TARRAWARRA FESTIVAL 23–24 FEBRUARY 2019
EVENT PARTNER
PRINCIPAL PARTNER
Performance photos: Zan Wimberley Louise Hearman, installation view, TarraWarra Museum of Art, 2017. Museum of Contemporary Art Australia Touring Exhibition.
WELCOME
Welcome to the 2019 TarraWarra Festival. The Festival has become a highlight of the ACO’s year and we are delighted to be back. This year’s program features both old and new works in signature ACO style, and highlights the musicians as an ensemble as well as soloists. We are proud of our ongoing relationship with ANAM and pleased to have students joining us again this year for the third concert and Masterclass on Sunday.
Cover photo: John Gollings / Photo: Daniel Boud
We are surrounded in the museum by the artworks of Joy Hester and Patricia Piccinini. Exploring love, intimacy and relationships, the works of these two Australian artists complete the immersive cultural experience that makes the TarraWarra Festival unique. On behalf of everyone at the ACO, I extend our warmest thanks to our generous hosts, Eva Besen ao and Marc Besen ac, for making this experience possible for us all. Of course, the weekend would not be complete without the coming together of so many of our key patrons, and we thank you all for your continued support.
Richard Evans Managing Director, ACO 1
TARRAWARRA MUSEUM OF ART
TarraWarra Museum of Art recognises and values the Wurundjeri people of the Kulin Nation as the original custodians of the lands and waters on which the Museum stands. Designed by acclaimed Australian architect Allan Powell, TarraWarra Museum of Art opened in December 2003, winning the Premier’s Design Award in 2004. Not only did the founding patrons Eva Besen ao and Marc Besen ac gift the building that houses the Museum, they also donated a significant proportion of their collection of modern and contemporary Australian art for the enjoyment of the public.
We value our non-urban environment the immersive atmosphere of which provides a retreat for the imagination, and we actively engage with the rich Indigenous culture of the Yarra Valley. The Museum provides artists, thinkers and visitors with the opportunities to actively participate in the world around them.
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Photo: Redfish Bluefish Photographic
Building on the Eva and Marc Besen gift, TarraWarra Museum of Art actively engages with art, place and ideas, where unexpected links between contemporary art and modernism are presented within global, national and Indigenous contexts.
OVERVIEW
TarraWarra Festival DAY 1
SATURDAY 23 FEBRUARY
12.30PM
CONCERT 1
P. 6
BACH The Art of Fugue, BWV1080: Contrapunctus I-IV HANDEL Concerto Grosso in A major, Op.6, No.11 BACH (arr. Labadie) Goldberg Variations, BWV988: Selections
12´
6.00PM
P. 8
CONCERT 2
17´ 30´
CAROLINE SHAW Entr’acte 11´ PE�TERIS VASKS 32´ Concerto for Violin and String Orchestra “Distant Light” Interval 31´ SCHOENBERG Verklärte Nacht, Op.4
DAY 2
SUNDAY 24 FEBRUARY
11.00AM
MASTERCLASS
P. 10
BRAHMS String Sextet No.1 in B-flat major, Op.18: I. Allegro ma non troppo 2.30PM
CONCERT 3
BRAHMS String Sextet No.1 in B-flat major, Op.18: I. Allegro ma non troppo Frank PROTO (arr. Bibeau) Sonata ‘1963’ SZYMANOWSKI (arr. Tognetti) String Quartet No.2, Op.56
P. 11 15´ 13´ 20´
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
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SATURDAY 23 FEBRUARY, 12.30PM
Concert 1 Richard Tognetti Director and Violin Helena Rathbone Violin Julian Thompson Cello Australian Chamber Orchestra
mins
BACH The Art of Fugue, BWV1080: Contrapunctus I-IV
12
HANDEL Concerto Grosso in A major, Op.6, No.11
17
BACH (arr. Labadie) Goldberg Variations, BWV988: Selections
30
The concert will last approximately one hour.
