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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.
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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 commbank.com.au/arts
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NATIONAL TOUR PARTNER
The Baroque period was one of great change and is famous for its elaborate ﬁne detail in sculpture, architecture and music. The creativity that fosters this kind of innovation continues today. For over 55 years Transﬁeld has applied similar creativity to the many engineering projects it has pioneered and today our investment in solar energy technology continues that tradition. Transﬁeld’s founder, my father Franco, recognised a very clear link between the creativity expressed in art and that which is applied in business. In 2011 we celebrate the 50 year anniversary of the establishment of the Transﬁeld Art Prize, an award created by Franco, which led to the founding of the Biennale of Sydney. Next year marks the 18th Biennale and Transﬁeld is proud to remain its founding partner. Transﬁeld has supported the ACO for over a decade. In that time Richard Tognetti and his wonderfully talented musicians have not only inspired Transﬁeld, they have captivated local and international audiences with their delicately crafted and uniquely magniﬁcent music. As Chairman of the ACO, it is a privilege to welcome you to this performance of Baroque Virtuosi.
NATIONAL TOUR PARTNER
GUIDO BELGIORNO-NETTIS AM JOINT MANAGING DIRECTOR, TRANSFIELD HOLDINGS
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PREPARE IN ADVANCE A free PDF and e-reader version of the program are available at aco.com.au and on the ACO iPhone app one week before each tour begins, together with music clips, videos and podcasts.
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ACO ON THE RADIO ABC Classic FM: Tue 5 Jul 8.30pm Direct to air: Baroque Virtuosi concert Sat 8 Oct 1pm Schubert String Quintet concert Mon 19 Sep 8pm Direct to air: Viennese Serenade concert
During the last couple of seasons, our audiences around the country have responded so warmly to the opportunity to hear members of the ACO stepping into the solo spotlight that we have decided to make ACO soloists a central feature of this national tour. Five ACO musicians step forward in this concert, three of whom, Helena Rathbone, Satu Vänskä and Christopher Moore, will be familiar to our subscribers from concerto performances in previous years. This time we’re immensely proud to include two other members of the ACO as soloists – violinists Madeleine Boud and Mark Ingwersen, who join Helena and Satu in Vivaldi’s Concerto for four violins. It is particularly ﬁtting that Transﬁeld should be the National Tour Partner for this series of concerts. Since 2000, Transﬁeld has been an important supporter of the ACO, founded on a ﬁrm belief in what the ACO stands for and our mission to bring great musical performances to audiences all over the country. Underpinned by Transﬁeld’s support for more than a decade, the ACO has been able to attract and retain the wonderful musicians who make up the Orchestra, and those strengths are highlighted throughout this program. This concert also allows the newest addition to the ACO’s gallery of legendary instruments to make its public debut. Inspired by the example of the Commonwealth Bank and by generous individuals such as Peter Weiss, the ACO has established an instrument fund which will enable our musicians to play on great instruments of the calibre of Guarneri and Guadagnini. The ACO Instrument Fund’s very ﬁrst instrument is a stunning 1728/29 Stradivari violin played by Satu Vänskä and we very much hope that you will be so inspired by its exquisite tonal qualities that you will join the growing number of investors in the Fund who participate not only in the ownership of a remarkable violin but also in a sound investment.
Viennese Serenade 12 – 25 September
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TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA
TOUR FOUR BAROQUE VIRTUOSI SPEED READ This program contrasts ﬁve vibrant, virtuosic works composed within a four-decade span in the ﬁrst half of the 1700s, with four Australian compositions written during the last four decades. Two concerti grossi book-end the program: the ﬁrst by Handel, who composed over two dozen “grand concertos”, and the other by Corelli who, although he did not invent the concerto grosso, was its ﬁrst major exponent. In a concerto grosso the soloist’s role is taken by a small group — a trio or quartet — playing against the larger ensemble. Such a format was revived in the 20th century: think of Elgar’s Introduction and Allegro or Schoenberg’s Concerto for String Quartet and Orchestra. In a similar fashion Sculthorpe’s Port Essington uses a trio to represent “civilisation” while the orchestra represents the bush. Ledger’s Johann has left the building, Brumby’s The Phoenix and the Turtle and Greenbaum’s Moments of Falling don’t utilise the concerto grosso format, but each in its own way — the anachronistic use of harpsichord or the atavistic soundworld of minimalism — harks back to something earlier, while remaining veriﬁably contemporary. Telemann’s Viola Concerto was the ﬁrst such solo work for the viola and remains a popular showpiece today. Tartini’s “Devil’s Trill” Sonata is much-loved of violinists and is heard here in an orchestral arrangement by the virtuoso Fritz Kreisler. And a concerto grosso of sorts from Vivaldi: Richard Tognetti said, “I always wanted to put Sculthorpe and Vivaldi side by side, wondering whether these strange bedfellows might actually make congenial compadres.”
