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Is listening the first step to understanding?

In order to arrive at creative solutions to the many challenging questions facing us in today’s complex world, we must first open our minds and begin to listen. At PwC, we believe that listening is an art that helps us to fine tune our ideas and find the right notes. That’s why we’re proud to be the Principal Innovation Partner of the ACO.

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We just couldn’t keep this private. Commonwealth Private has been named the Most Outstanding Private Banking Institution in 2009 and 2010, the only bank to receive such an honour two years in a row. In addition Gary McMahon, one of our Senior Private Bankers, has also won the Most Outstanding Relationship Manager. We’ve been consistently voted No.1 because we have the banking and financial advisory expertise and commitment to help our clients achieve their financial goals. Whatever your requirements, Commonwealth Private brings you the full resources of the Bank. To find out what we can do for you, contact us today. Visit Call 1300 362 081

Important information: This information has been prepared by the Commonwealth Bank of Australia ABN 48 123 123 124 AFSL 234945. Commonwealth Private Ltd ABN 30 125 238 039 AFSL 314018 is a wholly owned and non-guaranteed subsidiary of the Commonwealth Bank of Australia. The services described are provided by a team consisting of Private Bankers who are representatives of the Commonwealth Bank of Australia and Financial, Investment and Insurance Advisers who are representatives of Commonwealth Private Ltd. Most Outstanding Private Banking Institution for 2009 and 2010 ($1 million-$10 million category) and Most Outstanding Relationship Manager 2010 as awarded by Australian Private Banking Council. CBABM1023


For almost 100 years, the Commonwealth Bank has been part of the life of communities across Australia, with programs covering everything from financial literacy to health, the arts, sport and social welfare. And of course we are proud to have partnered with the Australian Chamber Orchestra (ACO) for more than 20 years. Throughout our relationship we have been fortunate to witness this unique and modern Orchestra grow into a group that continues to push creative boundaries through its performances. The Commonwealth Bank Group’s support for the ACO reaches beyond our National Tour Partnership. We are also very pleased that a significant part of our art collection, a 1759 Guadagnini violin, is entrusted to the ACO. Tonight you will hear it played by Satu Vänskä, the ACO’s Assistant Leader. On behalf of the Commonwealth Bank Group, I hope you enjoy the very finest that the ACO has to offer with this Kreutzer vs Kreutzer concert.






This concert gives an oblique nod to a significant anniversary: the great Russian novelist Leo Tolstoy died a century ago, November 20, 1910. One wonders whether his novella The Kreutzer Sonata would still be so widely known had its working title — The Man Who Murdered His Wife — prevailed. But the connection with another great work, Beethoven’s 9th violin sonata, is more than peripheral: indeed, it allowed Tolstoy to make some remarkable and memorable claims on behalf of music.

Kreutzer vs Kreutzer

In Tolstoy’s novella, the chief protagonist murders his wife and the man with whom he suspects her of having an affair, their passion supposedly inflamed over a performance of Beethoven’s ‘Kreutzer’. Janᡠcek, however, sides with the murdered woman, his quartet giving voice to “the suffering of a passive, enslaved woman, beaten and tortured to death.” Beethoven begets Tolstoy, begets Janᡠcek. This concert marries these threads with a script by Laura Wade which delves into the gaps in Tolstoy’s story, and with performances of Richard Tognetti’s arrangements for string orchestra of Beethoven’s sonata and Janᡠcek’s quartet. Beethoven imagined no such dramas, still his sonata has also come to be associated with jealous intrigue, notably because he feuded with the work’s original dedicatee, George Bridgetower. In fact the only name missing from the drama surrounding these works is that of Kreutzer himself — a French violinist to whom Beethoven eventually dedicated the work, perhaps to curry favour with French audiences. Kreutzer declared the sonata unplayable, and never performed it.

Original script inspired by Tolstoy)

BEETHOVEN (arr. Tognetti) Violin Sonata No.9 in A major, Op.47, ‘Kreutzer’ Adagio sostenuto – Presto Andante con Variazioni Finale: Presto

JANÁČEK (arr. Tognetti) String Quartet No.1, ‘After Tolstoy’s The Kreutzer Sonata’ Adagio – Con moto Con moto Con moto – Vivo – Andante Con moto (Adagio) – Più mosso The concert will last approximately two hours including a 20-minute interval between the Beethoven and Janáček performances. ADELAIDE



Town Hall Tue 16 Nov 8pm

Town Hall Sun 14 Nov 2.30pm Mon 15 Nov 8pm

Angel Place Sat 20 Nov 8pm Tue 23 Nov 8pm Wed 24 Nov 7pm

BRISBANE QPAC Mon 22 Nov 8pm

NEWCASTLE City Hall Thu 11 Nov 7.30pm

CANBERRA Llewellyn Hall Sat 13 Nov 8pm

SYDNEY Opera House Sun 21 Nov 2.30pm

PERTH Concert Hall Wed 17 Nov 8pm

The Melbourne performances of this tour will be filmed for archival and promotional purposes and audio recordings of the City Recital Hall Angel Place performances will be made for future release.

The Australian Chamber Orchestra reserves the right to alter scheduled programs or artists as necessary. AUSTRALIAN CHAMBER ORCHESTRA 3

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Beethoven has inspired many of us to heights of emotion and passion, but only in the vivid imagination of Leo Tolstoy does his music incite murder. In the past, Richard Tognetti has introduced ex-musical elements into ACO concerts ranging from the captivating photography of Bill Henson to the edgy hilarity of Barry Humphries, but for this concert he unites two disparate masterpieces with a fascinating enactment of Tolstoy’s intense novella. The Commonwealth Bank has been one of the most enlightened and committed partners of the Australian Chamber Orchestra and over a period of more than two decades has supported the growth and development of the ACO into the ensemble which is cherished across the country and revered around the world. In addition to being the National Tour Partner for this exciting and creative program, the Commonwealth Bank is also the owner of the magnificent 1759 Guadagnini violin which is on loan to the ACO and being played by Assistant Leader Satu Vänskä in tonight’s concert. We are hugely grateful to the Commonwealth Bank for playing such a major part in the ACO’s life, enabling us to bring great music to the whole country and to represent Australia at its best on the international stage. As the end of the year comes into view, the ACO has one more treat before putting the Christmas turkey in the oven. Our annual weekend of concerts at Vasse Felix in the Margaret River region of Western Australia will take place from 3 to 5 December and is again looking like a sell-out with only a few tickets remaining on sale. This will be a last opportunity to catch Richard and the Orchestra in 2010 and we hope to see many familiar faces in the audience.

ACO ON THE RADIO ABC Classic FM 9 December, 1.05pm Delayed replay — Barefoot Fiddler concert (Patricia Kopatchinskaya & ACO). 17 December, 8pm Delayed replay — Richard Tognetti & WASO.








It’s all in the performance....


“Runge, helping the mining industry achieve excellence through innovation and creativity, is a proud supporter of the Australian Chamber Orchestra.”

PASSION  MUSIC  MURDER Laura Wade on writing scenes for Kreutzer vs Kreutzer Photo © Philip Hollis

Tolstoy’s novella, The Kreutzer Sonata, which took its title from the Beethoven sonata played during the story, itself inspired Janáček’s piece of the same name. I was asked to create a dramatic thread to link them together. Where to start? The Tolstoy is provocative: a single, uncontested voice (the murderer Pozdnyshev) discusses the dangers of women, sex and music; his wife and her lover (the violinist Trukachevsky) are never really given the chance to defend themselves. For a dramatist, unheard voices are an invitation. Two characters, then – a woman and a man – and a world of possibilities.

Further Reading Laura Wade’s published plays include Breathing Corpses (Oberon, 2005), Colder Than Here (Oberon, 2005), Other Hands (Oberon, 2006), Posh (Oberon, 2010) and Alice — a stage adaptation of Lewis Carroll’s Alice’s Adventures in Wonderland (Oberon, 2010).

