ASQ Beethoven program

CONCERT FOUR 9 - 20 NOVEMBER 2013

WELCOME We are thrilled to officially welcome our new violinist Ioana Tache and cellist Sharon Draper to the Australian String Quartet. We’ve really enjoyed working with them both in various performances over the years and they have proven to be an exciting addition to the group over the last few months, performing in festivals, our National Composers' Forum and our previous national tour. We look forward to a exciting new National Season in 2014 full of repertoire that we can’t wait to perform together. You are here for the beginning of our venture - through which we aspire to make a long lasting, memorable and meaningful contribution to Australian music making.

Tonight’s program provides a formidable launching pad with masterworks from the beginning of the 19th century and the end of the 21st. Alfred Schnittke’s String Quartet no 3, from 1983 is quickly becoming a standard addition to a string quartet’s repertoire. Schnittke often borrows germs of music from various periods and styles and uses them as building blocks in an entirely different manner to their original. In the first eight bars for example, germs are introduced from Lassus' Stabat Mater, Shostakovich’s monogram DSCH

(D,Eb,C,B) and the first theme from Beethoven’s Grosse Fuge. These are developed, broken down and combined through the piece in a similar manner to Beethoven’s compositional techniques.

Nobody knows the full reasons why the normally uncompromising Beethoven would agree to remove the last movement of a work, let alone write a new Finale. However we will be playing the original version of Beethoven’s B flat String Quartet op 130 as it is one of the monumental peaks that a quartet can scale. The six movements are all linked yet starkly different and also hold great contrasts within themselves. The fifth movement Cavatina is a heartachingly beautiful sigh for humanity.

How can a composition continue after that? Beethoven’s answer was to add another 20 minutes of drama to the quartet, taking all the previous material and stretching it and the players to their limits. This is the Grosse Fuge, a fitting conclusion to one of the most significant quartet works of all time.

AUSTRALIAN STRING QUARTET

Elder Conservatorium of Music

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Delivering over 130 years of music excellence The Elder Conservatorium of Music is one of Australia’s oldest and most distinguished tertiary music schools. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts.

Home to the ASQ—our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.

Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts.

Visit our website to learn more about the program of events, and broad range of certificates, diplomas, undergraduate and postgraduate degrees in varied specialisations.

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PROGRAM Schnittke / String Quartet no 3 Interval Beethoven / String Quartet op 130 and Grosse Fuge

DATES Maroochydore Saturday 9 November University of the Sunshine Coast Innovation Centre Auditorium Brisbane Monday 11 November Conservatorium Theatre, South Bank Sydney Tuesday 12 November City Recital Hall Angel Place Melbourne Wednesday 13 November Melbourne Recital Centre Perth Monday 18 November Perth Concert Hall Adelaide Wednesday 20 November Adelaide Town Hall Join us for our 2014 National Season.

Visit asq.com.au for more information or call 1800 040 444 to receive a brochure.

AUSTRALIAN STRING QUARTET Kristian Winther - Violin Ioana Tache - Violin Stephen King - Viola Sharon Draper - Cello

With a rich history spanning 28 years, the Australian String Quartet (ASQ) has established a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad.

One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years.

The Quartet is frequently broadcast on ABC Classic FM and records regularly for public release. The Quartet’s 2014 projects begin with John Adams' Australian premiere of Absolute Jest with the Sydney Symphony Orchestra in February.

Other annual projects beyond the National Season include its own flagship festivals in the Southern Grampians and Margaret River, regional touring and invitations to perform at leading Festivals across Australia.

As advocates for Australian music, the Quartet delivers an annual forum for emerging composers and regularly commissions, showcases and records new Australian work. Its education program extends beyond workshops and masterclasses to include the Quartet Project – a national mentoring program for emerging quartets.

The members of the ASQ are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite Italian instruments were brought together through the vision of Ulrike Klein. The instruments are on loan to the Australian String Quartet for their exclusive use through the generosity of Ulrike Klein, Maria Myers and a group of donors who have supported Ngeringa Arts to acquire the viola.