HELENA RATHBONE Lead Violin SATU VÄNSKÄ Violin MADELEINE BOUD Violin MARK INGWERSEN Violin CHRISTOPHER MOORE Viola
Concerto Grosso, Op.6 No.12
Moments of Falling
TARTINI (arr. Kreisler)
The Phoenix and the Turtle I and III
Violin Sonata, Op.1 No.4, “The Devil’s Trill”
Johann has left the building
Concerto Grosso, Op.6 No.2
VIVALDI Concerto for four violins, RV580 I N T E R VA L Approximate durations (minutes): 12 – 7 – 6 – 4 – 9 – INTERVAL – 12 – 15 – 11 – 10 The concert will last approximately 2 hours including a 20 minute interval. MELBOURNE
Town Hall Sun 3 Jul 2.30pm Mon 4 Jul 8pm
City Recital Hall Angel Place Sat 9 Jul 7pm Tue 12 Jul 8pm Wed 13 Jul 7pm
QPAC Mon 11 Jul 8pm
ADELAIDE Town Hall Tue 5 Jul 8pm
WOLLONGONG IPAC Thu 14 Jul 7.30pm
SYDNEY Opera House Sun 10 Jul 2pm
The Australian Chamber Orchestra reserves the right to alter scheduled programs or artists as necessary. Cover photo: Satu Vänskä © Gary Heery
AUSTRALIAN CHAMBER ORCHESTRA 3
AUSTRALIA’S ONLY STRADIVARIUS In this concert, you will hear a 1728/29 Stradivarius violin which is, to our knowledge, the only Stradivarius violin to be owned in Australia. Satu Vänskä will be playing it in this and all future ACO national and international tours, sharing this exquisite work of art with all of us.
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Australian Chamber Orchestra Instrument Fund Patron: Peter Weiss AM The ACO has been able to purchase this instrument through the creation of the ACO Instrument Fund. The Fund has been launched with the assistance of a most generous donation by Peter Weiss, who in 2007 also purchased the 1729 Guarneri ﬁlius Andreæ cello played by Timo-Veikko Valve, for use by the ACO. Investors are invited to make donations to the ACO or to buy units in the Fund, which has purchased this Stradivarius and will go on to invest in further high value instruments for the use of ACO musicians. Historically, such instruments have provided investors with a solid return, as well as a great deal of pleasure from hearing them played by the world’s ﬁnest musicians. Led by Peter Weiss, our Founding Patrons include Naomi Milgrom AO, Amina Belgiorno-Nettis, John Leece OAM and Anne Leece; Founding Investors include Guido Belgiorno-Nettis AM and Michelle Belgiorno-Nettis. If you are interested in learning more about the Fund, please contact Jessica Block, ACO Deputy General Manager at email@example.com or on (02) 8274 3803.
Peter Weiss with Timo-Veikko Valve
Name the Strad Instruments of this rarity and quality frequently have nicknames, but our new Stradivarius is yet to be named. The Guarneri del Gesù violin bought by an anonymous benefactor in 2007 for the use of Richard Tognetti is known as the ‘Carrodus’, after the Victorian English violinist, John Carrodus, who owned the instrument. The Guarneri ﬁlius Andreæ cello is known as the ‘Weiss’ cello, after its owner, Peter Weiss.
You are invited to suggest a suitable nickname for this Stradivarius. To do so, visit aco.com.au/stradivarius. A winning name will be selected following this tour and the winner will be invited to meet Satu Vänskä backstage at a future concert, to see and hear the instrument up close.
AUSTRALIAN CHAMBER ORCHESTRA 5
HANDEL Concerto Grosso in B minor, Op.6, No.12 (Composed 1739)
I. II. III. IV. V.
George Frideric HANDEL (b. Halle, 1685 — d. London, 1759) Handel is one of the giants of the German Baroque and an exact contemporary of Bach, but he made his career in England where he was a central ﬁgure of London musical life in the 1700s, transforming the world of opera and oratorio.
Largo Allegro Aria: Larghetto e piano Largo Allegro
“Resourceful” is the word which comes to mind with Handel. His compositional technique was so assured that he could conﬁdently turn his hand to whatever best seemed to suit the public mood (and therefore improve his ﬁnancial situation). Thankfully, his musical skill was such that even when he composed at speed, hoping to make a quick buck, the results have usually endured as wonderful works of art. Speed was of the essence in the autumn of 1739. Handel had, in the past few years, seen his position as London’s pre-eminent opera composer fade, as his audience’s tastes moved towards more down-to-earth fare, and as he battled a rival opera house. Appealing to their better selves, he won back considerable ground with a series of oratorios; but these were chieﬂy associated with Lent and Easter, and public sentiment was anyway divided over the propriety of spending the holiest time of the year in a concert hall. What did the adaptable Handel do? On 22 November (St Cecilia’s Day), ﬁttingly, he opened a concert series, including his new Ode for that patron saint of musicians. Unfortunately the series was wracked with problems that would chill the blood of any insurance broker. The War of Jenkin’s Ear had reluctantly been declared on the Spanish colonies, so many people didn’t feel like going out for a good time. The weather was against Handel too: the Thames had frozen over in one of the bitterest seasons on record. Despite the pleas of the theatre management at Lincoln’s Inn Fields that “Particular Preparations are making to keep the House warm” and that “Particular care will be taken to have Guards plac’d to keep all the Passages clear from the Mob”, the audience stayed away in droves. Then the singers fell sick too.
ACO Performance History Handel’s Concerto Grosso in B minor, Op.6, No.12, has only ever been included in subscription concerts in 2002. 6 AUSTRALIAN CHAMBER ORCHESTRA
Passing not quite unnoticed in this ill-fated concert series was a collection of “Grand Concertos”, which were designed as interludes to rest ears wearied by the mostly vocal content of the program. Between 29 September and
30 October Handel wrote at unbelievable speed, producing a concerto grosso every two days or so. The result was his Op.6, containing “Twelve Grand Concertos, in Seven Parts, for four Violins, a Tenor [viola], a Violoncello, with a Thorough-Bass for the Harpsichord”. The set is now widely considered the pinnacle of Handel’s composition for instrumental ensemble. They were undoubtedly inspired by the concerti grossi of Arcangelo Corelli, and those of his pupil Geminiani. The English had learned to appreciate these even before Handel came on the scene. Although Handel would have known the “other” Italian concerto style (similar to the three-movement form that Vivaldi made famous), he was deliberately catering to public taste. The title concerto grosso is literally “big concerto”, or “grand concerto”, as Handel more elegantly put it. Whereas these days we tend to think of a concerto in terms of a single soloist pitted competitively against an orchestra, a “big” concerto used a group of soloists instead of just one. In this case (Op.6, No.12) they are a gang of three, the “concertante”, working alternately with and against their colleagues in the larger “ripieno”. While the inﬂuence of Corelli and Geminiani is obvious, musical scholarship has found that the ever-resourceful Handel borrowed from other colleagues too. George Muﬀat’s keyboard suites and Scarlatti’s harpsichord exercises come in for their own fair share of the sincerest form of ﬂattery; which is how such “theft” would have been comfortably perceived in the 18th century.
