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Handcrafted in 1759. Rockin’ out in 2011. The rare and beautiful Guadagnini violin has been on tour with the ACO since 1996. It’s on loan from our art collection so that thousands can enjoy its remarkable sound. To find out more about our proud sponsorship of the arts, visit

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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

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The Commonwealth Bank Group has supported the Australian Chamber Orchestra for over twenty years. Like you, we have enjoyed watching the ACO grow over this time into one of the world’s finest orchestras and this year, the Group is proud to be the National Tour Partner of the Teddy Tahu Rhodes concert. In 1996, we purchased a rare Guadagnini Violin and tonight I am delighted for this remarkable instrument to be played by the talented Satu Vänskä, the ACO’s Assistant Leader. We are excited that the distinctive sound of this 1759 instrument is able to be shared with thousands of Australians and international audiences. On behalf of the Commonwealth Bank Group, I hope you enjoy tonight’s performance.



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SPEED READ Songs with and without words populate this tour, in which the ACO welcomes back an old friend, Teddy Tahu Rhodes. Mahler’s Adagietto (from Symphony No.5) is his most supremely beautiful work, and a fitting if fleeting tribute as in 2010 and 2011 we mark the 150th anniversary of Mahler’s birth (1860) and the 100th anniversary of his death (1911). It’s also a song without words, maybe a love letter to his future wife, maybe not. Beethoven’s An die ferne Geliebte is the first-ever song cycle, with which Beethoven defined the genre. We hear the singer, by turns resigned and desperate, singing to his far-off or even unobtainable lover with an unrequited passion. Robert Saxton’s quirky, sizzling birthday tribute to a friend gives us an appropriate way to introduce another song cycle — by the dedicatee of Saxton’s piece, Richard Rodney Bennett. Bennett’s Songs Before Sleep offers familiar (and indeed not-so-familiar) children’s rhymes in a dazzling new setting. Prokofiev’s Five Melodies were conceived as songs to be sung without words, before he transposed them into evocative violin works. Exquisite and ethereal, these pieces show Prokofiev at his most inspired and lyrical, even when working in miniature form.


MAHLER Adagietto

PROKOFIEV Five Melodies

SAXTON Birthday Piece for RRB


BEETHOVEN An die ferne Geliebte

MENDELSSOHN String Quartet No.3

Approximate durations (minutes): 9 – 13 – 3 – 18 – INTERVAL – 13 – 29 The concert will last approximately two hours including interval. CANBERRA



Llewellyn Hall Fri 4 Feb 8pm

Town Hall Sun 6 Feb 2.30pm Mon 7 Feb 8pm

Town Hall Tue 8 Feb 8pm




Mendelssohn’s String Quartet No.3 is one of his major chamber works, at the same time highspirited yet expressive. The result of a particularly fruitful period of Mendelssohn’s life, this quartet presents him at full stretch: animated and typically rich in melody.

Concert Hall Wed 9 Feb 7.30pm

Opera House Sun 13 Feb 2pm

QPAC Mon 14 Feb 8pm

Cover photo: Nicole Divall © Gary Heery

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



City Recital Hall Angel Place Tue 15 Feb 8pm Wed 16 Feb 7pm Sat 19 Feb 7pm

City Hall Mon 21 Feb 7.30pm


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ACO ON THE RADIO ABC Classic FM 13 February 2pm Direct to air — Teddy Tahu Rhodes 26 February 1pm Delayed replay — Viennese Masters (Beethoven, Brahms & Schubert)

As we welcome all of our subscribers back for the 2011 concert season, we also welcome back the Commonwealth Bank, National Tour Partner for this series of concerts around the country with Teddy Tahu Rhodes. The Commonwealth Bank has been a steadfast supporter of the ACO for more than two decades and we congratulate the Bank on its pivotal role supporting the national reach of the ACO. 2011 promises to be a huge year for the ACO. In addition to our subscription concerts in Adelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney and Wollongong, the Orchestra will be performing in the USA in June, in the prestigious Ojai Festival in California (with soprano Dawn Upshaw) and in Japan in October, and ending the year with a European tour in late November and early December which includes performances in London’s Queen Elizabeth Hall, Amsterdam’s Concertgebouw and Vienna’s Musikverein – three of the most famous concert halls in the world. In a few weeks, Melbourne audiences will have the opportunity to experience the ACO in the unique setting of the Tarrawarra Museum of Art over the weekend of 16th and 17th April when Richard Tognetti and the Orchestra will perform three concerts in the exquisitely intimate gallery spaces, surrounded by a stunning collection of modern art. Dejan Lazi´c’s performances of Beethoven’s Piano Concerto No.4 with the ACO in 2009 were memorable, so we’re delighted to announce that Channel Classics has now released a CD taken from his live performances with us, coupled with two Beethoven Piano Sonatas. During the 2011 subscription campaign we offered a prize to subscribers and we congratulate Neil Rochlin who has won a superb trip to Japan in March courtesy of Cox & Kings. If you would like to receive a free copy of Cox & Kings’ magnificent 2011 brochure full of inspiring holidays, please call 1300 836 764 and mention the ACO.



MAHLER Symphony No.5: Adagietto Composed 1902

Gustav Mahler (b. Kalischt, Bohemia, 1860 – d. Vienna, 1911)

A complex composer and character, Mahler was better known in his lifetime as a conductor, but in the last 50 years his relatively small catalogue of works has earned him the position of a musical giant, an essential bridge between 19th-century Romanticism and 20th-century modernism.

ACO Performance History Mahler’s Adagietto and Saxton’s Birthday Piece for RRB have both appeared only once before in ACO subscription concerts, the former in 1999, and the latter in 2006. The other pieces in this program have not been performed in an ACO subscription tour previously.

In a concert of music featuring songs with and without words, Mahler’s Adagietto for strings and harp, from the Fifth Symphony, seems to have an obvious place. Its popularity pre-dates its use in the soundtrack of Luchino Visconti’s film Death in Venice (1971), where the central character bore a resemblance to Mahler. In the days of 78rpm recordings this Adagietto was just about the only excerpt available from any of Mahler’s symphonies – a tribute to its manageable length and immediately moving content. But how long is it? The controversy over the appropriate tempo is bound up with the question of what Mahler meant by this music. According to the Dutch conductor Willem Mengelberg, the Adagietto served as a love letter from the composer to Alma Schindler, shortly before they were married in 1902. Mengelberg wrote in his copy of the Fifth Symphony: “The Adagietto was Gustav Mahler’s declaration of love for Alma! Instead of a letter, he sent her this in manuscript form; no other words accompanied it. She understood and wrote to him: He should come!!! (both of them told me this).” If the Adagietto is a declaration of love, then its association with melancholy and death, reinforced by the Visconti film, and its performance at funerals, is inappropriate, as is the slow tempo at which it is often played. The great authority on Mahler, Henry-Louis de La Grange, in his monumental biography, is sceptical that the Adagietto is a love-letter. Alma Mahler never mentioned this meaning during the half century she survived Mahler. Even more decisive for La Grange is the close relationship of the Adagietto, in mood and in musical content, with Mahler’s setting as an orchestral song of Rückert’s poem Ich bin der Welt abhanden gekommen, composed in 1901, just before the symphony: I have lost touch with the world where I once wasted too much of my time… for I am truly dead to the world… and repose in tranquil realms. Did Mahler change the basic meaning of the piece when he sent it to Alma? It is a simple song without words, played by