INTRODUCING OUR NEW MEMBERS The Australian String Quartet is delighted to welcome:

Ioana Tache – Violin

Sharon Draper – Cello

Born in Belgrade, Ioana immigrated to Australia in 1998 where she commenced her orchestral and chamber music training. Studying at the Victorian College of Arts Secondary School from 2004 - 2010, she received a number of awards, including the John Hopkins Award and was finalist in a number of prestigious competitions. From 2008 - 2011, she was principal second violin with the Melbourne Youth Orchestra.

Born in Melbourne, Sharon studied at Melbourne University and ANAM, and whilst studying played regularly with a number of Victorian orchestras. In 2009, she was a part of the ACO's Emerging Artists' program, and has since toured extensively with that orchestra. In 2008 Sharon was appointed a position with the Melbourne Symphony Orchestra, which she held until 2013.

In 2011, Ioana began studying with William Hennessy at the Australian National Academy of Music where she has collaborated with Anthony Marwood, Pekka Kuusisto, Richard Tognetti, Dale Barltrop, Daniel Harding, James Judd, Paul Daniel, Johannes Moser, leading the ANAM Orchestra with soloists Nicolas Altstaedt and Paavali Jumppanen.

While at ANAM Ioana was chosen with her quartet to perform at the Perth Festival as part of the Quartetthaus season and to collaborate with the Brodsky Quartet performing Shostakovich’s 14th quartet with cellist Jacqueline Thomas.

In 2012, as a recipient of the MSO Friends’ Travel Scholarship, Sharon spent a year in Berlin studying with Professor Wolfgang Emanuel Schmidt and Nicolas Alsteadt, as well as freelancing with the Mahler Chamber Orchestra and Spira Mirabilis Chamber Orchestra.

Sharon has performed as a soloist with many orchestras including Orchestra Victoria, the Melbourne Chamber Orchestra, Melbourne Youth Orchestra and ANAM. Sharon also teaches and tutors ensembles and has been a guest chamber music tutor at ANAM. In 2009 she formed the Hopkins String Quartet which has a regular series at the Melbourne Recital Centre and Stones of the Yarra Valley.

Guadagnini Quartet Project

The members of the Australian String Quartet are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts.

The instruments are currently on loan to the Australian String Quartet from Ulrike Klein, Maria Myers and Ngeringa Arts.

In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete, it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity.

Already, through the generosity of its donors, Ngeringa Arts has acquired the viola and the Board would particularly like to thank and acknowledge the following patrons who have each made a significant contribution: Lyndsey & Peter Hawkins Joan Lyons Hartley Higgins Mrs F.T. MacLachlan OAM Jari & Bobbie Hryckow Diana McLaurin Klein Family Foundation Anonymous (1)

History-making endeavors like the Guadagnini Quartet Project are born from passion.

To succeed, Ngeringa Arts needs the involvement of visionaries who also recognise the significant cultural value in a collection of this calibre. Please join Ngeringa Arts in building this extraordinary musical legacy and be part of the donor circle that is committed to acquiring the cello.

To donate go to www.ngeringaarts.com For more information contact Alison Beare, General Manager, Ngeringa Arts, P: (08) 8227 1277 E: Alison@ngeringaarts.com

ALFRED SCHNITTKE Alfred Schnittke (1934-1998) String Quartet no 3

Andante Agitato Pesante It is too easy to see Alfred Schnittke as the heir to Shostakovich. Born in the then Soviet Union in 1934 to German parents, the younger composer’s interest in the experimental techniques of Western European music – not to mention political attitudes that conflicted with the party line – earned him official denunciations as early as 1958. In that year his cantata Nagasaki was roundly condemned by the Union of Composers. Even the comparative thaw of the Khrushchev period didn’t stop Schnittke’s Symphony no 1 from being effectively black-banned in 1974

by Shostakovich’s nemesis, the allpowerful (until his recent death) Tikhon Khrennikov. But as with Shostakovich, Schnittke’s talent was recognized by the regime, and he was frequently employed to write music for the Soviet film industry. On the one hand he carried on his exploration of forbidden practices like twelve-note serial composition in secret, while developing a flexible and powerful composition technique in his film scores.