Further listening and reading Several ﬁne recordings of Handel’s many concerti grossi exist: a particularly exciting reading of the Op.6 set of 12 concertos is that by The Academy of Ancient Music, directed by violinist Andrew Manze in a 2–CD set (Harmonia Mundi HMU907228/29). E.J. Dent’s early, inﬂuential biography of Handel is now available online (and downloadable for e-book readers) at gutenberg.org/ ebooks/9089.
The contrast between fast and slow movements in No.12 is a result of the concerto’s debt to dance suites and other popular instrumental forms. The Aria is closely related to the minuet, while the slow fourth movement and dashing “dotted rhythm” ﬁfth movement fugue combine to create something very close to a French overture. Although the concert series for which the concertos were designed didn’t make him wealthy, Handel had the satisfaction of seeing published copies of Op.6 sell to subscribers for their own use. Fans included most of the royal family, London’s two biggest impresarios, and a number of the major musical societies in England and Ireland. The resourceful composer had judged his public well and triumphed once again. K.P. KEMP © 2002 AUSTRALIAN CHAMBER ORCHESTRA 7
GREENBAUM Moments of Falling (Composed 1988/1996)
The composer writes:
Stuart GREENBAUM (b. Melbourne, 1966)
This piece is dedicated to Estonian composer Arvo Pärt, and particularly in respect to his Cantus in Memory of Benjamin Britten (1977/1980). I ﬁrst heard the work in 1987 as a 20-year-old undergraduate student. I was deeply impressed, and some months later in 1988 I attempted a similar mensuration canon structure, but in a compound metre and also incorporating a phasing technique learned from Steve Reich. Just another experiment in a long line of minimalist pieces I wrote at that time – this one was excitingly called “process #19”.
Greenbaum’s inﬂuences include pop, jazz and minimalism, but he is also deeply rooted in Australian traditions of composition and conceptions of place. He is now Professor and Convenor of Composition at Melbourne University.
But this particular “process” stayed with me and in 1990 I made an electronic version for a play, Atlanta (Joanna Murray-Smith), which involves a woman in her late twenties who has “moments of falling” where she imagines what it must be like to walk through glass and come out on the other side. And so the title stuck. In 1996, I orchestrated the piece for strings, which is now the ﬁnal version.
A mode is a form of musical scale, and the Aeolian mode is a scale which can be replicated by playing an ascending sequence of white notes on the piano, starting on an A.
The most overtly minimalist piece I have written, Moments of Falling is constructed around a cascading 16-note motif in the Aeolian mode. It features a high degree of repetition, but as the motif is overlaid at diﬀerent speeds in diﬀerent octaves, no bar is ever exactly the same. STUART GREENBAUM © 2010
Further reading and listening Stuart Greenbaum is one of several Australian composers interviewed in David Bennett’s enlightening (if infuriating) Sounding Postmodernism (Australian Music Centre, 2008). He also maintains an informative personal website (including many audio samples, and a full discography) at stuartgreenbaum.com. 8 AUSTRALIAN CHAMBER ORCHESTRA
BRUMBY The Phoenix and the Turtle I and III (Composed 1974)
I. Andante semplice III. Lusingando The composer writes:
Colin BRUMBY (b. Melbourne, 1933) One of the most proliﬁc Australian composers, Brumby has written in almost every genre and in a myriad of styles, from austere atonality in the 1960s to a pleasing tonality — starting with The Phoenix and the Turtle — from the 1970s on.
Twelve-tone method refers to a style of composition in which all 12 notes of the chromatic scale are accorded equal importance, unlike traditional tonal harmony where key centres are given greater importance than other notes.
Further listening Colin Brumby’s music is well represented by the overview albums Music of Colin Brumby (Jade JADCD1082) and The Trenchant Troubadour (Grevillea GRVCD-5100), available from the Australian Music Centre (australianmusiccentre.com.au).
The Phoenix and the Turtle was commissioned by Musica Viva for the 1974 Australian tour of the Academy of St Martin-in-the-Fields under Neville Marriner. I had recently returned from twelve months’ study in Rome with Franco Evangelisti, and felt that the time had come to take a stand with regard to my personal style of composition. For over ten years I had been working in the twelve-tone method, but had become increasingly dissatisﬁed as to the validity of its philosophical basis. More importantly, I had grown less than satisﬁed with the sound that resulted from its application. The Musica Viva commission provided me with an ideal opportunity to ask myself what I felt the stuﬀ of music to be really about. Inspiration for the work came from the Shakespearean poem of the same name, which “celebrates the decease of two, chaste lovers, who were perfectly united in an ideal passion”. The idea of regeneration, symbolised by the phoenix, is one which I have long found attractive because of its close relationship to the idea of continuous variation: continually creating something new from the ashes of the old. For this principle I openly acknowledge my indebtedness to Schoenberg, but my application of it is in a clearly tonal context, stylistically far removed from Schoenberg’s. My aim was not to seek some literal musical parallel to the poem, even if this were possible, but rather to let the poem act as a catalyst on my musical thinking. Amongst the music I admire most, various “love music” features prominently – Tristan und Isolde, Pelleas et Melisande, Romeo and Juliet – and this was to be my essay in that genre. I resolved to take as simple a musical idea as possible, the intervals of the second (with its inversion, the seventh) and of the third (with its inversion, the sixth). With this basic material I determined to “start again”; and hence, when the work was completed, I felt that my personal musical style had in a sense been reborn from the ashes of the old. © COLIN BRUMBY AUSTRALIAN CHAMBER ORCHESTRA 9
LEDGER Johann has left the building (Composed 2007) The composer writes:
James LEDGER (b. Perth, 1966)
Ledger is developing a major compositional career in Perth where he is lecturer in composition at the University of Western Australia. He has spent periods in residence with the Adelaide and West Australian Symphony Orchestras, and his Bassoon Concerto was recently premiered by Sydney Symphony.