Further Reading and Listening You can compare Adagiettos fast and slow by listening to recordings of the 5th Symphony by Bruno Walter with the New York Philharmonic Orchestra (Sony SMK64451) and Bernard Haitink with the Berliner Philharmoniker (Philips 4223552). The final instalment in Henry-Louis de La Grange’s four-volume Mahler biography (Oxford UP) appeared in 2008. For those wanting a readable, entry-level approach to Mahler’s symphonies, David Hurwitz’s The Mahler Symphonies: an owner’s manual (Amadeus, 2004) is highly recommended.

strings alone, with an accompaniment of harp arpeggios. It seems to express the same feeling as Ich bin der Welt…: lonely and blissful contemplation, away from the turmoil of the world and the life of the city. “It is a masterpiece,” writes La Grange, “of emotion intensely felt and yet restrained in expression”. This is not to say that the tempo of the Adagietto should be extremely slow. Conductors closely associated with Mahler, such as Bruno Walter who had witnessed Mahler’s own performance, take just under 8 minutes. The world record for slowness, La Grange observes, is held by Bernard Haitink’s recording at 13 minutes 55 seconds! “In the hands of such conductors the composition loses its tender and meditative character to become a saccharine elegy.” And yet there may be a further reason for thinking that the Adagietto had a private emotional meaning for Mahler and Alma. The tempo marking Adagietto belongs to another famous piece for strings alone, from Bizet’s incidental music for L’Arlésienne, where it accompanies the reunion in old age of the shepherd Balthasar and Mère Renaud, who were in love in their youth but have stayed apart for 50 years. Mahler was a champion of Bizet’s music, programming at the Vienna opera not only Carmen, but also the neglected opera Djamileh. Was he consciously or not referring to the declaration of love in Bizet’s best-known orchestral piece? At any rate, Mahler in his Adagietto achieved a rare emotional serenity which must surely have some relation to his happiness in love with Alma. DAVID GARRETT © Symphony Australia 2000


PROKOFIEV Five Melodies, Op.35bis Composed 1925 Orchestrated by Joseph Swensen

Andante Lento, ma non troppo Animato, ma non allegro Allegretto leggero e scherzando Andante non troppo

Sergei Prokofiev (b. Sontsovka, 1891 – d. Moscow, 1953) Prokofiev’s life and work can be read as a struggle between the strictures of Soviet cultural policies and the true feelings of the composer within. Luckily, several masterpieces have ensured his place in the pantheon of 20th-century composition.

Further Reading and Listening Carole Farley and Roger Vignoles have recorded the original version of the Melodies (as Five Songs Without Words) on an all-Prokofiev album (ASV CD DCA669) while saxophonist John Harle has transposed three of them for his instrument on John Harle’s Saxophone Songbook (Unicorn DKPCD9160). One of the most interesting collections of a composer’s correspondence available, the Selected Letters of Sergei Prokofiev is edited by Harlow Robinson (Northeastern UP, 1998).

These five short works were originally genuine songs without words; that is, Prokofiev composed them (in 1920) for voice and piano, with the singer directed to sing on vowel sounds alone. The effect is of a serene, haunting melodic line floating above the rather complex, moody piano accompaniment below. Prokofiev wrote the pieces during a congenial recital tour of California in December 1920, originally for the soprano voice of Nina Koshetz, a one-time lover of Rachmaninoff who had arrived in the United States earlier in 1920. (She sang in the premiere of Prokofiev’s biggest American hit, The Love of Three Oranges, the following year.) Back in the United States in 1925, Prokofiev was reunited with the violinist Paul Kochanski, a friend from St Petersburg now teaching at the Juilliard School. Doubtless acknowledging the difficulty of the songs in their original form, with their punishing vocal range, Prokofiev revisited them with Kochanski’s assistance, re-setting the five songs without words into the Five Melodies for violin and piano. He dedicated the first, third and fourth to Kochanski; the second to another violinist, Cecilia Hansen (whose marketing schtick was “looks like an angel, plays like a man”), and the last to Joseph Szigeti, one of the champions of Prokofiev’s Violin Concerto No.1. It is in this format that the pieces have become known, with the original vocal versions being rarely heard. The Five Melodies are compact and uncluttered, inhabiting an affable and approachable sound-world perhaps influenced by the happiness of Prokofiev’s time in California. The first is an expressive, otherworldly Andante, while the second hints at an almost English pastoral mood. Increased activity follows in the third of the set, the impassioned heart of the work, before the slight fourth melody offers a jocular, folk-like tune over a muted accompaniment. The final, fifth melody is darker and more


melancholic at first, then increasingly threatening, before a sublimely beautiful final few bars returns us to the eeriness of the opening. When in 1948 the Soviet authorities clamped down on “formalist perversions” in composition, citing Prokofiev as a prime culprit, his rather forced mea culpa (published in Soviet newspapers) claimed, “I love melody. I look upon it as the most important thing in music.” However much else of his statement may have been disingenuous, perhaps these melodies from some decades before, always popular in the West, were playing in his mind. This arrangement for violin and string orchestra is by the violinist and conductor Joseph Swensen. MICHAEL STEVENS © ACO 2011

SAXTON Birthday Piece for RRB Composed 1986

Robert Saxton (b. London, 1953) Born in the year that Prokofiev died, Robert Saxton has been a fixture of British musical life since the mid-1970s. His style is both intellectual and approachable: complicated on the surface yet irresistibly communicative.