Did she or didn’t she? Did the infidelity take place, or was everything the product of Pozdnyshev’s jealous imagination? Some may think Pozdnyshev is right to trust his instincts, that there’s no smoke without fire. Others might be incensed that he can’t understand the difference between a musical partnership and a sexual one. What did Janáček think? He was a man in love – and with a married woman careful of her honour. We know from his letters that he sympathised with Pozdnyshev’s wife. Perhaps he saw himself in the character of the musician and considered them both victims of circumstance. These scenes propose two different versions of what happened – one, as imagined by Pozdnyshev/Tolstoy, the other, as seen through Janáček’s eyes. Two parallel universes, the product of different choices made by the same two people. The truth may lie at either pole – or at any point in between. © LAURA WADE 2010


BEETHOVEN Violin Sonata No.9 in A major, Op.47, ‘Kreutzer’ Composed 1802–1803 Arranged for violin and string orchestra by Richard Tognetti

Adagio sostenuto – Presto Andante con Variazioni Finale: Presto

JANÁČEK String Quartet No.1, ‘After Tolstoy’s The Kreutzer Sonata’ Composed 1923 Arranged for string orchestra by Richard Tognetti

Adagio – Con moto Con moto Con moto – Vivo – Andante Con moto (Adagio) – Più mosso


Ludwig van Beethoven (b. Bonn, 1770 — d. Vienna, 1827) Beethoven is the archetypal troubled genius, a composer whose nine symphonies remain at the pinnacle of what can be achieved in that form. In 1810 the critic E.T.A. Hoffman named him as “one of the three great Romantic composers”. Now, most critics would hail him the greatest.

What is it about The Kreutzer Sonata? The story at the heart of this performance is a hall of mirrors: a distorted fictional reflection of a life (Tolstoy’s), containing the picture of a famous sonata (Beethoven’s – which has its own history of jealousy and anger). Both are finally mirrored by Janáček’s string quartet which reveals more about Janáček’s sympathies than it does about Tolstoy’s story. To add a further metafictional level, our concert adds its own gloss on the works: two dialogues which fill in a significant ellipsis in Tolstoy’s novella, one of which adheres to Tolstoy’s original, the other which sees the events in a different light. One story, two powerful works of chamber music, and as many interpretations as there are people in this audience. In the spring of 1803, violinist George August Polgreen Bridgetower (1780–1860) travelled to Vienna and met Ludwig van Beethoven, who dedicated a violin sonata – his penultimate – to the young musician. This sonata in A major, Op.47, is the one we know as the ‘Kreutzer’, but it wasn’t always so. Bridgetower is perhaps the most famous musician you’ve never heard of, though in his prime he was renowned in England and the Continent. In addition to his talent he


ACO Performance History Beethoven’s ‘Kreutzer’ Sonata, in this arrangement, was played in the ACO’s 2000 Subscription Series and has also been played on several international tours.

had another point of difference which excited audiences: he was black (actually, ‘mulatto’ – of mixed ancestry – in the parlance of the time). The exoticism of his background appealed to the fad for ‘Turkish’ and other non-European things, as if ‘Turkey’ was a region that extended from Hungary to Africa. Bridgetower, who styled himself ‘The Abyssinian Prince’, was the son of a Polish woman, Marie Ann Sovinki, and John Frederick Bridgetower, a valet in the service of the Esterházy family, who was perhaps an escaped slave from Barbados. George Bridgetower was a child prodigy, making his concert debut at age nine in Paris, then in London the following year, where he was fêted by impresarios and the Prince of Wales, later George IV, who became his patron. He was in the violin section of the concert-presenter Salomon’s premieres of Haydn’s ‘London’ Symphonies in 1791 – he was 11 years old. So, it was with an established career that Bridgetower left England for the Continent in 1802. The encounter with Beethoven happened in May of 1803, when the two gave the premiere of Beethoven’s sonata. As the cliché goes, the ink was barely dry on the manuscript when it was performed at 8am on 24 May at the Augarten Theatre. Beethoven nearly missed his deadline, and had woken his copyist at 4.30 that morning to make Bridgetower’s part. The copyist was one Ferdinand Ries, though the manuscript, now in the collection of the Juilliard School, shows four distinct hands and Beethoven’s corrections. That the labour was shared among so many copyists points to the immense hurry with which the score was prepared. Even so, by the time of performance some of the piece was unfinished and needed to be improvised; what’s more, there had been no time for rehearsal. The story goes that one of ‘Brischdauer’s’ ad lib runs (a powerful glissando in response to a big scalic passage in the piano part) caused Beethoven to jump up from the keyboard and exclaim, “Once more, dear fellow!” Beethoven entitled the work Sonata mulattica composta per il mulatto Brischdauer, gran pazzo e conpositore mulattico (‘Sonata mulattica composed for the mulatto Bridgetower, big wild [or lunatic] mulatto composer). But this jokey, amiable relationship was short-lived: when the two were drinking after the concert, Bridgetower impugned the dignity of a woman with whom Beethoven was enamoured. Beethoven, never the most laid-back fellow, withdrew the dedication in anger. In some versions of the story, the musicians are both in love with the same mystery woman. It is almost a premonition of the scarlet thread of sexual jealousy and obsession that runs through this program. AUSTRALIAN CHAMBER ORCHESTRA 9

Further Reading Online you can stream a program from America’s public radio which includes a brief but accessible introduction to Beethoven’s sonata — npr. org/templates/story/story. php?storyId=113764595. Also online, the British Library hosts an exhibition about the life of George Bridgetower at features/blackeuro/ bridgetowerbackground.html. The City of London Festival hosts a fascinating digital educational resource about the relationship between Beethoven and Bridgetower at Pulitzer-prize-winning poet Rita Dove takes, and elaborates on, the friendship and rivalry between Beethoven and Bridgetower as the subject of her verse novel, Sonata Mulattica: Poems (Norton, 2009). Several recordings of the full set of 10 violin sonatas by Beethoven exist, which allow the listener to hear the “Kreutzer” in the context of this extraordinary 15-year body of work. Options include Isaac Stern with Eugene Istomin (Sony 64524), Itzhak Perlman with Vladimir Ashkenazy (Decca 421453-2) and Arthur Grimiaux with Clara Haskill (Brilliant 93329).

Rodolphe Kreutzer

The sonata, now dedicated to another violinist, Rodolphe Kreutzer, was also described in Beethoven’s sketchbook as Sonata per il Pianoforte ed uno violino obligato in uno stile molto concertante come d’un concerto (Sonata for pianoforte and obbligato violin, in a very concerted style brilliant [Beethoven crossed this out], like a concerto). For a work completed in such haste (or perhaps because it was rushed), it is radical, a reimagining of the possibilities of the violin sonata. ‘Concerto-like’ is right – it’s very difficult for both performers, it’s in three movements (instead of the textbook four)…but who is the soloist? The piano (or in our case, the orchestra) and the violin vie for dominance in a fluid, emotionally volatile dialogue. The violin begins the conversation with a chorale introduction, a series of widely-spaced double-stopped chords, Adagio sostenuto, in A major, which darkens into the minor when the piano enters with its peremptory chord. In fact, most of this movement is in A minor after the chorale accelerates into the powerful Presto that forms its bulk. Some of the raw material of the movement is provided by the fall (or rise) of a half-step (semitone) – derived from the main theme of three repeated notes and the resolving half-step fall. The second theme is a series of skipping, rising semitones. It’s a typically Beethovian tactic to take tiny motivic ‘bricks’ and build them into a magnificent structure.


The conversation in the first movement is not quite fluent – the instruments interrupt each other, the dialogue falls into lulls, or moments of lessened tension, since there’s nothing ever quite like calm here. This movement has been called “a collaboration in search for a connection” – a moment of resolution and harmony which seems to come as the adagio music returns and cadences briefly into the major, only to be swept away by a furious minor key coda. If the musicians are opponents in the first movement, they are partners in the sparkling set of variations of the second movement: the chamber-like distribution of labour is restored, with the piano in the role of accompanist. In F major (for Beethoven a relaxed, lighthearted key – think of the Pastoral and Eighth Symphonies), it’s comprised of a naïve Andante theme and five variations. Beethoven rings the changes on his theme with sly wit: it’s full of little off-beat surprises, and florid runs, designed to challenge and amuse the performers. While it doesn’t quite approach the transcendental qualities of some of Beethoven’s later variation sets, the movement is full of delightful contrast – the way the introverted minor-key third variation gives way to the airy delicacy of the fourth with its pizzicatos and high trills. The solemn fifth variation brings the series to a radiant close. Tarantella is a fast Italian folkdance form usually in triple metre (6/8, 12/8). The whirling dance was supposedly a cure for (and perhaps a symptom of) the bite of a spider (Lycosa tarantula) endemic to those parts. By association, the tarantella in classical music has connotations of madness or abandon.

Beethoven repurposed the third movement from an earlier Sonata in A major, Op.30. The whirling tarantella is instigated by the violin after the piano’s resonant A major chord. The interplay of the protagonists is as playful as it is virtuosic and the final effect is a marked contrast to the fast, angry music of the first movement. The sonata ends with a dance. As for Rodolphe Kreutzer: he never performed the sonata dedicated to him, finding it “outrageously unintelligible”. He’s now notorious among violinists for a set of exercises and remembered for his bit part in the rift between Beethoven and Bridgetower. Bridgetower died in South London and is buried in Kensal Green cemetery.