Johann has left the building was composed in 2007 from material I had that dated back to 1997. At its core are Bach-like chordal movements and it is scored for a typically baroque ensemble of strings and harpsichord. However, the piece is in the very “un-Baroque” time signature of 7/4 and this is further complicated by some alien tones and clusters that ﬂoat over the top of the whole thing. Furthermore, some of the gestures in the strings have a rock and roll inﬂuence. I haven’t quite decided if it sounds more like Bach travelling through time to play something like Elvis Presley’s “Hound Dog”, or Elvis himself travelling back through time to play a Brandenburg Concerto! JAMES LEDGER © 2011
Further reading James Ledger is one of many Australian composers discussed in Gordon Kerry’s essential New Classical Music: Composing Australia (UNSW Press, 2009) and he also keeps a personal website at jamesledger.com. 10 AUSTRALIAN CHAMBER ORCHESTRA
VIVALDI Concerto for four violins in B minor, RV580 (Composed 1711)
I. Allegro II. Largo – Larghetto – Adagio – Largo III. Allegro
Antonio VIVALDI (b. Venice, 1678 — d. Vienna, 1741) The “red priest” Vivaldi transformed the concerto with works such as The Four Seasons, promoting the virtuoso violinist to the forefront of his boundless musical invention.
ACO Performance History Although very popular in the ACO’s early days, Vivaldi’s Concerto for four violins did not appear in the ACO’s subscription series until 1995. Subsequently it was included in the 1999 and 2004 series.
Vivaldi shares with Mozart the dubious honour of having died in relative obscurity and abject poverty in Vienna. Both proceeded to the next life in pauper’s graves. For a composer like Vivaldi, however, whose career had been mostly high proﬁle and his ﬁnancial situation comfortable, such a modest departure from this world was prophetic. Because although his brilliantly eccentric violin playing and unusual status as the red-haired, musical priest were remembered and referred to in various written sources, awareness and performance of his music seemed to vanish for the remainder of the 18th century. The Venetian dramatist Goldoni recalled in 1761 that Vivaldi had been a “famous violin player…noted for his sonatas, especially those called The Four Seasons”. In 1787, however, his regard for Vivaldi was dimmer: he was merely an “excellent violin player and mediocre composer”. The rediscovery – quite literally – of Vivaldi’s music began in the early 19th century, as a by-product of the renewed interest in the music of J.S. Bach. The pioneering Bach scholar J.S. Forkel referred in his 1802 biography to the German composer’s indebtedness to Vivaldi, and to his transcription for keyboard of his violin concertos. Over 20 Bach transcriptions were soon unearthed, including his concerto for four harpsichords and string orchestra. In 1850, over a century after Vivaldi’s death, the original work was identiﬁed by C.L. Hilgenfeldt as the tenth concerto of the Venetian composer’s Opus 3 – a concerto for four violins. Vivaldi, the composer, was on the map again, and the next 50 years saw the discovery of a good portion of the instrumental music. In 1905, a history of the concerto by Arnold Schering paid Vivaldi the compliment of him being the “exemplary for the shaping of the violin concerto” (in its three-movement, fast-slow-fast model). It wasn’t until a 97-volume collection of manuscripts, owned by a Salesian monastery, came up for sale in 1926 that a broader representation of Vivaldi’s music was discovered – a further 140 instrumental works, 29 cantatas and 12 operas. There have been further discoveries in subsequent decades, and the Vivaldi catalogue now lists over 500 concertos. AUSTRALIAN CHAMBER ORCHESTRA 11
324 are for a single solo instrument (214 for violin), and the remainder are for multiple combinations or for orchestra without soloist. There is a handful of four-violin concertos, but RV580 is the best known, partly because of transferred acquaintance with the Bach transcription for harpsichords. Vivaldi’s Opus 3 set of concertos, L’estro armonico – four each for one, two and four violins – was published in 1711 by Etienne Roger in Amsterdam (at that time, Dutch and English engraving processes were acknowledged to be superior). In the opening Allegro, between the tutti ritornelli (refrains) Vivaldi evenly shares out the solo episodes, mostly of ﬂuid semi-quaver passage-work, between the four players. Often there is a single solo line, joined at times by a second, pairing soloist – underpinned by a “concertante” bass line. The second movement is framed by almost-severe, dotted rhythm passages; centrally, a steady harmonic progression is made remarkable by Vivaldi’s rhythmic divisions and precise instructions for bowing articulation – unusual for that time. Above repeated quavers in the lower strings, diﬀerent violin lines are instructed to play semi-quavers either all detached, in slurred pairs, or in a three-plus-one pattern. Above this, the ﬁrst solo violin performs rapid, string-crossing demi-semi quavers. The ﬁnal Allegro is a more conventional ritornello movement than the ﬁrst (which starts with a solo violin rather than a tutti statement). There is also more interaction between the soloists, as their lines weave in and out of each other. Further reading and listening There are several biographies that piece together what is known of Vivaldi’s life. One of the most readable is H.C. Robbins Landon’s Vivaldi: Voice of the Baroque (University of Chicago Press, 1996). And of the many recordings of the concertos (or of selections from that massive body of work) two of the best are the 6-CD Academy of Ancient Music/ Christopher Hogwood set (Philips 689302) and the 5-CD set by the English Concert/Trevor Pinnock (Archiv 471317).