A brief, fiery work for strings, Birthday Piece for RRB does what it says on the tin, heralding the 50th birthday of Robert Saxton’s composing colleague and mentor Richard Rodney Bennett. It was premiered in the week of that milestone by the Guildhall String Ensemble at Wigmore Hall. Like Bennett, Saxton was a talented young composer. His earliest mentor and guide was Benjamin Britten, to whom the precocious 9-year-old Saxton wrote in 1962, and with whom he corresponded about composition for several years. When Saxton was 16 Britten encouraged him to consider formal training and, on the suggestion of Richard Rodney Bennett, Saxton turned to Elisabeth Lutyens, Bennett’s own early tutor. Saxton later studied at Cambridge and Oxford, and it is at the latter institution where he has made his name as one of Britain’s most influential composition teachers. He remains a very active if somewhat underrated composer, his commissions including pieces for all the major British orchestras. Recent works include Sonata for solo cello on a theme of Walton, for Steven Isserlis, and his major work The Wandering Jew, a radio opera commissioned by BBC Radio 3 and first broadcast in July 2010. Birthday Piece for RRB takes as its starting point a common compositional tribute, by using the ‘musical’ letters of AUSTRALIAN CHAMBER ORCHESTRA 9

Further Reading and Listening Robert Saxton recently edited a scholarly overview of the state of 21st-century British composition: Contemporary British Music: Technique and the Compositional Process (Ashgate, 2009). Collections of his music include I Will Awake the Dawn (NMC D102) which contains his opera Caritas and his Violin Concerto. Robert Saxton maintains a personal website at

Bennett’s name. In the German notation scheme, the note we know as ‘B flat’ is called ‘B’, and the note we call ‘B natural’ is called ‘H’. This allowed Bach, for example, to ‘spell’ his name musically as B flat – A – C – B natural. At the top of Saxton’s score he writes, riCHArd roDnEy BEnnett, and indeed, the first six notes we hear in the piece are just that: C – B natural – A – D – E – B flat – E. Not obvious if you’re not listening for it (or necessarily even if you are) and hardly vital to enjoying the piece, but as a secretly-coded tribute to a friend and colleague it’s a striking shape on which to build this white-knuckle ride, before the slightly mysterious closing section meanders through the same seven notes, this time in more reflective mode. MICHAEL STEVENS © ACO 2011

BENNETT Songs Before Sleep Composed 2002–2003

The Mouse and the Bumblebee Wee Willie Winkie Twinkle, twinkle little star Baby, baby, naughty baby As I walked by myself There was an old woman

Richard Rodney Bennett (b. Broadstairs, Kent, 1936) Richard Rodney Bennett is a master of many styles, his success as a film and television composer, not to mention as a cabaret pianist, perhaps unfairly overshadowing his significant contribution as a contemporary composer of concert music.

Sir Richard Rodney Bennett is one of the hardest contemporary composers to pigeon-hole – indeed, his cosmopolitan, multi-voiced career renders traditional categorisation somewhat inadequate. To some his reputation is as the often-Oscar-nominated film composer, his 40+ scores including Billy Liar (1963), Far from the Madding Crowd (1967), Murder on the Orient Express (1974) and Four Weddings and a Funeral (1994). Others know him as a jazz pianist, his long associations with singers such as Marian McPartland and Claire Martin earning him extended residencies in clubs in London and New York. Recent years have drawn closer attention to his extraordinary but comparatively unknown body of intimate, Poulenc-tinged choral music, which has been an important facet of his writing since the 1950s. And in concert music – orchestral, chamber and especially solo song repertoire – Bennett has been at the forefront of his British contemporaries for decades. British? Even that isn’t obvious, as this musical chameleon adopted New York City as his home in 1979 and has


lived there ever since. Many on both sides of the Atlantic consider him a fully-fledged American composer. Born in Kent, England, in 1936, Bennett studied with Lennox Berkeley and Howard Ferguson at the Royal Academy of Music in the mid-1950s. Even prior to that, though, he was introduced to the music of Schoenberg, Berg and Webern by Elisabeth Lutyens, and as a 16-year-old was already composing twelve-tone music. Bennett later moved to Paris for two years’ private tuition with Pierre Boulez just as Boulez was applying the finishing touches to his masterpiece Le marteau sans maître; Bennett played percussion in several of its early performances. Under such strong influence Bennett’s concert music was immediately affected, although he never adopted Boulezian methods wholesale. It’s telling, too, that in this period his film and television work continued unabated, and he completed on average one movie soundtrack or TV score a year between the late 1950s and 1990. Further Reading and Listening Fresh from writing excellent biographies of Malcolm Williamson and Malcolm Arnold, Anthony Meredith and Paul Harris have turned their hand to RRB. Their Richard Rodney Bennett: The Complete Musician (Omnibus, 2010) came out last November. To hear some of his vastly underappreciated choral music, try Sea Change with the Cambridge Singers conducted by John Rutter (Collegium CSACD901).

An ongoing feature of Bennett’s musical life is his affinity with the human voice and a commitment to text – several operas in the 1960s, the aforementioned choral music, reams of jazz songs, and a beautiful, beguiling body of work for voice and piano (and sometimes for guitar or chamber ensemble) dating back to his teens. One of the more recent additions to this catalogue is Songs Before Sleep, originally written for voice and piano but also rearranged by the composer for voice and orchestra or, as heard in this concert, voice and string orchestra. Songs Before Sleep was commissioned jointly by BBC Radio 3 and the Royal Philharmonic Society in 2002, as part of the BBC’s New Generation Artists scheme. One of the 2002 New Generation Artists was the New Zealand-born Samoan bass-baritone Jonathan Lemalu, and he premiered and later recorded the cycle. The Songs consist of six poems, all taken from the Oxford Dictionary of Nursery Rhymes: hardly lullabies, though (with the exception of a ravishing setting of the best-known of rhymes, Twinkle, twinkle little star), most of these texts are scarcely conducive to sleep. Wee Willie Winkie demands it, and the spectral figure of Napoleon roams to punish children who refuse to give in to it. Dating from the 18th and early 19th centuries these rhymes are very much period pieces, ranging from the absurd to the wistful to the downright disturbing and violent, all underpinned by Bennett’s virtuosic and atmospheric string writing. MICHAEL STEVENS © ACO 2011 AUSTRALIAN CHAMBER ORCHESTRA 11

1. The Mouse and the Bumblebee A cat came fiddling out of a barn, With a pair of bagpipes under her arm. She could sing nothing but fiddle-de-dee, The mouse shall marry the bumblebee. Pipe, cat; dance, mouse; We’ll have a wedding at our good house. Fiddle-de-dee, fiddle-de-dee, The mouse has married the bumblebee. They went to church, and married was she, The mouse has married the bumblebee. The cat came fiddling out of the barn, With a pair of bagpipes under her arm. She sang nothing but fiddle-de-dee, Which worried the mouse and the bumblebee. Puss began purring, the mouse ran away, and the bee flew off with a wild huzza! 2. Wee Willie Winkie Wee Willie Winkie runs through the town, Upstairs and downstairs in his nightgown, Rapping at the window, crying at the lock. Are the children in bed? For it’s now ten o’clock. Hey, Willie Winkie, are you coming in? The cat’s singing quiet songs to the sleeping hen, The dog’s sprawled across the floor, and doesn’t give a cheep, But here’s a wakeful laddie that will not fall asleep. Anything but sleep, you rogue! glowering like the moon, Rattling in an iron jug with an iron spoon, Rumbling, tumbling round about, crowing like a cock, Shrieking like I-don’t-know-what, waking sleeping folk. Hey, Willie Winkie – the child’s in a creel! Scrambling off its mother’s knee like a very eel, Tugging at the cat’s ear and spoiling all her dreams, Hey, Willie Winkie – see here he comes! Weary is the mother that has a wakeful bairn, A wee wilful mischief that can’t be left alone, That battles every night with sleep before he’ll close an eye, But a kiss from off his rosy lips gives strength anew to me. 3. Twinkle, twinkle little star Twinkle, twinkle, little star, How I wonder what you are! Up above the world so high Like a diamond in the sky. When the blazing sun is gone, When he nothing shines upon, When you show your little light, Twinkle, twinkle all the night. When the traveller in the dark Thanks you for your tiny spark He could not see which way to go If you did not twinkle so. In the dark blue sky you keep, And often through my curtains peep, For you never shut your eye Till the sun is in the sky. As your bright and tiny spark Lights the traveller in the dark, Though I know not what you are, Twinkle, twinkle little star. 12 AUSTRALIAN CHAMBER ORCHESTRA