PATRICIA PICCININI The Lovers 2011 fibreglass, automotive paint, leather, scooter parts 202 x 205 x 130 cm Art Gallery of South Australia, Adelaide Roy and Marjory Edwards Bequest Fund with the assistance of Colin and Robyn Cowan through the Art Gallery of South Australia Foundation 2011 Courtesy the artist, Tolarno Galleries, Melbourne and Roslyn Oxley9 Gallery, Sydney 4
WHAT YOU’RE ABOUT TO HEAR
“For all their complexity, the variations flow with a unique sense of coherence and inevitability”
The first concert in this year’s TarraWarra Festival celebrates three crowning jewels of Baroque music by the era’s two leading composers: George Frideric Handel and Johann Sebastian Bach. The Art of Fugue, composed in the last decade of Bach’s life, is a large-scale work of incredible ingenuity based on a single theme, and a summation of the composer’s knowledge of counterpoint and fugal writing, of which history has seen no finer exponent. It is not known what instruments Bach had in mind for performance, and some have concluded that it may be a theoretical piece, intended only as a manual of how to master this abstract form. Handel is one of the few Baroque composers who could be said to be in Bach’s league, with Bach himself saying that Handel was “the only person I would wish to see before I die, and the only person I would wish to be, were I not Bach.” His Concerto Grosso in A major, Op.6, No.11 is part of a set of 12 composed over the course of just a few weeks, each inspired by the concerti grossi of Arcangelo Corelli and Francesco Geminiani. Bach’s Goldberg Variations were published in 1741 but fell into relative obscurity until the 20th century when it was brought to fame by the pianist Glenn Gould. It is the most ambitious solo keyboard work written before Beethoven, opening with a gentle sarabande Aria, followed by 30 diverse variations – not on the Aria’s melody, but its bass line. In the final variation, Bach quotes two German folk songs, demonstrating that the variations are far from theoretical (as The Art of Fugue might be), but firmly rooted in the idea that music should be enjoyed. For all their complexity, the variations flow with a unique sense of coherence and inevitability, and possess an emotional depth that transcends all analysis. 5
SATURDAY 23 FEBRUARY, 6.00PM
Concert 2 Richard Tognetti Director and Violin Australian Chamber Orchestra
mins
CAROLINE SHAW Entr’acte
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PE�TERIS VASKS Concerto for Violin and String Orchestra “Distant Light”
32
INTERVAL
20
SCHOENBERG Verklärte Nacht, Op.4
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The concert will last approximately one hour and 35 minutes, including a 20-minute interval.
PATRICIA PICCININI Kindred 2018 silicone, fibreglass, hair 103 x 95 x 128 cm The Michael and Janet Buxton Collection, Melbourne Courtesy the artist, Tolarno Galleries, Melbourne and Roslyn Oxley9 Gallery, Sydney 6
WHAT YOU’RE ABOUT TO HEAR
“See how brightly the universe shines! Everything is gleaming!”
The second concert in this year’s Festival is a journey backwards through time, space and light. We open with Caroline Shaw’s Entr’acte for string orchestra. Originally composed for string quartet in 2011, she arranged it for string orchestra in 2014 and it has since become one of her most performed works, entering the mainstream via the American series Mozart in the Jungle. Shaw writes that the Entr’acte is structured like a minuet and trio (inspired by Haydn’s Op.77, No.2), “riffing on that classical form but taking it a little further. I love the way some music suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.” On the other side of Alice’s looking glass we find the soulful music of Latvian composer Peˉteris Vasks. He says, “most people today no longer possess beliefs, love and ideals. The spiritual dimension has been lost. My intention is to provide food for the soul”. Vasks’ music is an enduring pledge of service to humanity, positioning ideals like beauty, faith and joy in opposition to repression and violence, with this conflict represented through harmony, aleatory and the sheer texture of sound. What is the “Distant Light” that gives this 1997 violin concerto its title? “Childhood memories”, says Vasks, “but also the glittering stars, millions of light years away.” Under this starry night sky, two lovers walk through a dark forest in the moonlight. The woman shares a dark secret: she is carrying the child of another man. So goes Richard Dehmel’s poem, set to music by Arnold Schoenberg in 1899. Schoenberg, over the course of 30 minutes of exquisitely written music, paints the scene vividly: from the sadness of the woman’s confession, to the warm sense of forgiveness in its finale. “See how brightly the universe shines! Everything is gleaming!” 7
SUNDAY 24 FEBRUARY, WHAT11.00AM YOU’RE ABOUT TO HEAR
Masterclass Helena Rathbone leads a sextet of ACO and ANAM musicians in preparation for this afternoon’s concert. BRAHMS String Sextet No.1 in B-flat major, Op.18: I. Allegro ma non troppo Led by Helena Rathbone Violin Ida Bryhn Viola Melissa Barnard Cello Johnny van Gend Violin* Cora Fabbri Viola* David Moran Cello*
*Courtesy of ANAM
The Australian National Academy of Music (ANAM) is dedicated to the artistic and professional development of the most exceptional young classical musicians from Australia and New Zealand. It is a place in which musicians fulfil their potential as music leaders, distinguished by their skill, imagination and courage, and by their determined contribution to a vibrant music culture. The only professional performance training institute in Australia, and one of the few in the world, ANAM musicians learn and transform through public performance. During the year, ANAM invites an impressive list of national and international guest artists to work with its esteemed Faculty and musicians to present over 180 events including concerts, masterclasses and discussions. With an outstanding track record of success, ANAM alumni regularly receive major national and international awards, and are currently working in orchestras and chamber ensembles around the world, performing as soloists, and contributing to educating the next generation of musicians. ANAM aims to inspire these future music leaders and encourages audiences to share the experience.