In the 1960s and 70s he systematically explored what he was to call a ‘polystylistic’ approach to composition, creating musical drama by the sudden juxtaposition of radically different stylistic gestures. In these works there

is tonal and atonal material, fixed and random passages, original music by Schnittke offset by quotations from the work of other composers. This has been interpreted as a reflection of the spiritual state of the individual in a repressive society, but technically it has obvious parallels with the film technique of jump-cutting.

By the time he came to compose his third String Quartet in 1983, Schnittke’s mastery of the ‘polystylistic’ manner was complete as is clear from the opening moments of the work. The first music we hear is a short phrase (a cadential, or closing, formula) from the Stabat Mater of the Renaissance master Orlandus Lassus. This simple, stable gesture is succeeded by a fragment of Beethoven’s Grosse Fuge whose angularity is deliberately reminiscent, in this context, of Shostakovich. The chromaticism of this theme soon leads to a gnarl of dissonance and the literal dissolution of the music in downwardsliding glissandos. The opposition of the stable and the chaotic informs the whole piece: the second movement is in some ways a Mahlerian Ländler whose dance rhythms become nightmarishly obsessive and whose sudden changes of key are vertiginous. The Lassus/Beethoven pairing returns to centre stage in the final slow movement that begins with full chords, but which eventually peters out in exhaustion.

Gordon Kerry © 2007

C O N T I N U U M March 2014 Boccherini – Brahms – Stephen Whittington – George Crumb S P E E C H L E S S May 2014 Schubert – Berg – Mozart B O U N D L E S S August 2014

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National Season 2014 Passion, inspiration and outstanding musicianship ignite on stage for the Australian String Quartet’ National Season 2014. Join us for a season of diverse, challenging and sumptuous music brought to life by the new ASQ line-up on its exquisite set of Guadagnini instruments.

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LUDWIG VAN BEETHOVEN Ludwig van Beethoven (1770-1827) String Quartet in B flat major, op 130

Adagio ma non troppo – Allegro Presto Andante con moto ma non troppo Alla danza tedesca. Allegro assai Cavatina. Adagio molto espressivo Grosse Fuge for String Quartet in B flat major, op 133 Overtura: Allegro – Fuga A Russian nobleman and amateur musician, Prince Nikolai Galitzin, offered to commission up to three new quartets in 1822, and after a long initial delay, Beethoven found himself working almost involuntarily. The resulting five late quartets have at various times been written off as the result of Beethoven’s deafness and increasingly eccentric behaviour; other commentators have sought to present them as refuges of highly personal speculation. They are radical works and never easy listening, partly because Beethoven saw them (as much of his mature work) as having an important ethical function. Formally, he experiments with the number and relative weighting of movements. As in the Ninth Symphony he allows numerous styles to coexist in many of the works.

He uses numerous conventional devices, of which fugue is one, albeit pervasive, example and they are often subjected to stresses that display their limitations.

The philosopher Theodor Adorno’s interpretation is that these works expose the alienating emptiness of bourgeois society: the music of the ‘heroic’ period,

he argued, perfectly reflects society’s view of its balanced relationships between the individual and the many– a work like the ‘Emperor’ Concerto was just what Vienna ordered. In the late works, however, Beethoven exposes this ideal view as false consciousness and removes his personality from the music, unmasking the formal details of classicism as mere convention. In late Beethoven, he argued, what is expressed is the ultimate futility of expression.

This view is a result of Adorno’s particularly pessimistic Marxism, and takes little account of circumstances specific to Beethoven’s life. The onset of serious deafness around 1800 curtailed Beethoven’s activity as a virtuoso pianist; a second major crisis around 1817 – largely revolving around Beethoven’s painful fight for the custody of his nephew, made for a period of relatively few compositions. Adorno’s interpretation does bear examination, and alerts us to a shift in the social and ethical nature of ‘art’ music which takes place in Beethoven’s late work. It is, however, possible that these pieces represent the work of someone who could finally afford to be deaf to the knocking of fate at his door.