4. Baby, baby, naughty baby Baby, baby, naughty baby, Hush, you squalling thing, I say. Peace this moment, peace, or maybe Bonaparte will pass this way. Baby, baby, he’s a giant, Tall and black as Rouen steeple, And he breakfasts, dines, rely on’t, Every day on naughty people. Baby, baby, if he hears you As he gallops past the house, Limb from limb at once he’ll tear you, Just as pussy tears a mouse. And he’ll beat you, beat you, beat you, And he’ll beat you all to pap, And he’ll eat you, eat you, eat you, Snap, snap, snap. 5. As I walked by myself As I walked by myself, And talked to myself, Myself said unto me, Look to thyself, Take care of thyself, For nobody cares for thee. I answered myself, And said to myself, In the self-same repartee, Look to thyself, Or not to thyself, The self-same thing will be. 6. There was an old woman There was an old woman lived under a hill; And if she’s not gone she lives there still. There was an old woman lived under a hill, Put a mouse in a bag and went to the mill. The miller did swear by the point of his knife, He never took toll of a mouse in his life. There was an old woman and nothing she had, And so this old woman was said to be mad. She’d nothing to eat and nothing to wear, She’d nothing to lose and nothing to fear, She’d nothing to ask and nothing to give, And when she did die she’d nothing to leave. There was an old woman who lived in a shoe. She had so many children she didn’t know what to do. She gave them some porridge without any bread, Then she borrowed a hammer and knocked them all dead! She went to the town to bespeak ‘em a coffin, But when she got back they were lying there laughing. She went up the stairs to ring the bell Then she slipped her foot and down she fell. So she got the coffin to herself. There was an old woman tossed up in a basket, Seventeen times as high as the moon; And where she was going, I couldn’t but ask it, For in her hand she carried a broom. “Old woman, old woman, old woman,” quoth I, “Where are you going to up so high?” “To brush the cobwebs off the sky!”

BEETHOVEN An die ferne Geliebte, Op.98 Composed 1816 Orchestrated by Richard Tognetti

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 “one of the three great Romantic composers”. Now, most critics would hail him the greatest.

Auf dem Hügel sitz ich spähend Wo die Berge so blau Leichte Segler in den Höhen Diese Wolken in den Höhen Es kehret der Maien, es blühet die Au Nimm sie hin denn, diese Lieder The song cycle is one of the major musical inventions of the Romantic period. Although the term wasn’t coined until Schumann entitled two of his great cycles just that – Liederkreis – in 1840, it has long been held that the first offering in the genre was Beethoven’s 1816 composition An die ferne Geliebte (To the Distant Beloved). While this contribution to the form was quickly overshadowed by Schubert and Schumann in particular, An die ferne Geliebte certainly established the key criteria: a group of songs, often to texts by the same poet, written to be sung in a unified set. Although later cycles such as those of Schumann and Schubert separated the songs and in some cases allowed for the order of songs to be tinkered with, Beethoven makes the unity of the set explicit both by running one song into the next musically, and by reprising the sung melody from the opening (“Auf dem Hügel sitz ich spähend…”) as the final gesture of the cycle (in the text “dann vor diesen Liedern weichet…” and again in the last six notes the piano plays). The song cycle form remains compelling today: arguably many pop albums aspire to the condition of a song cycle. Beethoven had written well over 60 songs before he came to An die ferne Geliebte, on texts by a wide variety of poets. Something about this set of six poems spoke especially plainly to him, however. If we consider his song compositions as a whole, the subject of the distant beloved, and of yearning, are commonplace (there are five individual settings of Goethe’s Sehnsucht – ‘longing’, or ‘yearning’ – and yet another of a poem with the same name by Reissig, as merely the most obvious of examples). It was in 1812 that he penned the famous ‘immortal beloved’ letters, love letters to a recipient unknown, and his Tagebuch shows that this individual was still very much AUSTRALIAN CHAMBER ORCHESTRA 13

Further Reading and Listening Any mention of the ‘immortal beloved’ letters requires a reference to the fun if factually shady film Immortal Beloved (1994) — with Barry Humphries as Clemens Metternich! Of the many (more accurate) Beethoven biographies available, Maynard Solomon’s Beethoven (Schirmer, 2001) is one of the best. Again, recordings of Beethoven’s cycle abound, but an interesting recent offering is that by tenor James Gilchrist and pianist Anna Tilbrook, paired with Schubert’s Schwanengesang (Orchid ORC100013).

on Beethoven’s mind into 1816. In the same year he wrote to Ferdinand Ries, “My kind regards to your wife. Alas, I have no wife. I have met only one, and her I shall probably never get.” So when we consider this set of six poems, embracing love and longing, nostalgia and desperate hope, it’s easy to imagine that they spoke to something very pressing in Beethoven’s own heart and mind. The poems are by Alois Jeitteles (1794–1858), as unknown then as now. When he sent these poems to Beethoven he was a 20-year-old medical student, and though he never forsook poetry he spent his life as a physician. In his set of thematically-linked poems, however, he gave Beethoven the concept of the song cycle, one which, in many ways, Beethoven explored more fully than any of his immediate successors. As one song proceeds into the next we hear a symmetrical shift in the home key, which gives the impression of an internal momentum (from C major through E, F and A major back to C major in this version, transposed down a minor third from the original) while the tempi of the songs mirror this internal structure by a gradual increase in speed through the first four songs, then a drop into the resignation of the final song – before a final flourish which offers some optimism that the text itself doesn’t quite reflect. Crucially, though, the cycle offers no closure, and the narrator and beloved remain separated – perhaps why Beethoven was moved to emphasise the cyclical nature of the composition by offering a melodic memory or echo of the opening at the very end. MICHAEL STEVENS © ACO 2011


1.Auf dem Hügel sitz ich spähend Auf dem Hügel sitz ich spähend In das blaue Nebelland, Nach den fernen Triften sehend, Wo ich dich, Geliebte, fand.

1. I sit on the hillside, gazing Into the hazy, blue land, Looking at the distant pastures Where I found you, my beloved.

Weit bin ich von dir geschieden, Trennend liegen Berg und Tal Zwischen uns und unserm Frieden, Unserm Glück und unsrer Qual.