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SUNDAY 24 FEBRUARY, 2.30PM
Concert 3 Richard Tognetti Director Maxime Bibeau Principal Double Bass Australian Chamber Orchestra With musicians from
Australian National Academy of Music mins BRAHMS String Sextet No.1 in B-flat major, Op.18: I. Allegro ma non troppo
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FRANK PROTO (arr. Bibeau) Sonata ‘1963’
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SZYMANOWSKI (arr. Tognetti) String Quartet No.2, Op.56
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The concert will last approximately one hour.
“Brahms revelled in the opportunity to harness extra instruments to provide an extra bass and harmony”
The third concert in this year’s Festival forges colourful interactions between musicians, from the finesse of Brahms’s first sextet performed with musicians from ANAM, to the jazzy solos of Frank Proto’s Sonata ‘1963’ arranged by the ACO’s Maxime Bibeau, to the shimmering brilliance of Szymanowski’s Second String Quartet arranged by Richard Tognetti. Brahms was 27 when he wrote his first sextet. While some composers would have stayed away from such an ensemble (instead favouring the hallowed string quartet genre), the young Brahms revelled in the opportunity to harness extra instruments to provide an extra bass and harmony. Written in the summertime while vacationing on the banks of the Elbe, there 9
WHAT YOU’RE ABOUT TO HEAR
“Proto had to rely on musical instincts developed while playing double bass in New York City nightclubs”
are subtle hints of the sweetness found in much of Vienna’s traditional music, but the music remains unmistakably Brahmsian in its noble seriousness. Sonata ‘1963’ was written to fill out Frank Proto’s own graduation recital program at the Manhattan School of Music. Having not had any formal training in composition, Proto had to rely on musical instincts developed while playing double bass in New York City nightclubs. He has spoken of being particularly inspired by hearing Bill Evans and his bassist, Scott LaFaro at The Village Vanguard around 1960. “I can now look back and see where the first two movements had their seeds planted. The little repeated eighth-note vamp that accompanies the melody in the first movement … comes from some of the same kind of accompaniments that Bill used for his own melodic excursions. The feeling of the pizzicato second movement probably wouldn’t have happened if I hadn’t heard Scott.” Szymanowski’s Second String Quartet was composed in 1927, the year following the premiere of his great opera King Roger, and a time when Szymanowski was re-discovering his appreciation for Polish folk music. It makes use of Polish folk idioms without quoting actual folk melodies, and boasts some of the 20th century’s finest writing for stringed instruments, such that the quartet remains one of Richard Tognetti’s very favourite works.
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THE EXHIBITION
WHAT YOU’RE ABOUT TO HEAR
Patricia Piccinini & Joy Hester: Through love ... Curated by Victoria Lynn Until 11 March 2019 Patricia Piccinini & Joy Hester: Through love ... reveals the shared explorations of love, intimacy and relationships in the work of two of Australia’s most exceptional artists. Patricia Piccinini’s early practice was profoundly influenced by the work of Joy Hester. Hester’s expressionistic, blended figures, drawn with ink on paper, often share an eye, mouth or shoulder while Piccinini’s works intermingle human, non-human and hybrid forms. The works in this exhibition share an interest in various kinds of love as expressed through the pairing of male and female; mother and child; child and animal; and animate and inanimate forms. Love is seen as complex, intimate and entangled. This exhibition presents more than 50 works, including a major new sculpture by Piccinini and rarely seen works by Hester, that show the incredible spectrum of human and non-human relationships. Coinciding with TarraWarra Museum of Art’s 15th anniversary, Through love ... continues the Museum’s aim of connecting with the history of modernism through the filter of contemporary art. Through love ... is made possible thanks to the generous support of major exhibition partner, The Balnaves Foundation, whose ongoing partnership has enabled TarraWarra Museum of Art to present ambitious summer exhibitions over the past three years.