Leo Tolstoy (b. Yasnaya Polyana, 1828 — d. Astapovo Station, 1910)

Tolstoy is one of Russia’s greatest writers, and one of the world’s foremost novelists. He is particularly famous for writing the vast War and Peace (1863—69) and Anna Karenina (1875—77). Later in life he turned to moral reform based on an austere personal theology.

Leo Tolstoy’s children presented a recital in 1888 where Tolstoy’s son Sergey played the piano in Beethoven’s ‘Kreutzer’ Sonata with their music teacher, Yuli Lyasota on the violin. Among the friends present at the little concert was the actor Vasily Andreyev-Burlak, who the previous year had related to the Tolstoys a story about meeting a stranger on a train. This man had unburdened himself of the tale of his wife’s infidelity. Through the alchemical processes of the unconscious, it seems that AndreyevBurlak’s anecdote became associated in Tolstoy’s mind with the ‘Kreutzer’ Sonata and to hasten the germinal idea’s growth into art, there was Tolstoy’s unfinished short story, working title: The Man Who Murdered His Wife. Tolstoy decided to incorporate some of this material into a dramatic monologue for Andreyev-Burlak to perform. The actor died in May, 1888, but the monologue remains, framed by the exposition of a first-person narrator, taking form definitively in 1889 as The Kreutzer Sonata. The premise of the story is simple: our narrator is on a long train journey and falls into conversation with his carriagemates, an unusually frank and deep one, as sometimes happens in the accidental intimacy of travel at closequarters. Our narrator’s new friend Pozdnyshev mentions, very early in their brief acquaintanceship, that he is a murderer. We, like the traveller, lean forwards in our seats. It soon emerges however that Pozdnyshev, while lucid and apparently rational (we’re told also that he has a “pleasant” voice), is obsessive, self-lacerating and haunted. The first-person narrator is our observational surrogate. ‘I’ makes remarks about the trip, the other passengers and then sets down verbatim Pozdnyshev’s anecdote, one which, it must be said, strains credibility slightly, or perhaps it’s just Pozdnyshev’s eagerness to ‘over-share’ that seems a bit odd. After all, would you confess to a total stranger that you’d killed your spouse (even if you were eventually acquitted)? The reason for the murder is a kind of perversely triumphant QED for Pozdnyshev’s theories about sex, morality and marriage. The latter makes for difficult reading today. Tolstoy’s biographer A.N. Wilson notes that the writer has “an abiding capacity to irritate his reader” and Tolstoy’s views on sex are disturbing to today’s liberal minds. In this later phase of his life, Tolstoy had adopted severely austere views about sex, inside and outside of marriage (he was against both). Tolstoy’s innate Puritanism was aroused (if that’s the right word) by texts such as Tokology: A Complete Guide for Every Woman which recommended celibacy, and by the Shaker sect of America, where men and women shunned sexual intercourse and


lived together as brother and sister. To place Tolstoy’s convictions into context though, 19th-century Russia was a place of extraordinarily relaxed sexual standards (the very opposite of Victorian England). Daily newspapers were filled with advertisements for patent cures for venereal diseases. In the countryside, infection and its terrible consequences were rife. So Pozdnyshev’s railing against the sordid state of affairs is understandable, if extreme. But it’s not just sex that Pozdnyshev objects to: his primary target is marriage. “Marriages in our day are mere deception!” In the long build-up to the terrible event, Pozdnyshev prosecutes his case against marriage. He had married, had children, and grown to despise his wife. The rot really starts to set in though with the visit of a violinist named Trukachevsky. A Frenchified dandy with a large bottom, Trukachevsky almost immediately inspires Pozdnyshev’s suspicion, but it’s only really with Trukachevsky and Mrs Pozdnyshev’s performance of Beethoven’s ‘Kreutzer’ Sonata that the story finally clicks into gear (she must have been a formidable amateur pianist). “They played Beethoven’s ‘Kreutzer’ Sonata. Do you know its first movement, the Presto? You know it?” He burst out. “Ah! It’s a fearful thing, that sonata. Especially that movement. And music in general’s a fearful thing. What is it? I don’t know. And why does it do to us what it does?...Music carries me instantly and directly into the state of consciousness experienced by its composer. My soul merges with his, and together with him I’m transported from one state of consciousness into another...” He goes on to explain that music’s power is almost like being hypnotised by an “unscrupulous individual”. Music is dangerous: “Take that ‘Kreutzer’ Sonata, for example, take its first movement, the Presto: can one really allow it to be played in a drawing-room full of women in low-cut dresses? To be played and then followed by light applause and the eating of ice-cream and talk about the latest society gossip?” Pozdnyshev is an acute critic and recognises the demonic energy of the first movement, one that evokes new emotions – everyone in the room appears, he says, in a completely new light. He goes on to dismiss the “attractive but unoriginal” second movement and the finale, which is “really weak”. His wife looks radiant. Elated by the performance, Pozdnyshev says goodbye to Trukachevsky, AUSTRALIAN CHAMBER ORCHESTRA 13

thinking that he will not see him again. Days later, while on a business trip, his wife’s casual mention of the musician in a letter fires his jealousy. He becomes convinced the two are having an affair, and in the final exhilaratingly horrible chapters of the novella, returns to his home early, encounters his wife and Trukachevsky in the parlour (suggesting that perhaps his suspicions were not completely unfounded, though they are fully clothed and decorous) and stabs his wife. After the long and somewhat didactic build-up, the graphic violence of this scene comes as an explosive release of tension. Tolstoy’s last ingenious twist is to stage a bizarre interview between the dying wife and her husband where she upbraids him from her deathbed and tells him that her sister will have custody of the children. He gets no forgiveness, “only cold animal hatred”. And though acquitted of the murder, Pozdnyshev is still begging for forgiveness from whoever will listen.

Further Reading There are many translations and editions of Tolstoy’s novella available. One of the most widely available (and that quoted in these notes) is that by David McDuff: Leo Tolstoy, The Kreutzer Sonata and Other Stories (Penguin, 2004). The leading Tolstoy biography is that by A.N. Wilson (Norton, 2001); Alexandra Popoff’s Sophia Tolstoy: A Biography (Simon & Schuster, 2010) tells his wife’s story. Of the many available critical works on Tolstoy, a good starting place is The Cambridge Companion to Tolstoy edited by Donna Tussing Orwin (Cambridge UP, 2002).

Critics of Tolstoy’s day – and our own – are quick to excavate the autobiographical foundations of The Kreutzer Sonata, but this is a misinterpretation of Tolstoy’s intentions. Tolstoy’s style of dry reportage is a snare for the reader in search of Tolstoy’s real thoughts about sex. Pozdnyshev is not a mere mouthpiece for Tolstoy’s Puritanism: he is a fully-fledged character in what is essentially a thriller, who shares, perhaps, some of Tolstoy’s opinions. Tolstoy is describing a particular case – this man, this set of circumstances that led to this event – not describing a universal truth. The story was a sensation and set tongues wagging about the nature of Tolstoy’s relationship with his wife, Sofya. Even Sofya misinterpreted the story, thinking that it was an attack on her and on women (but she was also quick to let it be known that she still enjoyed sexual relations with her husband). On the defensive, but also hurt, she composed her own riposte in the form of an unpublished short story which takes the woman’s point of view. Later, in the face of official censorship, she contrived (and indeed lied) to keep the story in print, to preserve her husband’s reputation (and her own – she didn’t want to be made a fool of by her now ‘saintly’ husband’s ostentatious and false celibacy). This touching, paradoxical impulse to keep up appearances was evidence she was perhaps still fond of him in spite of it all.


Leoš Janᡠcek (b. Hukvaldy, 1854 — d. Ostrava, 1928)

With Smetana and Dvoˇrák, Janᡠcek is one of the giants of Czech music and, like them, is a composer particularly concerned with the exploration of nationality through music. Fame was a long time coming, although his works — which run the gamut from intimate solo piano miniatures to opera — are now a firm part of the repertory, not least through the advocacy of champions such as the late Sir Charles Mackerras.

ACO Performance History Janᡠcek’s Kreutzer Sonata was first played by the ACO in 1991 and was part of the ACO’s 1995 and 2001 Subscription Series. The Orchestra also recorded the piece for Sony in 1991, which received an ARIA Award, and for Chandos in 2000.