K.P. KEMP © 2006
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TELEMANN Viola Concerto in G major (Composed c.1716–1721)
I. II. III. IV.
Georg Philipp TELEMANN (b. Magdeburg, 1681 — d. Hamburg, 1767) Hugely proliﬁc, Telemann was a central musical ﬁgure in Baroque Germany — more famous and esteemed even than Bach. His innovative works across almost every genre place him as one of the chief forerunners of the Classical period.
Largo Allegro Andante Presto
Consider Georg Philipp Telemann: his is usually only the third name mentioned in any discussion of the great German composers born in that golden decade, the 1680s, but in his own time his fame and reputation far exceeded that of his two direct contemporaries, Bach and Handel. Now, although he has by no means disappeared, his works are something of a cul-de-sac compared with the well-worn highways of JSB and GFH’s worklists. It’s not really fair. For one, he trumps them for proliﬁcacy – we know that Bach wrote at least ﬁve complete cycles of church cantatas, but Telemann wrote more than 30, and it’s likely that he wrote at least a dozen more operas than that genius of the theatre, Handel. But, in a massive output, there is the question of strike-rate, and Telemann’s was not perhaps as high as Bach’s; and history has also been unkind in preserving Telemann’s works. Although a lot of Bach’s music has been lost, Telemann suﬀered even more cruelly: of those 50-plus operas, for example, only nine have come down to us intact. Ironically it was the tastemakers of the 19th century, those who did so much to restore Bach’s reputation, who proscribed Telemann. All those operas counted against him, for one. Compared with the master Bach, whose commitment to his post spawned the most focused oeuvre of sacred music ever compiled, Telemann’s diverse approach to music-making made him appear frivolous by comparison. But, gradually, we are getting to know Telemann’s music, and are the better for it. It was the charm of his music compared with the severity of Bach’s which made him more popular in the 18th century and led to his rejection in the 19th, but in fact we can enjoy them both as two very diﬀerent musical characters, albeit operating at exactly the same time in more-or-less the same place. Crucially, Telemann’s more innovative moments allow us to see him as a forerunner of the Classical style, paving the way – much as did Bach’s son Johann Christian – with his development of the so-called galant style. AUSTRALIAN CHAMBER ORCHESTRA 13
Further reading and listening So much of Telemann’s music is worthy of further exploration it’s worth overlooking the odd dodgy performance (and a preponderance of ﬂute music) and investing in the (bargainpriced) 29–CD set, called the “Telemann Edition” from Brilliant Classics (94104).
The Viola Concerto in G – perhaps the ﬁrst viola concerto ever written – beautifully demonstrates the bridge that Telemann built between the baroque and the classical periods. It’s in four (brief ) movements – slow-fast-slowfast – in the style of a Baroque church sonata. The opening of the ﬁrst movement sounds not dissimilar to a Handel largo aria, but it is the lightness of touch in the gentle, translucent accompaniment and the song-like nature of the melody itself that betray key hallmarks of the galant style. The vigorous Allegro plays the lower, darker registers of the viola against the higher strings, and even though the melodic line is busy it is always agreeably unfussy. For the Andante the viola sings a plaintive minor-key line with brief interruptions from the rest of the orchestra, before the ﬁnal movement Presto sees the soloist develop an energetic, joyful melodic ﬁnale beﬁtting such a charming and appealing work. MICHAEL STEVENS © ACO 2011
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SCULTHORPE Port Essington (Composed 1977)
I. II. III. IV. V. VI.
Prologue: The Bush Theme and Variations: The Settlement Phantasy: Unrest Nocturnal: Estrangement Arietta: Farewell Epilogue: The Bush
The composer writes:
Peter SCULTHORPE (b. Launceston, 1929) Sculthorpe is the pre-eminent Australian composer, whose work has come most closely to deﬁning what an Australian sound might be. He has composed extensively for the ACO.
Further reading and listening Sculthorpe is the feature of Michael Hannan’s Peter Sculthorpe: His Music and Ideas, 1929–1979 (University of Queensland Press, 1982) and Graeme Skinner’s Peter Sculthorpe: the making of an Australian composer (UNSW Press, 2007). Sculthorpe’s own autobiography is Sun Music (ABC Books, 1999). The ACO has recorded most of Sculthorpe’s string orchestra works, including Port Essington, for ABC Classics (454 504-2) and Chandos Records (CHAN10063) — both albums are available from aco.com.au/shop. Sculthorpe’s own website is petersculthorpe. com.au.