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JOY HESTER Love c. 1949 brush and ink and pastel on paper 54 x 36.3 cm TarraWarra Museum of Art collection Gift of Eva Besen ao and Marc Besen ac Donated through the Australian Government's Cultural Gifts Program 2015 Š Joy Hester/Copyright Agency, 2018
PATRICIA PICCININI Sanctuary 2018 (detail) silicone, fibreglass, hair, graphite on paper and digital wall print dimensions variable Courtesy the artist, Tolarno Galleries, Melbourne and Roslyn Oxley9 Gallery, Sydney
THE MUSICIANS
Richard Tognetti Artistic Director & Lead Violin Richard Tognetti is the Artistic Director of the Australian Chamber Orchestra. After studying both in Australia with William Primrose and Alice Waten, and overseas at the Bern Conservatory with Igor Ozim, he returned home in 1989 to lead several performances with the ACO and was appointed the Orchestra’s Artistic Director and Lead Violin later that year. He was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015. As director or soloist, Richard has appeared with many of the world’s leading orchestras, and in 2016 was the first Artist-in-Residence at the Barbican Centre’s Milton Court.
Richard was appointed an Officer of the Order of Australia in 2010, holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on the 1743 ‘Carrodus’ Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.
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Photo: Andrew Quilty
Richard is also an acclaimed composer, having curated and co-composed the scores for the ACO’s documentary films Mountain, The Reef and Musica Surfica. In addition, he co-composed the scores for Peter Weir’s Master and Commander: The Far Side of the World and the soundtrack to Tom Carroll’s film Storm Surfers.
THE MUSICIANS
Helena Rathbone Principal Violin Helena Rathbone is Principal Violin with the Australian Chamber Orchestra. She started the violin with the London Suzuki group, and went on to study at the Royal College of Music with Dona Lee Croft and the Guildhall School of Music & Drama with David Takeno. Before her appointment as ACO Principal Second Violin in 1994, Helena was Principal Second Violin with the European Community Chamber Orchestra and played regularly with ensembles including the Academy of St Martin in the Fields.
Photo: Ben Sullivan
Helena regularly performs as a soloist and guest leader with the ACO. In addition, she is the Orchestra Representative and Mentor for the ACO’s Emerging Artists Program, and from 2006 to 2015 was Director and Leader of the ACO’s regional touring and education ensemble, ACO Collective. Helena has performed as Guest Concertmaster with many orchestras including the Mahler Chamber Orchestra. She is a sought after chamber musician and has performed at numerous music festivals around the world, such as IMS Prussia Cove in Cornwall. She has also been involved with the Australian Youth Orchestra as a tutor and chamber orchestra director. Helena plays on a 1759 JB Guadagnini violin on loan from the Commonwealth Bank of Australia. 15
THE MUSICIANS
Maxime Bibeau Principal Double Bass French-Canadian Maxime Bibeau is Principal Double Bass of the Australian Chamber Orchestra. He completed his undergraduate degree at the Conservatoire de Musique du Québec in Montréal and received his Master of Music from Rice University in Houston with Timothy Pitts and Paul Ellison. As a student, Max has appeared at numerous music festivals worldwide and nowadays regularly performs as a guest artist with orchestras both in Australia and overseas.
As an educator, he has been involved with the Australian Youth Orchestra, Sydney Youth Orchestra, University of NSW, Australian National Academy of Music, and as a lecturer at the Sydney Conservatorium of Music. Max plays a late-16th-century Gasparo da Salò double bass, kindly made available to him by anonymous Australian benefactors. 16
Photo: Ben Sullivan
Max’s solo performances with the ACO include Bottesini’s Gran Duo Concertante with Stefan Jackiw, Mozart’s Per questa bella mano with Teddy Tahu Rhodes, and Piazzolla’s Kicho, Contrabajeando and Contrabajissimo. He has also premiered James Ledger’s Folk Song, Matthew Hindson’s Crime and Punishment, Elena Kats-Chernin’s Singing Trees, Joe Chindamo’s Five Revelations for double bass and strings and most recently Missy Mazzoli’s Dark with Excessive Bright, which was specially commissioned to mark his 20-year anniversary with the ACO in 2018.