Far am I, from you, separated, Divided by mountain and valley Lying between us and our peace, Our happiness and our pain.

Ach, den Blick kannst du nicht sehen, Der zu dir so glühend eilt, Und die Seufzer, sie verwehen In dem Raume, der uns teilt

Ah! You cannot see the look That I send to you so ardently, And the sighs, they scatter In the space that divides us.

Will denn nichts mehr zu dir dringen, Nichts der Liebe Bote sein? Singen will ich, Lieder singen, Die dir klagen meine Pein!

Will nothing further reach you, Can there be no messenger of love? I will sing, sing songs to you That lament my pain!

Denn vor Liedesklang entweichet Jeder Raum und jede Zeit, Und ein liebend Herz erreichet Was ein liebend Herz geweiht!

Before the sound of these songs All space and time vanishes, And a loving heart reaches What a loving heart has blessed!

2. Wo die Berge so blau Wo die Berge so blau Aus dem nebligen Grau Schauen herein, Wo die Sonne verglüht, Wo die Wolke umzieht, Möchte ich sein!

2. Where the mountains so blue Out of the misty grey Peer down, Where the sun stops shining, Where the cloud moves past, There I would like to be!

Dort im ruhigen Tal Schweigen Schmerzen und Qual. Wo im Gestein Still die Primel dort sinnt, Weht so leise der Wind, Möchte ich sein!

There in the peaceful valley Pain and sorrow are silenced, Where in the rock The primrose ponders quietly, The wind blows so gently, There I would like to be!

Hin zum sinnigen Wald Drängt mich Liebesgewalt, Innere Pein. Ach, mich zög’s nicht von hier, Könnt ich, Traute, bei dir Ewiglich sein!

There to the pensive wood I am pushed by the power of my love, My inner sorrow, Ah! But I would not be moved from here, My love, if I could with you Eternally be!

3. Leichte Segler in den Höhen Leichte Segler in den Höhen, Und du, Bächlein klein und schmal, Könnt mein Liebchen ihr erspähen, Grüßt sie mir viel tausendmal.

3. Light clouds in the heavens, And you, little brook, small and narrow, If you spy my sweetheart Greet her from me many thousand times.

Seht ihr, Wolken, sie dann gehen Sinnend in dem stillen Tal, Laßt mein Bild vor ihr entstehen In dem luft’gen Himmelssaal.

Then, clouds, if you should see her Musing in the quiet valley, Let my image rise before her In the airy heavenly hall.

Wird sie an den Büschen stehen Die nun herbstlich falb und kahl, Klagt ihr, wie mir ist geschehen, Klagt ihr, Vöglein, meine Qual!

If she stands by the bushes, That now in autumn are faded and bare, Lament to her, what has happened to me, Lament to her, little birds, my anguish!

Stille Weste, bringt im Wehen Hin zu meiner Herzenswahl Meine Seufzer, die vergehen Wie der Sonne letzter Strahl.

Calm west wind, carry on your breezes To my heart’s desire My sighs, that vanish Like the last ray of the sun. AUSTRALIAN CHAMBER ORCHESTRA 15

Flüstr’ ihr zu mein Liebesflehen, Laß sie, Bächlein klein und schmal, Treu in deinen Wogen sehen Meine Tränen ohne Zahl!

Whisper to her my love’s beseeching, Let her, little brook, small and narrow, Truly, in your waves see My numberless tears!

4. Diese Wolken in den Höhen Diese Wolken in den Höhen, Dieser Vöglein muntrer Zug, Werden dich, o Huldin, sehen. Nehmt mich mit im leichten Flug!

4. These clouds in the heights, This happy flock of birds, Will see my gracious one. Take me with you on your light flight!

Diese Weste werden spielen Scherzend dir um Wang’ und Brust, In den seidnen Locken wühlen. Teilt’ ich mit euch diese Lust!

These west winds will play with you Joking about your cheek and breast, And burrow into the silky curls. That I could share this pleasure!

Hin zu dir von jenen Hügeln Emsig dieses Bächlein eilt. Wird ihr Bild sich in dir spiegeln, Fließ zurück dann unverweilt!

There to you from these hills Busily, the little brook speeds. If your image is reflected in it, Flow back then without delay!

5. Es kehret der Maien, es blühet die Au Es kehret der Maien, es blühet die Au, Die Lüfte, sie wehen so milde, so lau, Geschwätzig die Bäche nun rinnen.

5. May returns, the meadow blooms, The breezes they blow so gently and mildly, The babbling brooks now run.

Die Schwalbe, die kehret zum wirtlichen Dach, Sie baut sich so emsig ihr bräutlich Gemach, Die Liebe soll wohnen da drinnen.

The swallow, who returns to the hospitable roof, Builds so eagerly her bridal chamber. Love shall live there.

Sie bringt sich geschäftig von kreuz und von quer Manch weicheres Stück zu dem Brautbett hieher, Manch wärmendes Stück für die Kleinen

She busily brings herself from far and wide Many soft pieces for the bridal bed, Many warming pieces for the little ones.

Nun wohnen die Gatten beisammen so treu, Was Winter geschieden, verband nun der Mai, Was liebet, das weiß er zu einen.

Now the couple live together faithfully, What winter divided is united by May, And lovers are brought together.

Es kehret der Maien, es blühet die Au. Die Lüfte, sie wehen so milde, so lau. Nur ich kann nicht ziehen von hinnen.

May returns, the meadow blooms, The breezes they blow so gently and mildly, Only I cannot leave here.

Wenn alles, was liebet, der Frühling vereint, Nur unserer Liebe kein Frühling erscheint, Und Tränen sind all ihr Gewinnen.

When all that loves is united by the spring, But to our love alone no spring appears, Tears are our only solace.

6. Nimm sie hin denn, diese Lieder Nimm sie hin denn, diese Lieder, Die ich dir, Geliebte, sang, Singe sie dann abends wieder Zu der Laute süßem Klang.

6. Take, then, these songs, That I to you, my beloved, sang, Sing them again in the evening To the sweet sound of the lute!

Wenn das Dämmrungsrot dann zieht Nach dem stillen blauen See, Und sein letzter Strahl verglühet Hinter jener Bergeshöh;

When the red twilight then moves Towards the calm, blue lake, And the last ray wanes Behind that hilltop;

Und du singst, was ich gesungen, Was mir aus der vollen Brust Ohne Kunstgepräng erklungen, Nur der Sehnsucht sich bewußt:

And you sing what I sang, What I, from my full heart, But without any skill have sounded, Only aware of its yearning:

Dann vor diesen Liedern weichet Was geschieden uns so weit, Und ein liebend Herz erreichet Was ein liebend Herz geweiht.

Then, may these songs reach across What separates us so far, And a loving heart reaches What a loving heart has blessed!