Port Essington tells the story in musical terms of the attempted settlement of Port Essington, on the northern coast of Australia. Two attempts were made: the ﬁrst in 1824, later abandoned, and a second in 1838, abandoned in 1849. The port was, incidentally, the terminal point for Leichhardt’s overland expedition from Brisbane in 1845. It appears that the main reason for the abandonment of Port Essington was, simply, that those living there were unable to adapt to the peculiar condition of the land. The soldiers of the garrison, for instance, at all times wore uniforms appropriate to an English winter than to an endless Capricornian summer. For me, because my life is centred upon the idea of a culture that is appropriate to Australia, the story has a special importance. The music, broadly speaking, exists on two planes: a string orchestra represents the bush; and a string trio, playing what appears to be nineteenth-century drawing room music, represents the settlement. During the two opening sections of the work, the two planes co-exist in a not unharmonious manner, but, as the work progresses, the insistence of the music of the string orchestra brings about a withdrawal of the music played by the string trio. Following this withdrawal, the string trio makes a ﬁnal statement, and the music is echoed by the string orchestra, suggesting that some kind of agreement could have been possible. The work is made up of six sections played without breaks. It should be mentioned that the theme heard in the Prologue is an adaptation of an Aboriginal melody “djilile” (“whistling-duck on a billabong”) from Arnhem Land, collected by Professor A.P. Elkin. This melody serves as a theme for the complete work, which is a double set of variations, one in my own manner and one in a nineteenth-century European manner. Port Essington was commissioned by Musica Viva Australia for the ACO, who gave the premiere performance in Brisbane in August 1977. PETER SCULTHORPE © 1977 AUSTRALIAN CHAMBER ORCHESTRA 15
TARTINI Violin Sonata in G minor, Op.1, No.4, “The Devil’s Trill” Arranged by Fritz Kreisler (Probably composed after 1745)
I. Larghetto aﬀettuoso II. Allegro – Tempo giusto III. Andante IV. Allegro assai – Andante – Allegro assai
Giuseppe TARTINI (b. Piran, 1692 — d. Padua, 1770) Tartini was one of the great violin virtuosos and teachers of 18th-century Italy, famous not only for his compositions (including over 130 violin concertos) but also for his theoretical treatises on violin technique.
Musical pacts with the devil are not the sole domain of Delta bluesmen, although Robert Johnson’s is the most famous. Three centuries before Johnson allegedly made a midnight deal with the devil at a Mississippi crossroads, however, the violin virtuoso Giuseppe Tartini made a Faustian pact of his own. As he reported to his friend Jérôme Lalande (who later published the story), “One night I dreamt that I had made a pact with the devil; he was my servant and anticipated my every wish. I had the idea of giving him my violin to see if he might play me some pretty tunes (beaux aires), but imagine my astonishment when I heard a sonata so unusual and so beautiful, performed with such mastery and intelligence, on a level I had never before conceived was possible! I was so overcome that I stopped breathing and awoke gasping. Immediately I seized my violin, hoping to recall some shred of what I had just heard – but in vain. The piece I then composed is without a doubt my best, and I still call it ‘The Devil’s Sonata’, but it falls so short of the one that stunned me that I would have smashed my violin and given up music forever if I could but have possessed it.” The modesty is typical of the painfully proper Tartini, and indeed the work is a masterpiece – deﬁnitely his most famous, if not even his ﬁnest work. But his secretive nature was such that, even though he identiﬁed the work as his best, he refused to have it published in his lifetime. Although it is undoubtedly virtuosic – Tartini is the ﬁrstknown owner of a Stradivarius violin, and was a celebrated performer and teacher all over Europe – the Sonata is not mindlessly showy, but is rather a deeply expressive, evocative work. (Tartini, incidentally, was born in Piran, then part of the Venetian empire but now enclosed within modern Slovenia, making him perhaps the world’s most famous Slovenian composer.) Although Tartini’s concertos tended to be constructed in the fast-slow-fast pattern established by Vivaldi, in his
16 AUSTRALIAN CHAMBER ORCHESTRA
A good recording of several of Tartiniâ€™s violin sonatas (including the â€œDevilâ€™s Trillâ€?) is the 2-CD set by the Locatelli Trio (Hyperion CDD22061). For those wishing to delve into Tartiniâ€™s inďŹ‚uential pedagogical works, Erwin Jacobiâ€™s edition of Tartiniâ€™s TraitĂŠ des agrĂŠments de la musique (Moeck Verlag, 1961) includes English translations of all the major writings.
MICHAEL STEVENS ÂŠ ACO 2011
Further reading and listening
Sonatas he varied the number and type of movements considerably. In this sonata, a graceful, mysterious Larghetto aďŹ€ettuoso gives way to a sprightly Allegro movement in which the violinist begins to get a proper workout. A gloriously beautiful, slower Andante movement follows, acting merely as a brief introduction to the Allegro ďŹ nale, in which the â€œdevilâ€™s trillâ€? â€“ or, the â€œdevilâ€™s trill at the foot of the bedâ€? as the score appealingly denotes it â€“ is heard for the ďŹ rst time. But it is every bit as wistful as it is ďŹ‚ashy, and the whole is one of the most attractive violin solos of the late Baroque. The virtuosic nature of the work, originally for solo violin and basso continuo, naturally appealed to the great Fritz Kreisler, and it is his arrangement of the piece for larger forces that is most often heard in orchestral concerts today.
AUSTRALIAN CHAMBER ORCHESTRA 17
CORELLI Concerto Grosso in F major, Op.6, No.2 (Published 1714)
I. II. III. IV.
Arcangelo CORELLI (b. Fusignano, 1653 — d. Rome, 1713) Corelli was a central ﬁgure in Rome in the mid-Baroque period, as a composer, a violinist and a teacher. His pupils included Geminiani and Locatelli, and his compositional inﬂuence extended far and wide — J.S. Bach was a keen student of Corelli’s music.
ACO Performance History The ACO ﬁrst performed Corelli’s Concerto Grosso in F major, Op.6, No.2 in a 1989 subscription series, then again in 1997 and 2004.