THE MUSICIANS
Julian Thompson Cello Julian Thompson is a cellist with the Australian Chamber Orchestra. He is in much demand as a recording artist and his solo cello performances can be heard in films including Sherpa, Tanna, and Miracle on Everest, and were featured in Sydney Dance Company productions ab [intra] and 2 One Another. He recorded the solo cello Yidaki parts on Gurrumul’s ground-breaking album Djarimirri, which went on to become the first recording in an indigenous language to reach No.1 on the Aria charts and won Best World Music Album at the 2018 ARIA Awards. In 1999 Julian won the Best World Music Album ARIA Award for Fyvie’s Embrace. Julian is a Fulbright Scholar and completed a Master of Music Degree in the USA, studying with Janos Starker and Tsuyoshi Tsutsumi. He also studied at the Australian National University and the Australian National Academy of Music with Lois Simpson and David Pereira.
Photo: Ben Sullivan
As the ACO’s Education Representative, Julian has been deeply involved in the creation and development of the ACO’s extensive education programs. He performs regularly with the Australian World Orchestra, the Sydney Symphony Orchestra and has appeared as soloist with the Canberra and Adelaide symphony orchestras. Julian is currently the custodian of a beautiful 1729 Guarneri cello, generously gifted to the ACO by Peter Weiss. 17
THE MUSICIANS
Australian Chamber Orchestra “The Australian Chamber Orchestra is uniformly high octane, arresting and never ordinary.” THE AUSTRALIAN
The Australian Chamber Orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in a history spanning more than four decades, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations. Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts each year. Whether performing in Manhattan, New York, or Wollongong, the ACO is unwavering in their commitment to creating transformative musical experiences. The Orchestra regularly collaborates with artists and musicians who share their ideology, from instrumentalists, to vocalists, to cabaret performers, to visual artists and film makers. In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Recent releases include Water | Night Music, the first Australian-produced classical vinyl for two decades, Heroines, recorded with Australian soprano Nicole Car, and the soundtrack to the acclaimed cinematic collaboration, Mountain. aco.com.au
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MUSICIANS ON STAGE
Richard Tognetti 1 Director and Violin
Helena Rathbone 2 Principal Violin
Ilya Isakovich Violin
Liisa Pallandi Violin
Chair sponsored by Wendy Edwards, Peter & Ruth McMullin, Louise Myer & Martyn Myer ao, Andrew & Andrea Roberts.
Chair sponsored by Kate & Daryl Dixon.
Maja Savnik 3 Violin
Ike See 4 Violin
Ida Bryhn Guest Principal Viola
Nicole Divall Viola
Chair sponsored by Alenka Tindale.
Chair sponsored by Di Jameson.
Chair sponsored by peckvonhartel architects. Ida appears courtesy of Norwegian Chamber Orchestra.
Chair sponsored by Ian Lansdown.
Chair sponsored by The Melbourne Medical Syndicate.
Musician photos: Daniel Boud
Musicians from Australian National Academy of Music (ANAM) Melissa Barnard Cello
Julian Thompson 5 Cello
Maxime Bibeau 6 Principal Bass
Chair sponsored by Dr & Mrs J Wenderoth.
Chair sponsored by The Grist & Stewart Families.
Chair sponsored by Darin Cooper Foundation.
Johnny van Gend Violin Cora Fabbri Viola David Moran Cello
1) Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2) Helena plays a 1759 Giovanni Battista Guadagnini violin kindly on loan from the Commonwealth Bank Group. 3) Maja plays the 1714 ‘ex-Isolde Menges’ Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 4) Ike plays a 1590 Brothers Amati violin kindly on loan from the ACO Instrument Fund. 5) Julian plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesú, kindly donated to the ACO by Peter Weiss ao. 6) Max plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.
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THE ARTISTS
Patricia Piccinini Patricia Piccinini (b. 1965) is a renowned contemporary Australian artist whose work encompasses sculpture, installation, photography, video and drawing to examine the increasingly blurred boundary between the artificial and the natural and how this effects our relationship to our bodies, other people and creatures, and the environment. She began her career as co-founder of an artist-run space in Melbourne called the Basement Project. Within a few years, she was exhibiting her original and visionary works in Tokyo and Peru. In 2002, she held major exhibitions at the Australian Centre for Contemporary Art, Melbourne, and the Museum of Contemporary Art Australia, Sydney. She represented Australia at the 50th Venice Biennale in 2003. Since then, Piccinini has shown her work in numerous significant exhibitions throughout the world, including a major exhibition that toured in Brazil in 2015-16 and a retrospective at Queensland Art Gallery | Gallery of Modern Art, Brisbane in 2018.