‘For him the crowning achievement of his quartet writing, and his favorite piece was the E flat Cavatina…He actually composed it in tears of melancholy and […] even thinking back to that piece cost him fresh tears’ Thus Beethoven’s friend Karl Holz on the pivotal movement of this most

LUDWIG VAN BEETHOVEN (cont) challenging work. Op 130 even today presents certain difficulties. Like its fellow works, it attempts to synthesis a variety of seemingly incompatible musical manners; it is a work of massive scale and complex construction; the circumstances of its composition and performance history reflect ambiguous attitudes on Beethoven’s, as well as posterity’s, part. When Beethoven heard that the first performers and audiences had found the Grosse Fuge baffling he abused them as ‘Cattle! Asses!’, but was sanguine enough about writing a new finale that we often hear in lieu of the fugue. The ‘German dance’ third movement, moreover, contains material originally destined for op 132, a work utterly different in character. ‘[Beethoven’s] improvisation was most brilliant and striking. Frequently not an eye remained dry, while many would break into loud sobs…He would burst into loud laughter and banter his hearers on the emotion he had caused in them.

“You are fools”, he would say…’’

Czerny’s anecdote provides an interesting slant on Beethoven’s character, particularly in the light of the composer’s claim to have been moved repeatedly to tears by the Cavatina movement of op 130. It may be that Beethoven saw a difference in kind between improvisation and composition –that emotive ‘tricks’ were just that, but could be used in the service of a loftier ideal in a rigorously composed music. Be that as it may, the melancholy of the Cavatina may be comforted by

the second-composed finale, but is completely, even brutally, swept away by the massive unisons and angular theme of the original finale – the Grosse Fuge.

By one of the many paradoxes that sustain late Beethoven, fugue is one of the most impersonal forms – giving some support to Adorno’s claim about the late quartets – and yet this movement could only have been written by Beethoven, and only then at this time in his career.

It has often been compared with J S Bach’s The Art of Fugue as it represents the compendium of a lifetime’s skill in writing counterpoint. Beethoven had studied the learned style under Albrechstberger, and like Mozart and Haydn he attended regular performances of Bach at the salon of Baron van Swieten in Vienna.

Bach’s is a theoretical work; Beethoven’s is not only a compendium of contrapuntal technique, but a tour de force of string quartet writing. He triumphantly unites one circumscribed form with his beloved variation technique, exploring every reach of the quartet’s emotional, textural and coloristic range.

Gordon Kerry © 2001/13

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10% OFF ThE BEST AVAILABLE RATE FOR ASQ MEMBERS* The Grand Hotel Melbourne is proud to be the preferred accommodation partner for the Australian String Quartet when they tour Melbourne throughout the National Season 2013.

As part of our partnership we are delighted to offer ASQ members 10% off the best available rate*.

To book please call 1300 361 455 and mention ASQ to take advantage of this offer, or email grandhotelmelbourne@accor.com

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*Offer valid until 31/12/13, subject to availability and not available over special event periods. Mention ASQ for discount.

DONORS

The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contribution remains anonymous.

The following donations reflect cumulative donations made from 2006 onwards.

All donations to the ASQ are tax deductible and can be made by phoning the ASQ on 1800 040 444.

$400,000 + Allan J Myers AO & Maria J Myers AO $300,000+ Hunt Family Foundation $50,000+ Clitheroe Foundation Lyndsey & Peter Hawkins Klein Family Foundation Michael Lishman $30,000+ Nicholas & Elizabeth Callinan Elizabeth Clayton Richard & Tess Harvey Janet and Michael Hayes Norma Leslie David and Pam McKee Peter and Pamela McKee Thyne Reid Foundation Peter and Melissa Slattery $20,000+ The Ian Potter Foundation Diana Ramsay AO DSJ $15,000+ John Clayton Bruce Debelle Josephine Dundon Robert Salzer Foundation $10,000+ Joan Lyons Macquarie Group Foundation Mrs ST McGregor Mrs Diana McLaurin $5,000+ Berg Family Foundation Michael J Drew Angela Flannery Dr EH & Mrs A Hirsch Mr S Johns M & F Katz Family Foundation Michael & Susan Kiernan