Vivace Allegro Grave – Andante Largo Allegro
From its ancient beginnings – when tubas and trumpets sounded in the amphitheatres and ﬂutes piped in the temples – to more recent times when the operas of Rossini, Donizetti, Verdi and Puccini were premiered, Rome has had a diverse and colourful musical history. But there were two golden ages in that city of seven hills – one vocal and sacred, the other instrumental and secular. Palestrina’s compositional activities in various churches and the Sistine Chapel were the crowning achievements of a reﬁned style of polyphony in the 16th century. And about one hundred years later, a young violinist from near Ravenna and Bologna arrived in Rome, and was to remain there for nearly 40 years until his death in 1713. Arcangelo Corelli’s residence there coincided with, and substantially contributed to, a remarkable ﬂowering of the dramatic and musical arts in Rome. He and many other musicians, including Alessandro and Domenico Scarlatti, and the young Handel, beneﬁted from the cultural largesse of patrons such as Queen Christina of Sweden, Princess Maria Livia Spinola Borghese, the Cardinals Pamphili and Ottoboni, and numerous Accademie (academies). Corelli’s fame during his lifetime, and subsequent inﬂuence throughout Europe in the 18th century, were based on just six volumes of published music (though we can assume that a much broader output has been lost). He shares the dual distinctions of being the ﬁrst composer in musical history to gain a reputation through instrumental music only – solo sonatas, trio sonatas and concerti grossi – and to have acquired that fame through the enormous growth of music publishing from around 1700 onwards. Each of his six opus sets was issued dozens of times throughout the 18th century, and his Opus 6 concertos were particularly popular in England, where they were even more highly regarded in some quarters than Handel’s Opus 3 and 6 sets, published in 1740. It is estimated that Corelli’s activities as violinist and ensemble director would have given him, during his four
18 AUSTRALIAN CHAMBER ORCHESTRA
decades in Rome, well over 100 opportunities to compose such concertos for large public gatherings, banquets and civil ceremonies. The six published set of concertos must therefore be a mere fraction of what he wrote in this manner. But it can also be seen as the composer’s “Best of…” compilation; the fruits of rigorous selection, revision and reordering. This particular concerto was used by British composer Michael Tippett in 1953 in his famous Fantasia Concertante: his own homage to Corelli, 300 years after the composer’s birth. The opening Vivace – assertive, and like a call to attention – is followed by a ﬂuent, imitative Allegro (still within the same ﬁrst movement, however) which typically sets up the contrasts between the concertante (solo) and ripieno (tutti) groups. This proceeds for a while, and rather abruptly runs into its own buﬀers; ready for a darker, more sombre Adagio section involves harmonic suspensions very typical of Corelli. The ﬁrst and second sections are then repeated, but this time in the F major’s dominant key, C major. At the end of this modiﬁed Allegro the two solo violins climb up the arpeggio of F – and, for those interested in musical trivia, the high F that the ﬁrst violin reaches is the highest note that Corelli ever required in his printed works. The Allegro second movement, a loosely worked fugue, is followed by a leisurely Grave – Andante Largo with no concertante elements. And the ﬁnal Allegro brings back the question-answer, solo-tutti exchange with a Gavottelike movement in two (repeated) sections. MEURIG BOWEN © 1999
Further reading and listening Corelli’s twelve concerti grossi have been recorded and rerecorded, especially the bestknown, Op.6, No.8, (often called the “Christmas Concerto”). An excellent CD set is that performed by The English Concert under their founderdirector Trevor Pinnock (Archiv 423 626–2). AUSTRALIAN CHAMBER ORCHESTRA 19
HELENA RATHBONE Photo: Paul Henderson-Kelly
LEAD VIOLIN Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s second ensemble ACO2 which sources musicians from the ACO’s Qantas Emerging Artists Program. Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banﬀ, Canada. Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin-in-the-Fields. When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, Christchurch Arts Festival, Sangat Festival in Mumbai and Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. The group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008. Helena performs on a 1759 J.B. Guadagnini violin, kindly made available to her by the Commonwealth Bank Group.
20 AUSTRALIAN CHAMBER ORCHESTRA
SATU VÄNSKÄ Photo: Paul Henderson-Kelly
ASSISTANT LEADER Satu Vänskä was appointed Assistant Leader of the ACO in 2004. Satu was born to a Finnish family in Japan where she began violin lessons at the age of three. Her family moved back to Finland in 1989 where she studied at the Sibelius Academy and with Pertti Sutinen at the Lahti Conservatorium. From 1997, Satu studied with Ana Chumachenco at the Hochschule für Musik in Munich. At age eleven, Satu was selected for the Kuhmo Violin School in Finland where she attended masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov, and performed at the Kuhmo Chamber Music Festival with the Kuhmo Virtuosi Chamber Orchestra. In 1998, Sinfonia Lahti named Satu the Young Soloist of the Year, and in 2000, she was a prize-winner of the Deutsche Stiftung Musiklebe. In Germany, Satu played with the Munich Philharmonic and the Bavarian Radio Symphony Orchestra. Satu has performed solos in Finland, Germany, Spain, Australia and Canada. As a chamber musician, she has played at festivals in Finland and Germany, including the Tuusulanjärvi Festival and the Festivo Aschau. Satu has recorded chamber music for BIS Records. Satu performs on a 1728/29 Stradivarius, lent to her by the ACO Instrument Fund.