MENDELSSOHN String Quartet No.3 in D major, Op.44, No.1 Composed 1838 Arranged for string orchestra by Richard Tognetti

Molto allegro vivace Menuetto: Un poco allegretto Andante espressivo, ma con moto Finale: Presto con brio

Felix Mendelssohn (b. Hamburg, 1809 – d. Leipzig, 1847) Although Mendelssohn is often considered a musical reactionary, his intense lyricism betrays an underlying emotion that helps explain his perennial popularity.

When we think of ‘songs without words’, it’s to Mendelssohn that we are indebted. During his lifetime he published eight volumes of Lieder ohne Worte, with more discovered after his death – short, poetic pieces for solo piano with songlike melodies. So in a program of songs with and without words Mendelssohn has a definite place. In the context of his compositional catalogue – which is, broadly speaking, a sunny body of work – Mendelssohn’s chamber music contains some of his more mature and searching statements. That is not to say that the lyricism evident in the Lieder ohne Worte is abandoned – indeed, the contrary, as the Third String Quartet contains a wealth of beautiful and poignant melodies. Mendelssohn composed the set of three Op.44 quartets in 1837 and 1838. His career was at its zenith: two years into his tenure as conductor of the Leipzig Gewandhaus Orchestra, his oratorio St Paul, which did so much to cement his reputation as one of Europe’s leading composers, had been premiered in 1836. At the same time his personal life was exceptionally content, with his marriage to Cécile Jeanrenaud taking place in March 1837, and the birth of his first son occurring a year later. It’s tempting therefore to hear some representation of this happy work and home life in the exuberant, confident outpouring which opens this work. Like the other two in the Op.44 set, this quartet was dedicated to the Crown Prince of Sweden, at that time in exile in Germany. The numbering of Mendelssohn’s quartets, though, has always given trouble. His earliest attempt came at the age of 14, a work in E flat major never assigned an opus number. The so-called String Quartet No.1, written in 1829, is in fact his third string quartet, as in 1827 he composed a quartet in A minor, which was published later than the 1829 quartet so has become known as String Quartet No.2. And the Op.44 set was actually written in the order 2, 3 and 1. So this quartet, known as No.3, was in fact the sixth quartet Mendelssohn wrote. This is relevant insofar as each quartet represents a step forward AUSTRALIAN CHAMBER ORCHESTRA 17

Further Reading and Listening The Cambridge Companion to Mendelssohn (Cambridge UP, 2004) edited by Peter MercerTaylor is a good introduction to the various themes and strands of Mendelssohn’s life and music. There are several recordings of Mendelssohn’s chamber music: the Emerson Quartet’s complete recording of his string quartets (and the Octet) is one of the best (Deutsche Grammophon 4775730).

for Mendelssohn, and this self-assured, expressive work has an emotional intensity towards which the earlier quartets are clearly reaching. Mendelssohn’s melodic genius is a constant, and his breathtaking shifts from jaunty exuberance to utter stillness make this a captivating and rewarding exploration of the quartet form. A particular feature is the foregrounding of the first violin, which at times gives the work the character of a ‘chamber’ violin concerto; nowhere is this more apparent than in the bold opening of the first movement. (Mendelssohn was particularly proud of this movement, and boasted of it in a letter to his friend Ferdinand Hiller.) The second movement is a lilting minuet, more conversational in tone. The remarkable middle section is propelled by a constant stream of notes from the first violin, delivered not machine-gun style à la Paganini, but in an effortless if seemingly endless melodic flow. The third movement is an archetypal ‘song without words’, led by an affecting and intimate melody in the first violin, before the fire of the final movement returns us to the exuberance of the opening. An early critic complained that these outer movements were “too orchestral” – the transposition here to an orchestral set-up perhaps satisfies that criticism, or at least gives us a framework through which to consider it.




‘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 Giuliani Guitar Concerto with John Williams Sony SK 63385

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. This year, the ACO tours to the USA, Japan and Europe.

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.

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In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and m≠≠≠entoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres. AUSTRALIAN CHAMBER ORCHESTRA 19


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, Orchestre Philharmonique du Luxembourg 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.



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 Cello Chair sponsored by Philip Bacon AM Chair sponsored by The Bruce & Joy Reid Foundation


Players dressed by

Guest Principal 2nd Violin



JOEL LAAKSO Guest Principal Cello




Cello Chair sponsored by the Clayton Family

Principal Bass Chair sponsored by John Taberner & Grant Lang

# Appears courtesy of West Australian Symphony Orchestra

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

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TEDDY TAHU RHODES BASS-BARITONE Teddy Tahu Rhodes has established an international career on the opera stage and the concert platform. He sings a wide-ranging repertoire, notable for several world and Australian premiere performances including Bendrix (The End of the Affair), Joe (Dead Man Walking), The Pilot (The Little Prince), Butterley’s Spell of Creation and Conyngham’s Fix. He is a frequent guest with major opera companies in the USA (Austin, Washington, Philadelphia, Houston, Cincinnati, San Francisco and Dallas), in Europe (Hamburg, Munich, Paris, Vienna) in the UK (Welsh National Opera, Scottish Opera) and with Opera Australia. State Opera South Ausralia presented him in landmark performances of Dead Man Walking. Recent and forthcoming opera engagements include Al Kazam/L’Upupa (Hamburg), Ned Keene/Peter Grimes (Metropolitan Opera), Escamillo/Carmen (Paris/Hamburg/ Munich/Bilbao/Scottish Opera, Dominican Republic, Metropolitan Opera – on stage and in cinemas world-wide), Stanley/A Streetcar Named Desire (Vienna/Opera Australia), Count/Marriage of Figaro (Cincinnati/Washington), Joe/ Dead Man Walking (McManus/Alexander Productions), Lescaut/Manon Lescaut (Leipzig/OA) and the title roles in Don Giovanni (OA) and Billy Budd (Santa Fe/OA), as well as two important role debuts this year – Figaro/Marriage of Figaro (OA) and Scarpia/Tosca (Southern Opera/NZ). A regular guest with all the major orchestras in Australasia, recent and forthcoming concert engagements include recitals at Sydney’s Utzon Room and in Washington, the prestigious BBC Proms, Fauré Requiem/London Philharmonic, Bundaleer Festival 2002/2006, West Australian Symphony Orchestra, Tasmanian Symphony Orchestra, Auckland Philharmonia, a national tour with the New Zealand Symphony Orchestra and a sell-out Australia-wide tour with David Hobson. He made his first appearance at New York’s Carnegie Hall in 2009. Teddy Tahu Rhodes’ discography includes Fauré’s Requiem, Handel’s Messiah, Musical Renegades, Mozart Arias, The Voice, Vagabond, Bach Arias and You’ll Never Walk Alone (with David Hobson)/ABC Classics. Other releases include The Little Prince (BBC/Sony International) and Hayley Westenra Live (DVD). Awards include an ARIA (Best Classical Record/The Voice), two Helpmann Awards (Best Male Operatic Performer), MO Award (Operatic Performer of the Year) and a Green Room Award (Don Giovanni/OA). AUSTRALIAN CHAMBER ORCHESTRA 23