Mr Robert Kenrick The Hon Christopher Legoe Q.C. & Jenny Legoe Kevin Long P.M. Menz The Late Dame Elisabeth Murdoch AC DBE John O’Halloran Mrs Jane Porter Tony & Joan Seymour $2,000+ Don & Veronica Aldridge BJ & JM Barnwell Dianne Barron-Davis Graham & Charlene Bradley David Bright Alexandra & Julian Burt Ric Chaney & Chris Hair Jennifer & Stephen Charles John & Libby Clapp Geoff Clark Dr Peter Clifton David Cooke David Constable AM Maurice & Tess Crotti Dr Neo Douvartzidis John Funder & Val Diamond Higgins Coatings Pty Ltd Hillier Carter Properties Hilmer Family Foundation Janet Holmes à Court AC Keith Holt Brian L. Jones OAM Renata & Andrew Kaldor Kevin & Barbara Kane Rose Kemp Dr Robert Marin HE & RJ McGlashan Patrick & Kathie Moore Susan & Frank Morgan Mrs Frances Morrell Jenny Perry

Anita Poddar & Peter Hoffmann Patricia H Reid Susan M Renouf Trish & Richard Ryan AO Jeanette SandfordMorgan OAM Paul & Margarita Schneider Vivienne Sharpe Andrew Sisson Keith & Dianne Smith Dr Nigel & Mrs Chris Steele Scott OAM Elizabeth Syme Gary & Janet Tilsley Eng Seng Toh Marjorie White Ian Wallace & Kay Freedman Lyn Williams AM Janet Worth Annie & Philip Young Pamela Yule $1,000+ David & Liz Adams Peter Allan Angela & John Arthur Dr Reiko Atsumi Philip Barron Simon Bathgate Jean & Geoff Baulch Alison C Beare Candy Bennett Ms Baiba Berzins GC Bishop & CM Morony Heather Bonnin OAM Stephen & Caroline Brain Thomas Breen Pam Caldwell Colin & Robyn Cowan Robin Crawford & Judy Joye Marie Dalziel Rae De Teliga Jiri & Pamela Fiala

Margaret Flatman John & Carole Grace Philip Griffiths Architects Professor Keith Hancock Dr Penny Herbert in memory of Dunstan Herbert Jim & Freda Irenic Kevin & Barbara Jarry Lynette & Gregory Jaunay Rod & Elizabeth King Hon Diana Laidlaw AM Keith & Sue Langley Helen Lynch Simon Marks-Isaacs Rosemary McGlashan Phil & Helen Meddings Mrs Inese Medianik Susan & Frank Morgan Victor & Barbara Mulder Don & Jacquelyn Munro David Nelson Ken Nielsen Jonathon Nicholson John Overton John & Etelka Richards Chris & Fran Roberts Lesley Russell Jill Russell Michael & Chris Scobie Dick & Caroline Simpson Tony & Pamela Slater Nigel Stoke Sandra Stuart Carl Vine Ted & Robyn Waters Fay Zaikos $500+ Julie Almond David & Elaine Annear Terrey & Anne Arcus Mrs J Beare Stephen Block Andrew & Olga Buchanan David Bullen

Kate Bullen John & Christine Chamberlain Captain & Mrs DP Clarke Caroline & Robert Clemente TC and MR Cooney Alan Fraser Cooper Graham Dudley Ron & Dorothy Dyer Brian & Barbara Crisp Martin Dykstra Susan Fallaw Philip & Barbara Fargher Dieter Grant-Frost Dr & Mrs GC Hall Tim & Irena Harrington Graeme Harvey Mary Haydock Hartley Higgins David Hilyard Dr Anthony & Emily Horton Andrew & Fiona Johnston Stephen & Kylie King Wayne & Victoria Laubscher David Leece Edwina Lehmann David & Anne Marshall Ian and Margaret Meakin Mrs Rose McAleer John McKay & Claire Brittain Alison McIntyre James McLeod Dr Colin E Moore Mimi Murphy Derrick Nicholas Edward Nuffield Leon & Moira Pericles Sabine Pfuhl Basil Phillips Colin A Physick Graham & Robyn Reaney Ian & Gabrielle Reece Dr James Robinson Peter Rush Adrienne Shaw Antony & Mary Lou Simpson Mr. J. Standring Barbara Stodart James Syme Brian & Robyn Waghorn