Programmatic music, broadly speaking, is illustrative music designed to tell a story or suggest pictorial scenes.

The last decades of Leoš Janáček’s life were an incredibly creative Indian summer. In a sense, Janáček really matured as a composer in his 60s, starting from the time he fell in love with a woman 38 years his junior. Despite being a married man, Janáček was completely enamoured with Kamila Stösslová, the wife of an antiques dealer. Photos of her show an attractive enough woman when young – high cheekbones and almond eyes. She grew a bit dumpy. Pleasant, but certainly no Helen of Troy. After meeting at the spa town of Luhačovice in 1917, Janáček and Stösslová embarked on a passionate platonic affair – largely a onesided one, and perhaps even obsessive on Janáček’s part. Their extant correspondence runs to over 700 letters. Stösslová, muse-like, was the secret ‘heroine’ of several of Janáček’s best operas: Kátya Kabanová, The Cunning Little Vixen and The Makropoulos Case. Janáček’s second string quartet is a series of intimate letters to her. It’s as if this distant, almost unreal person, Janáček’s idealised creation, became the engine of Janáček’s creativity. Her absence fuelled the furnace. He described (in one letter) their correspondence as “a conversation without which I couldn’t exist”. As one of the apexes of this triangle, it’s perhaps not surprising that Janáček was drawn to Tolstoy’s story (he had started and abandoned a piano trio based on it in 1908). Composed for the Bohemian String Quartet, Janáček completed his String Quartet No.1 “After Tolstoy’s Kreutzer Sonata” in eight days in October 1923: “note after note fell smouldering from my pen”, he wrote. Janáček’s transcription of it is ‘told’ from the woman’s point of view: “I was imagining a poor woman, tormented and run down, just like the one the Russian writer Tolstoy describes in his Kreutzer Sonata”. Where Tolstoy lets us see the world only through the obsessively jealous eyes of Pozdnyshev, Janáček sympathises with the wife, trapped in her loveless marriage. The novella’s tension and vivid depiction of violence might also have captured the imagination of the composer of the shocking kitchensink drama Jenůfa (which features a face-slashing and infanticide). Certainly, the final chapters of the book are operatic in their intensity. But how to translate this into a string quartet? Rather than a programmatic depiction of the story, Janáček chooses to work with atmosphere making a constantly evolving series of tableaux, knit together by motives which surface in each of the movements, a more ambiguous, psychological approach. AUSTRALIAN CHAMBER ORCHESTRA 15

Sul ponticello played as near to the bridge of a stringed instrument as possible to create a slightly distorted, mysterious effect.

There are four scenes: the first depicts the marriage and evokes our compassion for the woman. The second introduces the violinist character (voiced, tremulously by the first violin) and the burgeoning love (an expansive, ardent melody over arpeggio – harp-like – chords) ending with an intimation of tragedy (a soft chord). Janáček’s striking use of the speech melodies of the Czech language (which had permeated even his instrumental music by now) means that this music is always on the verge of speaking to us. The third movement, the most powerful, contains an actual reference to Beethoven’s Sonata. You can hear a melody derived from the second theme of the first movement of the Beethoven in the canon for violin and cello, but any notion of lyricism is scrubbed away by the frantic sul ponticello scrubbing of the other strings. This scene is the crisis, as the woman’s love for the violinist invokes the furious jealousy of her husband. The fourth movement begins with a lament but reaches a kind of ecstatic catharsis and presents fragments and allusions to all three other movements – life flashing before our ears. Finally the vaulting music subsides into quietly resolved chords. As Pozdnyshev looks upon his wife’s battered, dying body he sees her finally as a human being: “And so insignificant did all that had hurt me and made me jealous appear, and so significant what I’d done, that I wanted to press my face to her hand and say: ‘Forgive me’ – but I didn’t dare to.”

Further Reading John Tyrell’s Intimate Letters: Leoš Janᡠcek to Kamila Stösslová (Faber, 2005) uncovers a decade’s worth of letters between composer and muse, while his biography of Janᡠcek runs to two exhaustive volumes (Faber, 2006—7). Redressing the balance, John Tyrell also edited the memoirs of Janᡠcek’s wife, Zdenka Janᡠcková: My Life with Janᡠcek (Faber, 1998).

In spite of the darkness of all that has happened before, here is hope, resolution, or even absolution: Janáček gives Pozdnyshev the forgiveness that he was denied in Tolstoy’s version.


An ACO recording of Richard Tognetti’s arrangement of Janᡠcek’s string quartet “After Tolstoy’s Kreutzer Sonata” is available on CD — with arrangements of quartets by Haas and Szymanowski — on Chandos (CHAN10016), available from 16 AUSTRALIAN CHAMBER ORCHESTRA


Australian violinist and conductor Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten and in his home town of Wollongong with William Primrose, and at the Bern Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the ACO, and was appointed Leader. He was subsequently appointed Artistic Director of the Orchestra.

‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’ THE DAILY TELEGRAPH (UK)

Select Discography As soloist: BACH 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 releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surfica (DVD) Best Feature, New York Surf Film Festival As director: VIVALDI Flute Concertos, Op.10 Emmanuel Pahud, Flute EMI Classics 0946 3 47212 2 6 Grammy Nominee PIAZZOLLA Song of the Angel Chandos CHAN 10163 All available from

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and have been performed throughout the world. Highlights of his career as director, soloist or chamber music partner include the Sydney Festival (as conductor of Mozart’s Mitridate); and appearances with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra and the Nordic Chamber Orchestra. He is Artistic Director of the Maribor Festival in Slovenia. As soloist Richard Tognetti has appeared with the ACO and the major Australian symphonies, including the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony. He has collaborated with colleagues from various art forms, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig. In 2003, Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can be heard performing on the award-winning soundtrack. In 2005, with Michael Yezerski, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, created The Red Tree. Richard Tognetti co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa. Alongside numerous recordings with the ACO, Richard Tognetti has recorded Bach’s solo violin repertoire, winning three consecutive ARIA Awards for Best Classical Album (2006–8) and the Dvoˇrák Violin Concerto. Richard Tognetti holds honorary doctorates from three Australian universities and, was made a National Living Treasure in 1999 and in 2010 was awarded an Order of Australia. He performs on a 1743 Guarneri del Gesù, made available exclusively to him by an anonymous Australian private benefactor. AUSTRALIAN CHAMBER ORCHESTRA 17

Photo © Nina Large

SAMUEL WEST ACTOR Samuel West is an actor and director. He has appeared with all the major British orchestras, in works including Stravinsky’s The Soldier’s Tale and Oedipus Rex, Schoenberg’s Ode To Napoleon, Saint-Saëns’ Carnival of the Animals, Bernstein’s Kaddish and Walton’s Façade and Henry V. He was soloist in Henry V at the 2002 Last Night of the Proms, performed Night Mail and The Way to the Sea by Britten and Auden at the 2008 Proms and made his New York recital debut in the premiere of Little Red Violin (Anne Dudley and Steven Isserlis) at the 92nd Street Y. Other world premieres include Concrete by Judith Weir and Howard Goodall’s Jason and the Argonauts. Last year Samuel narrated Stravinsky’s The Flood to close the CBSO’s Igorfest. He has also appeared with the Hong Kong Philharmonic, Dallas Symphony and the National Symphony Orchestra in Washington DC. In chamber music, Sam has appeared with The Nash Ensemble, The Raphael Ensemble, Ensemble 360° and The Lindsay, Dante and Endellion Quartets at London’s Wigmore Hall. This year he toured the UK with pianist Lucy Parham in Nocturne, a program about Chopin and George Sand. Acting work includes title roles in Hamlet and Richard II for the Royal Shakespeare Company, Enron in the West End and the films Howards End, Notting Hill and Van Helsing. Sam directed Così fan tutte for English National Opera and The Magic Flute for the Palestine Mozart Festival.