She is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco.
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Photo: Alli Oughtred
Patricia Piccinini was born in Sierra Leone and lives and works in Melbourne.
THE ARTISTS
Joy Hester Joy Hester (1920–1960) was a member of the group of artists in Melbourne known as the Angry Penguins. Her work is characterised by the fluent use of brush and ink on paper and an expressionistic approach to figuration. Hester was part of the ‘Heide circle’, and was particularly close to Sunday Reed who was something of a mentor to her. Unlike her male counterparts, she suffered a large degree of neglect as a female artist and as an artist who worked primarily with brush and ink. During her lifetime, Hester had three solo exhibitions: in 1950, 1953 and 1956. She was a foundation member of the Contemporary Art Society and exhibited often in its annual shows.
Photo: Albert Tucker
In 1963 the Reeds curated a retrospective of her work at the Museum of Modern Art and Design which they founded. In 1981 a survey of her work was shown at the National Gallery of Victoria and, in 2001, separate retrospective exhibitions of Hester’s work were held at the National Gallery of Australia and Heide Museum of Modern Art.
Albert Tucker Joy Hester at Watson’s Bay 1939 gelatin silver photograph 14.8 x 10.4 cm © Albert & Barbara Tucker Foundation. Courtesy of Sotheby’s Australia 21
ACKNOWLEDGMENTS
Thank you The ACO would like to sincerely thank Eva Besen ao and Marc Besen ac for their wonderful support of the TarraWara Music Festival. We thank all supporters of the TarraWarra Festival and the ACO’s National Patrons who make our programs possible. ACO Principal Partner
Event Partner
Patrons - National Education Program
Eva Besen ao & Marc Besen ac
Janet Holmes à Court ac
Trusts and Foundations
Holmes à Court Family Foundation
Government Partners
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The Ross Trust
Venue Partner
ACKNOWLEDGMENTS
ACO National Patrons The ACO pays tribute to all our generous donors who have contributed to our Learning and Engagement, Excellence, Instrument Fund, International Touring and Commissioning programs. 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. If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin, Director of Philanthropy, on (02) 8274 3835 or jill.colvin@aco.com.au The ACO thanks Dame Margaret Scott ac dbe for establishing the Dame Margaret Scott ac dbe Fund for International Guests and Composition $20,000+
$10,000–$19,999
Australian Communities Foundation – Ballandry (Peter Griffin Family) Fund
Robert Albert ao & Libby Albert Geoff Alder
Irina Kuzminsky & Mark Delaney
Karen Allen & Dr Rich Allen
Dr Catherine Brown-Watt psm & Mr Derek Watt
Liz & Walter Lewin
Allens – in memory of Ian Wallace
Anthony & Suzanne Maple-Brown
Steven Bardy & Andrew Patterson
Jennie & Ivor Orchard
Louise & Martyn Myer Foundation
Eureka Benevolent Foundation – Belinda Hutchinson am & Roger Massy-Greene
James Ostroburski & Leo Ostroburski
The Barbara Robinson Family
Rod Cameron & Margaret Gibbs
Margie Seale & David Hardy
Jane & Andrew Clifford
Rosy Seaton & Seumas Dawes
In memory of Wilma Collie
Tony Shepherd ao
Terry & Lynn Fern
E Xipell
Mr & Mrs Bruce Fink
Leslie C Thiess Peter Young am & Susan Young
Dr Ian Frazer ac & Mrs Caroline Frazer
Anonymous (1)
Leslie & Ginny Green
Anthony Strachan
John Griffiths & Beth Jackson
Susan Thacore
Tony & Michelle Grist
Pamela Turner
G B & M K Ilett
Shemara Wikramanayake
Miss Nancy Kimpton
Cameron Williams
Daniel & Helen Gauchat Jim & Averill Minto
Anthony & Sharon Lee Foundation
Sandra Plowman Bruce & Joy Reid Trust Angela Roberts Ryan Cooper Family Foundation Paul Schoff & Stephanie Smee Servcorp Jon & Caro Stewart
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ACKNOWLEDGMENTS
TarraWarra Museum of Art Sponsors Inaugural Foundation Supporter
Major Exhibition Partner
Major Sponsors
Major Partners
Education Program Supporters
Ullmer Family Foundation
Event Sponsors
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