Jenny Wily & Adrian Hawkes Peter Wilkinson Pat & Rosslyn Zito $100+ Bill Anderson Kelly Ainsworth Marion R Allen Susan Armitage Suzanne Atkins Merrawyn Bagshaw Wilma Bajka-van velze Patricia Barker Joy Barrett-Lennard Mrs Jillian Beare Mr & Mrs Peter & Alison Beer Iain Berriman Helen Biar Mrs Joyce Billings Wendy Birman Michael Bland John Blattman Professor John Bradley Sue Bratasiuk Max & Elizabeth Bull Pip Burnett Mr Gary Byron Lyndie & Tim Carracher Don Carroll Mrs Ann Caston Richard & Lina Cavill Max & Stephanie Charlesworth Peter Cleary Greg Coulter & Carolyn Polson Mrs Margaret Daniel OAM Susan Davidson Mr John Forsyth Dr H Eastwell Mrs Alexandra Elliott Mrs Judy Flower Helen Forrester Pamela Foulkes Richard Frolich Christopher Fyfe Ross & Jen Gallery Miss Elizabeth Garran The Allen G Garrett Trust Prof. Robert Gilbert Margrette Glynn Dr Joan Godfrey Ross Grainger

Jan Grant H.P. Greenberg Helen Greenslade Roz Greenwood & Marg Phillips Ms Margaret Gregory Jan Gross Reginald Grouse Angela Grutzner Tony Grybowski Des Gurry Geoff Hashimoto Geoffrey F Hayes Mrs Helen Healy Laurie & Philippa Hegvold Mr Trevor Henry Mr Dennis Henschke Emily Hunt Anthony Ingersent Vernon Ireland Robin Isaacs Ms Nola Jennings Merle Jones Joan Jones Mr Martin Keith Angus & Gloria Kennedy Nicholas Korner Anne Levy Ida Llewellyn-Smith Grant Luxton Margaret & Cameron MacKenzie Greg Mackie OAM Sheelagh Mahon Ian & June Marks Helen McBryde Duncan McKay Andrew McLeish Richard & Frances Michell Mrs Janice E Menz Ms Elizabeth Morris Hughbert Murphy June Nichols Lyn Nossal Mrs Mary O’Hara Lee Palmer Josie Penna The Rev Dr Philip Raymont Mr William Pick J & P Pincus Janice Pleydell J & M Poll

Mr Franz Pribil Dr Barbara Radcliffe William & Elizabeth Riedel Ms Chloe Roe Mrs Clare Rogers Jenny Salmon Meredyth Sarah AM Miss Judith Schroder Mrs Angela Skinner Judy Sloggett Elizabeth Smith Derek Smith Marilyn Smith Terrie Stoyel Natalie Sugden Dr G Straznicky Robyn Tamke Jolanta Targownik JJ & AL Tate Patricia Thorpe Michael Tingay Brian Vogt Professor Ray Wales Eric Wegman Jeffrey Whitford Ian & Hannah Wilkey Jenny Wilson Mr David Young Sarah Yu Silvana Zerella

MUSIC LIBRARY FUND The ASQ greatly appreciates the support of the following patrons who have generously contributed to the acquisition of musical works to establish and build the ASQ’s own music library.

Mr RS Divall Carole & John Grace Roz Greenwood & Marg Phillips Janet & Michael Hayes Mrs Diana McLaurin Gary & Janet Tilsley

10% off The beST AvAiLAbLe RATe foR ASQ MeMbeRS* The Sebel Maroochydore is delighted to be the preferred accommodation partner for the Australian String Quartet as they tour the Sunshine Coast throughout the National Season 2013.

We would like to extend a special offer of 10% discount to ASQ members to enjoy their stay with us.

Bookings can be made by contacting 07 5479 8000 or email: H8793@accor.com and mention ASQ to take advantage of this offer.

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