ROBIN McLEAVY ACTOR Robin McLeavy graduated from NIDA in 2004. Her screen debut in the adaptation of Nick Earls’ book 48 Shades premiered at the 2006 Brisbane International Film Festival and screened at the Montreal World Film Festival, the Hollywood and Fort Lauderdale Film Festivals and the London Festival of Australian Films. In 2006 Robin played seven characters in Tom Murphy’s play Holding the Man, directed by David Berthold, performed at Griffin Theatre and encored at the Sydney Opera House and Belvoir St Theatre. In 2007 Robin was nominated for Best Supporting Actress in the Sydney Theatre Awards for her performance in Company B’s production Who’s Afraid of Virginia Woolf, directed by Benedict Andrews. 2008 saw Robin in the title role of Sydney Theatre Company’s The Great, directed by Peter Evans. Robin starred alongside Cate Blanchett and Joel Edgerton in Sydney Theatre Company’s 2009 A Streetcar Named Desire, directed by Liv Ullmann. The production premiered in Sydney to rave reviews and a sell-out season and later toured to the Kennedy Center, Washington DC and the Brooklyn Academy of Music, New York. She starred in Company B’s 2010 production of Shakespeare’s Measure For Measure, directed by Benedict Andrews. 18 AUSTRALIAN CHAMBER ORCHESTRA

Photo © Philip Hollis

LAURA WADE PLAYWRIGHT Laura Wade’s first play Limbo was produced at the Crucible Theatre, Sheffield, when she was 18. She later trained with the Royal Court Theatre’s Young Writers Program in London, and was a Writer on Attachment at Soho Theatre. Plays include Posh (Royal Court Theatre), Alice (Crucible Theatre, Sheffield), Other Hands (Soho Theatre), Colder Than Here (Soho Theatre and MCC Theatre New York), Breathing Corpses (Royal Court Theatre), Catch (Royal Court Theatre, collectively written with four other playwrights), Young Emma (Finborough Theatre), and 16 Winters (Bristol Old Vic Basement). Laura has also written plays for young people, including The Wild Swans, Twelve Machine and The Last Child, a trilogy of fairy tale reworkings for Playbox Theatre at the Dream Factory, Warwick. Awards include the Critics’ Circle Award for Most Promising Playwright, the Pearson Best Play Award and the George Devine Award. Laura’s plays have also been performed in the USA, Australia, Ireland, Sweden, Germany and the Netherlands, and are published by Oberon Books in the UK and Dramatists Play Service in the USA. Laura has written plays for broadcast on BBC Radio, including Good Times Roll, Otherkin, Hum and Coughs and Sneezes. She is currently developing a feature film version of Posh, with the support of the UK Film Council and Blueprint Pictures.

SARAH GILES DIRECTOR Sarah Giles studied at the University of Melbourne where she completed her Bachelor of Arts with a double major in Italian and History. She completed post-graduate studies at the National Institute of Dramatic Art where she specialised in directing. Sarah’s work as a director includes classic and contemporary texts, as well as directing and developing new work. New Australian work includes Home Economics, Foot, Cut and K.I.J.E. Classical and contemporary texts include The Real Inspector Hound, Black Comedy, The Maids, The Bald Soprano, Fewer Emergencies: Face to the Wall, The Stronger, The Universal Language, The Herbal Bed, The Bear, That Face and The Pigeons. As Assistant Director Sarah has worked on the Melbourne Theatre Company’s production of The History Boys, director Peter Evans; Malthouse Theatre and Sydney Theatre Company’s co-production of Optimism, director Michael Kantor; and Sydney Theatre Company’s productions of TOT MOM, director Steven Soderbergh and Long Day’s Journey Into Night, director Andrew Upton. Sarah was the Affiliate Director in residence at Griffin Theatre Company in 2009 and has been appointed the Richard Wherrett Fellow at Sydney Theatre Company for 2011. AUSTRALIAN CHAMBER ORCHESTRA 19


‘You’d have to scour the universe hard to find another band like the ACO.’ THE TIMES, UK

‘The energy and vibe of a rock band with the ability of a crack classical chamber group.’ WASHINGTON POST

Select Discography Bach Violin Concertos ABC 476 5691 Vivaldi Flute Concertos with Emmanuel Pahud EMI 3 47212 2 Bach Keyboard Concertos with Angela Hewitt Hyperion SACDA 67307/08 Tango Jam with James Crabb Mulberry Hill MHR C001 Song of the Angel Music of Astor Piazzolla with James Crabb Chandos CHAN 10163 Sculthorpe: works for string orchestra including Irkanda I, Djilile and Cello Dreaming Chandos CHAN 10063

Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality and energy unmatched by other ensembles. The ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia. The ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative crossartform projects and a vigorous commissioning program. Under Richard Tognetti’s inspiring leadership, the ACO has performed as a flexible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience. Several of the ACO’s principal musicians perform with spectacularly fine instruments. Tognetti performs on a priceless 1743 Guarneri del Gesù, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri filius Andreæ cello, also on loan from an anonymous benefactor, and Assistant Leader Satu Vänskä plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Forty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein.

These and more ACO recordings are available from our online shop: or by calling 1800 444 444.

The ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI, Chandos and Orfeo and currently has a recording contract with BIS. A full list of available recordings can be found at Highlights include the three-time ARIA Award-winning Bach recordings and Vivaldi Concertos with Emmanuel Pahud. The ACO appears in the television series Classical Destinations II and the award-winning film Musica Surfica, both available on DVD and CD.

To be kept up to date with ACO tours and recordings, register for the free e-newsletter at

In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres.

Giuliani Guitar Concerto with John Williams Sony SK 63385



Photos: Tanja Ahola, Helen White




Artistic Director and Lead Violin Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

Violin Chair sponsored by Terry Campbell AO & Christine Campbell

Violin Chair sponsored by Jan Bowen, The Davies and The Sandgropers

Assistant Leader Violin Chair sponsored by Robert & Kay Bryan





Violin Chair sponsored by Andrew & Hiroko Gwinnett

Violin Chair sponsored by Runge

Principal Viola Chair sponsored by Tony Shepherd

Viola Chair sponsored by Ian & Nina Lansdown



Viola Principal Cello Chair sponsored by Philip Bacon AM Chair Ssonsored by Mr Peter Weiss AM



Cello Chair sponsored by The Bruce & Joy Reid Foundation

Cello Chair sponsored by the Clayton Family

MEESUN HONG# Guest Principal 2nd Violin


Players dressed by

Costume Designer





Lighting Designer




Stage Manager




Sound Engineer

# Courtesy of the Merel Quartet

MAXIME BIBEAU Principal Bass Chair sponsored by John Taberner & Grant Lang

* Satu Vänskä plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. AUSTRALIAN CHAMBER ORCHESTRA 21

BEHIND THE SCENES BOARD Guido Belgiorno-Nettis AM (Chairman) Angus James (Deputy Chairman) Ken Allen AM Bill Best Glen Boreham Liz Cacciottolo Chris Froggatt Janet Holmes à Court AC Brendan Hopkins Tony Shepherd John Taberner Peter Yates



Timothy Calnin General Manager

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Vicki Stanley Education and Emerging Artists Manager

Jessica Block Deputy General Manager and Development Manager

Tom Carrig Senior Development Executive

Sarah Conolan Education and Operations Assistant

Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO

Vanessa Jenkins Senior Development Executive

Jennifer Collins Librarian

Lillian Armitage Patrons Manager



Helen Margolis Grants Program Manager

Richard Tognetti AO Artistic Director Michael Stevens Artistic Administrator

Liz D’Olier Development Coordinator OPERATIONS

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Damien Low Artistic Operations Manager Gabriel van Aalst Orchestra Manager

Georgia Rivers Marketing Manager Rosie Rothery Marketing Executive Chris Griffith Box Office Manager Mary Stielow National Publicist Dean Watson Customer Relations Manager

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 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Office: 1800 444 444 Email: Website:


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Hunting for Australia’s Best Managed Fund? As patrons of the ACO we know you enjoy good performance.

The Hunter Hall Value Growth Trust has achieved a 16% Compound Annual Return over 15 yrs*, the best performance of all funds listed by Morningstar in Australia in this period. For further information contact 1800 651 674 or visit

Past performance is no indication of future performance. *16% is the compound annual return for the Hunter Hall Value Growth trust for 15 years to 30 September 2010. Initial applications for units can only be made on an Application Form found in the current Product Disclosure Statement for the Hunter Hall Value Growth Trust. Hunter Hall Investment Management Limited (AFSL: 219462) or any related entity does not guarantee the repayment of capital or any particular rate of return from the Fund. Investment returns have been calculated in accordance with normal industry practice utilising movements in the unit price and assuming the reinvestment of all distributions of income and realised profits. Peformance data shown is net of all fees. This advertisement does not take into account a reader’s investment objectives, particular needs or financial situation. It is general information only and should not be considered investment advice and should not be relied on as an investment recommendation. MSCI (A$) refers to the MSCI World Total Return Index, Net Dividends Reinvested, in A$. © 2010 Morningstar, Inc. All rights reserved. Neither Morningstar, nor its affiliates nor their content providers guarantee the above data or content to be accurate, complete or timely nor will they have any liability for its use or distribution. Any general advice has been prepared by Morningstar Australasia Pty Ltd ABN: 95 090 665 544, AFSL: 240892 (a subsidiary of Morningstar, Inc.), without reference to your objectives, financial situation or needs. You should consider the advice in light of these matters and, if applicable, the relevant product disclosure statement, before making any decision. Please refer to our Financial Services Guide (FSG) for more information at Hunter Hall won the AFR Smart Investor Blue Ribbon Awards in 2007, 2008 & 2010 in the International Small Cap shares category.



