNDING PARTNER
NATIONAL TOUR PARTNERS
FOUNDING PARTNER: ACO VIRTUAL
OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
PERTH SERIES AND WA REGIONAL TOUR PARTNER
EVENT PARTNERS
49
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