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OVERSEAS OPERATIONS: New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. New Zealand — Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2—E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Singapore: Playbill (HKO Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—111 — 16284 — 1/040211


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 would like to pay tribute to the following donors who supported our highly successful 2010 Trans-Atlantic Tour. 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 Isla Baring The Hon. Mr Laurie Brereton & The Hon. Justice Trisha Kavanagh Edmund Capon David & Jane Clarke Jillian Cobcroft Ann & Bruce Corlett Terry & Lynn Fern Bill & Lea Ferris Alan & Joanna Gemes Peeyush & Shubura Gupta Michael & Anna Joel Nicky McWilliam Susan & Garry Rothwell Peter & Susan Yates

ACO SPECIAL COMMISSIONS The ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works which will be performed by the ACO and will go on to be performed by other ensembles in the future. The ACO is particularly grateful to the members of the Creative Music Fund who have commissioned a new work in 2011 for ACO2. CREATIVE MUSIC FUND Ian Andrews & Jane Hall T Cavanagh & J Gardner Chin Mood Family Anne Coombs & Susan Varga Greg Dickson Cathy Gray Brian Kelleher

Penny Le Couteur Andrew Leece Scott Marinchek & David Wynne Janne Ryan Barbara Schmidt & Peter Cudlipp

Richard Steele Peter Weiss AM Cameron Williams Anonymous (1)



Marc Besen AO & Eva Besen AO



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. EMERGING ARTISTS PATRONS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin John & Patti David Pamela Duncan Brendan & Bee Hopkins Roger Massy-Greene & Belinda Hutchinson AM Miss Nancy Kimpton Julianne Maxwell Andrew P Messenger Christine Rothauser John Taberner & Grant Lang

Ian Wallace & Kay Freedman Peter Weiss AM Anonymous (2) DIRETTORE $5,000  $9,999 The Abercrombie Family Foundation The Belalberi Foundation Elizabeth & Nicholas Callinan John & Lynnly Chalk Ross & Rona Clarke Rowena Danziger & Ken Coles Bridget Faye AM Ian & Caroline Frazer Dr & Mrs E C Gray Melbourne Community Foundation – Ballandry (Peter Griffin Family) Fund Keith Kerridge Wayne N Kratzmann


Fiona & Mark Lochtenberg Lorraine Logan Marianna & Tony O’Sullivan John Rickard A J Rogers Alden Toevs & Judi Wolf Ian Wilcox & Mary Kostakidis Anonymous (4) 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 John & Gloria Darroch Kate Dixon

ACO DONATION PROGRAM Suellen Enestrom John & Jenny Green Kelvin & Rosemary Griffith Nereda Hanlon & Michael Hanlon AM Don Hart Lindi & John Hopkins Penelope Hughes Philip Maxwell & Jane Tham John Marshall & Andrew Michael, Apparel Group Pty Ltd Hon Dr Kemeri Murray AO J G Osborn Sandra & Michael Paul Endowment S & B Penfold Ralph & Ruth Renard 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 (8) VIRTUOSO $1,000  $2,499 Annette Adair Peter & Cathy Aird Rae & David Allen Andrew Andersons Peter & Lillian Armitage Sibilla Baer Doug & Alison Battersby The Beeren Foundation Ruth Bell Bruce Beresford Victoria Beresin Bill & Marissa Best Jessica Block Sally Bufé Neil Burley & Jane Munro Mark Burrows & Juliet Ashworth Gerard Byrne & Donna O’Sullivan Drs James & Margaret Cameron

Sandra Cassell Ann Cebon-Glass Paul Cochrane Leith & Darrel Conybeare Judy Croll Betty Crouchley Diana & Ian Curtis Marie Dalziel June Danks Michael & Wendy Davis Christopher & Kathryn Dibden Jennifer Dowling G & L Dunn Professor Dexter Dunphy Professor Peter Ebeling & Mr Gary Plover Wendy Edwards 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 Lesley Harland Carrie & Stanley Howard Wendy Hughes Pam & Bill Hughes Phillip Isaacs OAM David Iverach Angela James & Phil McMaster Andrew Johnston D & I Kallinikos John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Clive Magowan Mr & Mrs Greg & Jan Marsh Deidre & Kevin McCann Brian & Helen McFadyen Judith McKernan P J Miller Donald Morley Marie Morton Nola Nettheim The Hon Mr. Justice Barry O’Keefe AM & Mrs Janette O’Keefe Anne & Christopher Page Patagonian Enterprises Pty Ltd

James & Diane Patrick peckvonhartel architects Nick & Claire Poll Warwick & Jeanette Richmond In Memory of Andrew Richmond Em Prof A W Roberts Pamela Rogers Julia Champtaloup & Andrew Rothery D N Sanders Tony Shepherd Edward Simpson Diana & Brian Snape AM Maria Sola & Malcolm Douglas Leslie C Thiess Colin & Joanne Trumble Ngaire Turner Kay Vernon Pat & John Webb Mrs M W Wells Audrey & Michael Wilson Nick & Jo Wormald Don & Mary Ann Yeats Peter Young William Yuille Dr Lawrie Zion Anonymous (15) CONCERTINO $500  $999 Antoinette Ackermann Ross & Lenore Adamson A Annand Bruce & Diane Bargon Tamara Best Andrew & Margaret Birchall Brian Bothwell Denise Braggett D J Brown Arnaldo Buch Colleen & Michael Chesterman Stephen Chivers Angela & John Compton Michael Cook Alan Fraser Cooper P Cornwell & C Rice Mrs Julie Ann & Mr Laurie Cox Money Warehouse Sharlene Dadd Lindee Dalziell Anouk Darling


ACO DONATION PROGRAM Mari Davis Lucio Di Bartolomeo Jane Diamond Martin Dolan In Memory of Raymond Dudley Rodney Beech & Mariee Durkin-Beech M T & R L Elford Michael Elsley & Susan Richardson Julie Ewington Mr & Mrs R J Gehrig Mirek Generowicz Brian Goddard Steve Gray Tom Griffith & Adrienne Cahalan Richard W Gulley William & Robin Hall Matthew Handbury Annie Hawker Tim Hemingway John Hibbard Michael Horsburgh AM & Beverley Horsburgh Dr & Mrs Michael Hunter John & Pamela Hutchinson Stephanie & Michael Hutchinson Philip & Sheila Jacobson Davina Johnson Angela Karpin Dominic & Sophia Kazlauskas Bruce & Natalie Kellett David & Angela Kent Len La Flamme Drew Lindsay & Karl Zebel Greg Lindsay AO & Jenny Lindsay Joanne Frederiksen & Paul Lindwall