SYDNEY OPERA HOUSE TRUST The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

Mr Kim Williams AM (Chair) Ms Catherine Brenner Rev Dr Arthur Bridge AM Mr Wesley Enoch Ms Renata Kaldor AO Mr Robert Leece AM RFD Ms Sue Nattrass AO Dr Thomas Parry AM Mr Leo Schofield AM Mr Evan Williams AM

VENUE SUPPORT EXECUTIVE MANAGEMENT We are also indebted to the following organisations for their support:

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MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.



Helena Rathbone

Satu Vänskä

Lead Violin

Principal 2nd Violin

Assistant Leader

Michael Ball AM & Daria Ball Joan Clemenger Wendy Edwards Prudence MacLeod

Robert & Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

Tony Shepherd

Peter Weiss AM

John Taberner & Grant Lang

Ilya Isakovich Violin Melbourne Community Foundation – Connie & Craig Kimberley Fund

Nicole Divall Viola Ian & Nina Lansdown

CORE CHAIRS Aiko Goto Violin Andrew & Hiroko Gwinnett Mark Ingwersen Violin

Alice Evans Violin Jan Bowen The Davies The Sandgropers

Madeleine Boud Violin Terry Campbell AO & Christine Campbell

Melissa Barnard Cello The Bruce & Joy Reid Foundation Julian Thompson Cello The Clayton Family

Stephen King Viola Philip Bacon AM



Brian Nixon Principal Timpani Mr Robert Albert AO & Mrs Libby Albert

Mr & Mrs R Bruce Corlett


2010 TRANSATLANTIC TOUR PATRONS The ACO has returned from its adventurous and highly successful Trans-Atlantic Tour, which spanned the USA and Europe and culminated in two performances at the Maribor Festival, directed by Richard Tognetti for the third successive year. The ACO would like to pay tribute to the following donors who have supported this exciting adventure and helped make Richard’s dream a reality: MRS AMINA BELGIORNONETTIS, PATRON TOUR PATRONS Mr Barry Humphries AO CBE Sir Michael Parkinson CBE LEAD PATRONS $50,000+ The Belgiorno-Nettis Family The Bruce & Joy Reid Foundation Mrs Janet L Holmes à Court AC Connie & Craig Kimberley Jan Minchin Dame Elisabeth Murdoch AC DBE MAJOR PATRONS $20,000 – $49,999 Mr Robert Albert AO & Mrs Libby Albert Philip Bacon AM Liz Cacciottolo & Walter Lewin Rowena Danziger & Ken Coles Mr Peter Hall Anthony & Sharon Lee Louise & Martyn Myer Foundation Harry Triguboff AO & Rhonda Triguboff Ian Wallace & Kay Freedman Anonymous (1)

ENSEMBLE PATRONS $10,000 – $19,999 Mr Bill & Mrs Marissa Best Jenny & Stephen Charles Mr & Mrs Robin Crawford Martin Dickson AM & Susie Dickson Chris & Tony Froggatt Ann Gamble Myer Leslie & Ginny Green Brendan & Bee Hopkins PJ Jopling QC Prudence MacLeod Macquarie Group Foundation Donald McGauchie Mr Andrew Messenger Gretel Packer peckvonhartel architects Julien & Michelle Playoust John Taberner & Grant Lang Michael & Eleonora Triguboff Peter Weiss AM SOLO PATRONS $5,000 – $9,999 Antoinette Albert Tony & Carol Berg Robert & Kay Bryan Ross & Rona Clarke Wendy Edwards Chris & Judy Fullerton Phillip Isaacs OAM Wayne N Kratzmann Ian & Nina Lansdown Irene Lee Justice Jane Mathews AO Carole & Peter Muller Craig Ng Graham J Rich Dr Gillian Ritchie Vivienne Sharpe Tony Shepherd Beverley Trivett Anonymous (2)

PATRONS $500 – $4,999 Joy Anderson & Neil Thomas Lord Jeffrey & Lady Archer Jon & Deb Balderstone Isla Baring Mr Marc Besen AO & Mrs Eva Besen AO Jan Bowen The Hon. Mr Laurie Brereton & The Hon. Justice Trisha Kavanagh Morena Buffon & Santo Cilauro Elizabeth & Nicholas Callinan Edmund Capon David & Jane Clarke Joan Clemenger Mr & Mrs R L Clifford Jillian Cobcroft Paul Cochrane Ann & Bruce Corlett Terry & Lynn Fern Bill & Lea Ferris Brooke Fitzsimons Ms Kerry Gardner Alan & Joanna Gemes Tom Griffith & Adrienne Cahalan Peeyush & Shubura Gupta Hugo & Julia Heath Michael & Anna Joel Ian Learmonth & Julia Pincus Sue & Peter Lynch Nicky McWilliam Susan & Garry Rothwell Carol Schwartz AM & Alan Schwartz AM Andrew Sisson Mary Stephen The Earl & Countess of Stradbroke Catherina Toh & Anthony Tobin David Walsh John & Cathy Walter Peter & Susan Yates Anonymous (3)






EMERGING ARTISTS PATRONS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Mr Michael Ball AM & Mrs Daria Ball Steven Bardy John & Patti David

Pamela Duncan John Grill Mrs Janet Holmes à Court AC Miss Nancy Kimpton Prudence MacLeod Drs Alex & Pam Reisner

Christine Rothauser Ian Wallace & Kay Freedman Peter Weiss AM Robert Whyte Anonymous (1)

ACO DONATION PROGRAM The ACO pays tribute to all of our generous donors who support our many activities, including our National and International touring, recordings, and our National Emerging Artists and Education Programs. This year, our donors have generously contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive. DIRETTORE $5,000  $9,999 The Abercrombie Family Foundation The Belalberi Foundation Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin Elizabeth & Nicholas Callinan John & Lynnly Chalk Rowena Danziger & Ken Coles Bridget Faye AM Ian & Caroline Frazer Dr & Mrs E C Gray

Maurice Green AM & Christina Green Melbourne Community Foundation – Ballandry (Peter Griffin Family) Fund Susan Harte Brendan & Bee Hopkins Roger Massy-Greene & Belinda Hutchinson Keith Kerridge Wayne N Kratzmann Lorraine Logan Marianna & Tony O’Sullivan


John Rickard Allan Rogers Ian Wilcox & Mary Kostakidis Anonymous (2) MAESTRO $2,500  $4,999 Michael Ahrens Mr L H & Mrs M C Ainsworth Jane Allen Will & Dorothy Bailey Bequest Virginia Berger Michael Cameron Cam & Helen Carter Caroline & Robert Clemente

ACO DONATION PROGRAM John & Gloria Darroch Kate Dixon Suellen & Ron Enestrom Tony & Chris Froggatt Andrew & Hiroko Gwinnett Nereda Hanlon & Michael Hanlon AM Don Hart Lindi & John Hopkins Penelope Hughes Stephen & Michele Johns Eleni & Bob Longwell Hon Dr Kemeri Murray AO Sandra & Michael Paul Endowment Stephen & Robbie Roberts Greg Shalit & Miriam Faine Mrs Carol Sisson Ms Petrina Slaytor Dr Charles Su & Dr Emily Lo Dr R & Mrs R Tinning Alastair Walton Ralph Ward-Ambler AM & Barbara Ward-Ambler Karen & Geoff Wilson Sir Robert Woods Anonymous (7) VIRTUOSO $1,000  $2,499 Annette Adair Peter & Cathy Aird Rae & David Allen Andrew Andersons Sibilla Baer Doug & Alison Battersby The Beeren Foundation Ruth Bell Bruce Beresford Victoria Beresin Patricia Blau Sally Bufé Neil Burley & Jane Munro Mark Burrows & Juliet Ashworth Gerard Byrne & Donna O’Sullivan Bruce Caldwell Drs James & Margaret Cameron Sandra Cassell Ann Cebon-Glass Alex & Elizabeth Chernov

John Colvin Leith & Darrel Conybeare P Cornwell & C Rice K Croft Judith Croll Betty Crouchley Diana & Ian Curtis June Danks Marie Dalziel Michael & Wendy Davis Design by Sergio Pty Ltd Christopher & Kathryn Dibden Jennifer Dowling Ari & Lisa Droga G & L Dunn Professor Dexter Dunphy Professor Peter Ebeling & Mr Gary Plover Anne-Maree Englund Peter Evans H E Fairfax Elizabeth Finnegan Nancy & Graham Fox Anne & Justin Gardener Colin Golvan SC Aiko Goto Warren Green Elizabeth & Peter Harbison Carrie & Stanley Howard Pam & Bill Hughes Wendy Hughes Phillip Isaacs OAM David Iverach Warren & Joan Johns Andrew Johnston Angela James & Phil McMaster D & I Kallinikos John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Alison & Malcolm Mackinnon Clive Magowan Mr & Mrs Greg & Jan Marsh Deidre & Kevin McCann Brian & Helen McFadyen Judith McKernan Fran & Tony Meagher P J Miller Donald Morley Marie Morton Nola Nettheim

The Hon Mr. Justice Barry O’Keefe AM & Mrs Janette O’Keefe Jennie & Ivor Orchard Anne & Christopher Page Patagonian Enterprises Pty Ltd James & Diane Patrick peckvonhartel architects The Purcell Family Ralph & Ruth Renard Mark Renehan Warwick & Jeanette Richmond In Memory of Andrew Richmond Em Prof A W Roberts Julia Champtaloup & Andrew Rothery Harry & Leigh Rundle D N Sanders Tony Shepherd Edward Simpson Diana & Brian Snape AM Maria Sola & Malcolm Douglas Leslie C Thiess Alden Toevs & Judi Wolf Colin & Joanne Trumble Ngaire Turner Kay Vernon Pat & John Webb Mrs M W Wells Audrey & Michael Wilson Nick & Jo Wormald Don & Mary Ann Yeats William Yuille Dr Lawrie Zion Anonymous (17) CONCERTINO $500  $999 Antoinette Ackermann Ross Adamson A Annand Bruce & Diane Bargon Greg Baxter Andrew & Margaret Birchall Brian Bothwell Denise Braggett D J Brown Arnaldo Buch Colleen & Michael Chesterman Stephen Chivers John & Christine Collingwood


ACO DONATION PROGRAM Angela & John Compton Michael Cook Alan Fraser Cooper Mrs Julie Ann & Mr Laurie Cox Money Warehouse Lindee Dalziell Anouk Darling Mari Davis Lucio Di Bartolomeo Jane Diamond Martin Dolan In Memory of Raymond Dudley M T & R L Elford Michael Elsley & Susan Richardson Farago Hill Wines Mr & Mrs R J Gehrig Mirek Generowicz Brian Goddard Steve Gray Anthony Grigg & Paul Williamson Richard W Gulley William & Robin Hall Matthew Handbury Dr I J Hardingham QC Annie Hawker Tim Hemingway John Hibbard Dr & Mrs Michael Hunter Stephanie & Michael Hutchinson Philip & Sheila Jacobson Davina Johnson Bruce & Natalie Kellett David & Angela Kent Len La Flamme Alf Lester Drew Lindsay & Karl Zebel Greg Lindsay AO & Jenny Lindsay Joanne Frederiksen & Paul Lindwall

Penelope Little Sydney & Airdrie Lloyd Peter Mason AM Donald C Maxwell John Mitchell Marie Morton Helen & Gerald Moylan Sharyn Munro Ian Murray Ken Nielson J Norman Graham North Robin Offler Graham & Glynn O’Neill Josephine Paech Leslie Parsonage Deborah Pearson Professor David Penington AC Mr Kevin Phillips Andrew & Deirdre Plummer Jan Power Keith & Joan Presswell John & Virginia Richardson Michael Ryan Manfred & Linda Salamon Garry E Scarf & Morgie Blaxill Jeff Schwartz Alison Scott Mr Ted Springett In memory of Dr Aubrey Sweet IT Elizabeth Thomas Matthew Toohey Phillip & Brenda Venton Pat & John Webb G C & R Weir Nick & Helen Withers Dr Gwen Woodroofe Woodyatt Family Michael & Susan Yabsley Anonymous (30)

CONTINUO CIRCLE  BEQUEST PROGRAM The late Kerstin Lillemor Andersen Dave Beswick Sandra Cassell Mrs Sandra Dent The late Colin Enderby Suzanne Gleeson Lachie Hill Penelope Hughes The late Mr Geoff Lee AM OAM Mrs Judy Lee Richard & Dawn Searle Mr Peter Weiss AM Margaret & Ron Wright Mark Young Anonymous (9) LIFE PATRONS IBM Mr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM

CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at


ACO CAPITAL CHALLENGE INSPIRE THE FUTURE… The ACO Capital Challenge is a secure fund, which will permanently strengthen the ACO’s future. Revenue generated by the corpus will provide funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble. We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:

CONCERTO $250,000 – $499,000

QUARTET $50,000 – $99,000

Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-Nettis Mrs Barbara Blackman

The Clayton Family Mr Peter Hall Mr & Mrs Philip & Fiona Latham Mr John Taberner & Mr Grant Lang Mr & Mrs Peter & Susan Yates

OCTET $100,000 – $249,000 Mr Robert Albert AO & Mrs Libby Albert Mrs Amina Belgiorno-Nettis The Thomas Foundation

SONATA $30,000 – $49,999 Mr Martin Dickson AM & Mrs Susie Dickson Brendan & Bee Hopkins Mr John Leece OAM & Mrs Anne Leece Ilma Peters Mrs Patricia Reid Mr Timothy Samway Steve Wilson

ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Chair – Bill Best Ken Allen AM Senior Advisor UBS Investment Bank Guido BelgiornoNettis AM Chairman ACO & Joint Managing Director Transfield Holdings

Liz Cacciottolo Senior Advisor UBS Australia

Brendan Hopkins CEO APN News & Media

Tony Shepherd Chairman Transfield Services

Ian Davis Managing Director Telstra Television

Tony O’Sullivan Managing Partner O’Sullivan Partners

John Taberner Consultant Freehills

Chris Froggatt

MELBOURNE DEVELOPMENT COUNCIL Chair – Peter Yates Chairman Royal Institution of Australia and Peony Capital Libby Callinan Stephen Charles

Paul Cochrane Investment Advisor Bell Potter Securities Tom Griffith Director/Co-Founder Emma & Toms

Jan Minchin Craig Ng Director Partner Tolarno Galleries Maddocks Lawyers Susan Negrau Development & Corporate Relations Manager Melbourne International Arts Festival

EVENT COMMITTEES Bowral Elsa Atkin Michael Ball AM (Chairman) Daria Ball Linda Hopkins Karen Mewes Keith Mewes The Hon Michael Yabsley

Brisbane Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn

Sydney Deb Balderstone Mar Beltran Creina Chapman Guillaume Chesneau Suzanne Cohen Patricia Connolly Judy Anne Edwards

Marella Gibson Elizabeth Harbison Bee Hopkins Sarah Jenkins Penny McDonald Jo McKenzie Katherine Revelas Mary Stollery


ACO PARTNERS CHAIRMAN’S COUNCIL The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido BelgiornoNettis AM Chairman Australian Chamber Orchestra & Joint Managing Director Transfield Holdings Mr Michael Andrew Australian Chairman KPMG Mr Philip Bacon AM Director Philip Bacon Galleries Mr Brad Banducci Chief Executive Officer Cellarmasters Group Mr Jeff Bond General Manager Peter Lehmann Wines Mr Glen Boreham Managing Director IBM Australia and New Zealand Ms Barbara Chapman Group Executive, HR & Group Services Commonwealth Bank of Australia The Hon. Stephen Charles QC & Mrs Jenny Charles Mr & Mrs Robin Crawford Ms Anouk Darling Managing Director Moon Communications Group

Mr Craig Drummond Chief Executive Officer and Country Head Bank of America Merrill Lynch Australia Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel Mr John Grill Chief Executive Officer WorleyParsons Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Mr Brendan Hopkins Chief Executive APN News & Media Mr John James Managing Director Vanguard Investments Australia Mr Robert Johanson, Mr John Sharkey & Mr Robert Symons Directors Robert Salzer Foundation Mr Mark Johnson Senior Partner & CEO PricewaterhouseCoopers Mr Warwick Johnson Managing Director Optimal Fund Management