Penelope Little Sydney & Airdrie Lloyd James MacKean Jennifer Marshall Peter Mason AM Donald C Maxwell John Mitchell Marie Morton Helen & Gerald Moylan Sharyn Munro Ken Nielsen J Norman Graham North Robin Offler Allegra & Giselle Overton Josephine Paech Leslie Parsonage Deborah Pearson Professor David Penington AC Mr Kevin Phillips Jan Power Michael Power Keith & Joan Presswell John & Virginia Richardson Michael Ryan 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 G C & R Weir Dr Gwen Woodroofe Woodyatt Family Michael & Susan Yabsley Anonymous (31)

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 The late Richard Ponder Dawn Searle & the late Richard 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 Ian Davis Managing Director Telstra Television Chris Froggatt

Rhyll Gardner General Manage Group Strategy St George Bank Brendan Hopkins CEO APN News & Media

Tony Gill

Tony O’Sullivan Managing Partner O’Sullivan Partners Tony Shepherd Chairman Transfield Services John Taberner Consultant Freehills

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 Director Tolarno Galleries 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 Suzanne Cohen Patricia Connolly Judy Anne Edwards Elizabeth Harbison Bee Hopkins

Sarah Jenkins David Stewart 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 Didier Mahout CEO Australia & NZ BNP Paribas

Mr Peter Schiavello Managing Director Schiavello Group

Mr Michael Maxwell & Mrs Julianne Maxwell

Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

Mr Geoff McClellan Chairman Freehills

Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr John Grill Chief Executive Officer WorleyParsons Mrs Janet Holmes à Court AC 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 Warwick Johnson Managing Director Optimal Fund Management Ms Catherine Livingstone AO Chairman Telstra Mr Steven Lowy AM Group Managing Director Westfield Group


Mr John Meacock Managing Partner NSW Deloitte Mr Andrew Michael Group Managing Director The Apparel Group

Mr & Mrs Clive Smith Mr Michio (Henry) Taki Managing Director & CEO Mitsubishi Australia Ltd

Mr Michael Triguboff Managing Director Ms Naomi Milgrom AO MIR Investment Management Ltd Ms Jan Minchin Director Ms Vanessa Wallace Tolarno Galleries Director Booz & Company Mr Clark Morgan Chief Executive Mr Kim Williams AM UBS Wealth Chief Executive Management Australia Officer Foxtel Mr Alf Moufarrige OAM Chief Executive Officer Mr Peter Yates Servcorp Chairman Royal Institution of Mr & Mrs James & Australia & Peony Diane Patrick Capital Managing Directors Wiltrans International Pty Ltd Mr Scott Perkins Head of Global Banking Deutsche Bank Australia/New Zealand Mr Oliver Roydhouse Managing Director Inlink

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 One of the most special events in the Education diary is the Open Rehearsal to celebrate the International Day of People with Disability. Students observed the ACO preparing for the Vasse Felix Festival, experiencing the audiovisual work The Glide. It was a wonderful experience for all involved and the students were able to discover the way that the music relates to the ocean footage. The students were spellbound by the music and listened quietly and attentively throughout. The rehearsal was followed by afternoon tea along with an impromptu solo performance by Richard Tognetti.

TOP RIGHT: Melissa Barnard and Julian Thompson led by a student conductor. RIGHT: Richard Tognetti’s solo performance.

LEFT R LEFT: Richard icha ch rd Togne T Tognetti’s ognetti tti’ tti’s ti’s performance. solo per perform formance ance..


STACCATO: ACO NEWS SYDNEY EVENT  ‘PARIS IN THE SPRING’ On Thursday 28 October 2010, the ACO hosted its Annual Sydney Gala Event, at the stunningly refurbished Sydney Town Hall. This year, the event’s theme was Paris in the Spring, and the Sydney Town Hall became the perfect Parisian setting. It was as if the Tuileries Gardens had been transported to the Town Hall for the night. The Hall was adorned with a beautiful display of spring flowers, a flowing garden fountain, and an endless array of exciting auction items. Guest chef Tony Bilson delighted guests with a French/Australian menu, accompanied by Peter Lehmann Wines and flowing Taittinger Champagne, while the ACO thrilled the audience with a performance of French music,

featuring surprise guest Barry Humphries! The stars of the evening, however, were the ACO-mentored student orchestra, the Parramatta String Players, who exuded energy and technique beyond their years, as they performed alongside the ACO. Paris in the Spring was a wonderful success, raising over $300,000 to support the ACO’s Education Program. The ACO would like to thank Presenting Partner Maserati, our event partners Peter Lehmann Wines, Cellarmasters, Tiffany & Co., Cox & Kings, Hemisphere Hospitality Solutions, Event Emporium, Duxburys Flower Merchants and Bilson’s, and the ACO Sydney Event Committee for their support and generosity.


ABOVE: Paris in the Spring BELOW LEFT: Mr Peter Overton and Ms Jessica Rowe. BELOW RIGHT: Mr Barry Humphries AO CBE and Ms Lizzie Spender.

RIGHT: The ACO with the Parramatta String Players. BELOW: Richard Tognetti with the Parramatta String Players.


STACCATO: ACO NEWS NEW RELEASE BEETHOVEN Piano Concerto No.4, with Dejan Lazic´ This recording was made live during the ACO’s tour with pianist Dejan Lazić in 2009. It also features Lazić’s recording of Beethoven Piano Sonata No.14 (Moonlight) and Piano Sonata No.31. “In Dejan Lazic ´, Tognetti has met his match. Born in Zagreb in 1977, this young Croatian composer-pianist has already been highlighted among tomorrow’s superstars. Lazic´ and Tognetti share a view of Beethoven that is provocative, unorthodox, at times capricious but ultimately persuasive.” The Australian review of the 2009 performance.

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.


The A380’s fully flat Skybed. What a performance.

Qantas A380 Business. We’ve been working flat out on our mission to create the world’s most comfortable A380 Business cabin. See what you think. Fully horizontal, extra long Skybed so you arrive in great shape for your meeting. An onboard lounge with sofa for relaxing with colleagues and friends. Delicious Neil Perry designed menu with an award-winning Australian wine list. And over a thousand entertainment options to distract you from the work you meant to do on the flight. The Qantas A380 by Airbus. Comfort that comes from experience. Qantas is proud to be the official airline of the Australian Chamber Orchestra. Qantas Airways Limited ABN 16 009 661 901

Celebrating 30 years as founding partner of the Australian Chamber Orchestra. IBM® is proud to join Australia’s national orchestra in celebrating our pearl anniversary together.

© Copyright IBM Australia Limited 2011 ABN 79 000 024 733 © Copyright IBM Corporation 2011 All Rights Reserved. TRADEMARKS: IBM, the IBM logos, 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 IBMNCA0569

Teddy Tahu Rhodes concert program  

Concert program for the 2011 Australian tour of Teddy Tahu Rhodes and the Australian Chamber Orchestra.

Teddy Tahu Rhodes concert program  

Concert program for the 2011 Australian tour of Teddy Tahu Rhodes and the Australian Chamber Orchestra.