Ms Catherine Livingstone AO Chairman Telstra

Mr Oliver Roydhouse Managing Director Inlink

Mr Steven Lowy AM Group Managing Director Westfield Group

Mr Tim Samway Institutional Business Director Hyperion Asset Management

Mr Didier Mahout CEO Australia & NZ BNP Paribas

Mr Peter Schiavello Managing Director Schiavello Group

Mr Michael Maxwell & Mrs Julianne Maxwell

Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Geoff McClellan Chairman Freehills

Mr & Mrs Clive Smith

Mr John Meacock Managing Partner NSW Deloitte

Mr Michio (Henry) Taki Managing Director Ms Naomi Milgrom AO & CEO Mitsubishi Australia Ltd Ms Jan Minchin Director Tolarno Galleries Mr Clark Morgan Chief Executive UBS Wealth Management Australia

Mr Michael Triguboff Managing Director MIR Investment Management Ltd

Ms Vanessa Wallace Director Mr Alf Moufarrige OAM Booz & Company Chief Executive Officer Mr Kim Williams AM Servcorp Chief Executive Mr & Mrs James & Officer Diane Patrick Foxtel Managing Directors Wiltrans International Mr Peter Yates Pty Ltd Chairman Royal Institution of Mr Scott Perkins Australia & Peony Head of Global Banking Capital Deutsche Bank Australia/New Zealand

ACO PARTNERS The ACO receives around 50% of its income from the box oямГce, 35% from the business community and private donors and less than 15% from government sources. The private sector plays a key role in the continued growth and artistic development of the Orchestra. We are proud of the relationships we have developed with each of our partners and would like to acknowledge their generous support. ACO2 PRINCIPAL PARTNER












ACO is supported by the NSW Government through Arts NSW




STACCATO: ACO NEWS EDUCATION NEWS The last few months have been very busy for the ACO’s Education Program. September featured the final concert of the ACO’s youth chamber orchestra, the Parramatta String Players, and the ACO’s last 2010 visit to Matraville’s Soldiers’ Settlement School. In October, ACO2 performed and conducted education programs throughout regional NSW and Queensland. The Parramatta String Players’ performance at Riverside Theatres in September was the culmination of a three-year sustained program for young string players in Western Sydney. The final concert was a fantastic success and featured the premiere performance of Thinking about Forever..., a new work by Matthew Hindson and choreographer Kay Armstrong. This work was written using musical themes workshopped by the students themselves, which Kay used as a basis for her choreography. The opportunity to collaborate with dance students and to work with Matthew and Kay was a wonderful experience for the Parramatta String Players. The ACO is enormously grateful to the Limb Family Foundation and Parramatta City Council for their support of the Parramatta String Players Project. We are pleased to announce that Thinking about Forever… will be performed again in Parramatta and Penrith during the 2011 Sydney Festival. The third visit by an ACO Quartet to the Matraville Soldiers’ Settlement School was a great experience for the children and musicians.

Rachel Scott, a teacher with the Australian Children’s Music Foundation, guided the students through an interactive concert which included a performance of the March from Tchaikovsky’s Nutcracker Suite with some of the Year 4 students. ACO2’s tour of regional NSW and Queensland, led by guest director and lead violin Kristian Winther, and featuring Genevieve Lacey on recorder, received fantastic reviews from audiences and critics. The ACO gratefully acknowledges the support of APN News and Media and the Queensland Government for making this tour possible and also acknowledges the support of the Linnaeus Estate, the Sidney Myer Fund and the Ross Trust. Of course, none of the ACO’s education activities are possible without the generous support of our Patrons and the ACO is truly grateful for the support of all our Patrons in 2010.

Nicole Divall with children from the Matraville Soldiers’ Settlement School.

ACO, Parramatta String Players and youMove Dance Company performing Thinking about Forever…


STACCATO: ACO NEWS BRISBANE EVENT  ACO BY THE RIVER On Saturday 18 September the ACO staged its 2010 Brisbane Event, ACO by the River, at the stunning riverside residence of Richard and Kate Bell. Richard and Kate generously opened their home to 150 ACO supporters for an evening of mouth-watering culinary treats and a thrilling performance by the Orchestra. Having just stepped off a plane from their month-long Trans-Atlantic Tour, an inspired ACO performed beautiful repertoire for their Brisbane guests, including Vivaldi’s Winter

and Piazzolla’s Oblivion. Brisbane chefs Russell Armstrong, Javier Codina and David Pugh cooked up a storm, treating guests to a medley of their signature dishes. The ACO is pleased to announce that $55,000 was raised at ACO by the River in support of the ACO’s Education Program. We would like to thank ACO by the River Presenting Partner Maserati, and event sponsors Tiffany & Co., Peter Lehmann and Cellarmasters for their invaluable support of the Orchestra.

TIFFANY & CO. PRIVATE PERFORMANCE On Thursday 9 September, Tiffany & Co. invited a quartet of ACO Qantas Emerging Artists to perform at a special event at their Sydney boutique. Tiffany & Co. were taking part in the Vogue initiative Fashion’s Night Out, and the quartet was featured in a performance for Tiffany & Co. guests and the glamorous patrons of Vogue’s Fashion’s Night Out.

ABOVE: The Tiffany & Co. boutique was buzzing with shoppers who gathered in the courtyard of its Castlereagh Street store to enjoy the superb sounds of the ACO’s talented young musicians.

LEFT: ACO Qantas Emerging Artists (from left): Michael BrooksReid, Christina Katsimbardis (obscured), Michael Dahlenburg and Christopher Cartlidge.

UPCOMING EVENT  VASSE FELIX FESTIVAL On 3–5 December, the ACO performs three concerts at Vasse Felix winery in Margaret River, accompanied by superb food and wine. There are still tickets available for the performances on Friday and Sunday.

For further information and booking, phone 08 9756 5016 or email


STACCATO: ACO NEWS MERCHANDISE Mozart Violin Concertos 3 and 5 and Sinfonia Concertante Nominated for a 2010 ARIA Award The first disc of Richard Tognetti and the Australian Chamber Orchestra’s complete recordings of the Mozart Violin Concertos is out now, featuring Violin Concertos No. 3 and 5 and the Sinfonia Concertante with Christopher Moore. “It is simply breathtaking. The ACO rides a wave of inspiration, putting in performances that sound live but were studio recorded...The result brims with vivacity and captures fully Mozart’s smiling, mercurial wit and the secret depth of his personality. Other performances, even the most illustrious in the catalogue, sound staid and stodgy after hearing this…It’s a stunning disc.” The Australian

Janᡠcek String Quartet No.1, ‘Kreutzer Sonata’ The ACO has recorded Janáček’s Kreutzer Sonata, performed in this concert, on a CD of string quartets arranged for string orchestra. Also featuring Haas’ String Quartet No.2, Op. 7 ‘From the Monkey Mountains’ and Szymanowski’s String Quartet No.2.

Available in the foyer, at or by phoning 02 8274 3800.

GIFT CERTIFICATES Why not give the music-lover in your life their choice of ACO concerts or recordings? Gift certificates can be purchased and redeemed at or by calling 1800 444 444.

PARTNER PROFILE The Trust Company is delighted to be supporting the ACO’s National Education Program in 2010 which nurtures and creates opportunities for the young talented musicians in regional Australia. This exceptional program works towards developing emerging talent, and contributes to the future of our arts and cultural 36 AUSTRALIAN CHAMBER ORCHESTRA

community. As trustee for over 350 charitable trusts, The Trust Company shares the ACO’s vision to preserve and enhance the arts and culture in Australia. Given our own long history and tradition of supporting the Australian community, we are delighted to be associated with the ACO’s world class ensemble, known to perform dynamic and vibrant music with an energy that is unmatched.

Conversations for a smarter planet:

Smarter water for a smarter planet. Water flows through everything – the air, the land, our own bodies and the global economy. Yet despite its absolute necessity to our lives and livelihoods, the world’s water is poorly understood and often mismanaged. Global agriculture wastes an estimated 60% of the 2,500 trillion litres it uses each year. But we can do better. Today’s technology can monitor, measure and analyse entire water ecosystems, from rivers and reservoirs to the pumps and pipes in our homes. The flow of clean, plentiful water is as essential to our economy and society as it is to our planet. Let’s stop taking it for granted and start managing it as the precious resource it is. Let’s build a smarter planet. Join us, and see what others are thinking, at

© Copyright IBM Australia Limited 2010 ABN 79 000 024 733 © Copyright IBM Corporation 2010 All Rights Reserved. TRADEMARKS: IBM, the IBM logo,, smarter planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at IBMNCA0467/WATER/ACO

Kreutzer vs Kreutzer concert program  

The Australian Chamber Orchestra's Kreutzer vs. Kreutzer concert program.

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