CHRISTOPHER MOORE Photo: Paul Henderson-Kelly
VIOLA Born in Newcastle, Christopher Moore’s strongest childhood memory was seeing his mother Patricia (a long time ACO Newcastle subscriber) pulling into the driveway of his Valentine home with a tiny blue violin case on the back seat. Pat was and still is a dedicated amateur musician and took Chris to concerts long before he learned to tie his shoelaces. After studying with prominent Sydney Suzuki teachers, Marjorie Hystek and the late Harold Brissendon, he completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell. After working with the Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highly strung instrument and moved his musical focus and energy to the viola. He had always thought the violin made his head look big! He accepted a position as violist with the Melbourne Symphony Orchestra – a position he held for eighteen months before successfully auditioning for the position of Associate Principal Viola with the same orchestra. During the 2006 ACO season, Chris appeared as Guest Principal Violist and then accompanied the ACO on their Malaysian tour. It was during this time that Chris successfully auditioned for the ACO’s Principal Viola position. Christopher plays on a 1937 Arthur E. Smith viola (Sydney). AUSTRALIAN CHAMBER ORCHESTRA 21
MARK INGWERSEN Photo: Paul Henderson-Kelly
VIOLIN Mark Ingwersen joined the ACO as a full-time member in 1999. Mark graduated with a Bachelor of Music from the Canberra School of Music, where he received the Erika Haas Award for Achievement in Chamber Music in 1993. He received a Queen’s Trust Scholarship in 1995 and a year later was awarded a scholarship for the Guildhall School of Music and Drama in London, where he completed the Advanced Instrumental Studies course. Mark has performed with the Sydney Symphony, Australian Brandenburg and Australian Opera and Ballet Orchestras, as well as guest Associate Concertmaster with the Tasmanian Symphony Orchestra. Mark has also performed with the European Union Chamber Orchestra, Royal Philharmonic, and as Concertmaster with the Batignano Festival Opera Orchestra. As a soloist, he has performed with the Australian Brandenburg Orchestra and the Canberra School of Music Orchestra. He was a ﬁnalist performer in the 1995 Geelong Advertiser Music Scholarship. As a chamber musician, Mark has performed at the Canberra and Australian Festival of Chamber Music Festivals. He has also performed at St James’ Piccadilly, St Mary-le-Strand, and with the Guildhall School of Music.
MADELEINE BOUD Photo: Helen White
VIOLIN Madeleine Boud began playing violin aged four. She graduated with ﬁrst-class honours from the Australian Institute of Music studying with Alice Waten, with whom she also studied at the Australian National Academy of Music. She has participated in masterclasses with Pinchas Zukerman, Boris Kushnir and Felix Andrievsky. Madeleine was principal player in the WA and Australian Youth Orchestras and has worked with the Sydney Symphony, Sydney Philharmonia, Australian Opera and Ballet Orchestra, Schoenberg Ensemble and Lucerne Festival Academy Orchestra. As soloist, Madeleine performed with the WA Symphony and Youth Orchestras. She was soloist in the Bruch Violin Concerto for the ballet Paquita, and in Wheeldon’s ballet After the Rain. Madeleine performed at Blackwood River Chamber Music Festival and Melbourne Arts Festival and was prize-winner in the Gisborne International Music Competition. Madeleine received a scholarship to the Lucerne Festival Academy and worked with Ensemble Intercontemporain. She was accepted into the ACO’s Qantas Emerging Artist Program and is now an ACO core player. Madeleine plays a 1957 A.E Smith violin. 22 AUSTRALIAN CHAMBER ORCHESTRA
AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI AO ARTISTIC DIRECTOR “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 plays a 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, on loan from Peter Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments. 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: aco.com.au/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 aco.com.au/shop. 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 aco.com.au.
In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of AC O2, an elite training orchestra which tours regional centres. AUSTRALIAN CHAMBER ORCHESTRA 23
Photos: Paul Henderson-Kelly, Helen White
Guest Leader Violin Chair sponsored by Hunter Hall Investment Management Limited
Assistant Leader Violin Chair sponsored by Robert & Kay Bryan
Violin Chair sponsored by Terry Campbell AO & Christine Campbell
Violin Chair sponsored by Jan Bowen, The Davies and The Sandgropers
Violin Chair sponsored by Andrew & Hiroko Gwinnett
Violin Chair sponsored by Runge
Violin Chair sponsored by Melbourne Community Foundation – Connie & Craig Kimberley Fund
Principal Viola Chair sponsored by Tony Shepherd
Viola Chair sponsored by Ian & Nina Lansdown
Viola Chair sponsored by Philip Bacon AM
Principal Cello Chair Ssonsored by Mr Peter Weiss AM
BRIELLE CLAPSON† Violin
HOLLY PICCOLI Violin
DONALD NICOLSON Principal Harpsichord † Appears courtesy of the Sydney Symphony
Players dressed by
Cello Chair sponsored by The Bruce & Joy Reid Foundation
Cello Chair sponsored by the Clayton Family
Principal Bass Chair sponsored by John Taberner & Grant Lang
* Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. ≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. ✫ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andreæ cello kindly on loan from Peter Weiss AM. # Julian Thompson plays a 1721 Giuseppe Guarneri ﬁlius Andreæ cello kindly on loan from the Australia Council.
24 AUSTRALIAN CHAMBER ORCHESTRA
BEHIND THE SCENES BOARD Guido Belgiorno-Nettis AM (Chairman) Angus James (Deputy Chairman) Bill Best Liz Cacciottolo Chris Froggatt Janet Holmes à Court AC Brendan Hopkins Tony Shepherd Andrew Stevens John Taberner Peter Yates AM EXECUTIVE OFFICE
Timothy Calnin General Manager
Steve Davidson Chief Financial Oﬃcer
Ken McSwain Systems & Technology Manager
Jessica Block Deputy General Manager and Development Manager
Shyleja Paul Assistant Accountant
Emmanuel Espinas Network Infrastructure Engineer
Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO
Alexandra Cameron-Fraser Corporate Relations and Public Aﬀairs Manager
John Harper Archivist
ARTISTIC & OPERATIONS
Kate Bilson Events Manager
Richard Tognetti AO Artistic Director Michael Stevens Head of Artistic Planning & Operations
Tom Carrig Senior Development Executive Lillian Armitage Philanthropy Manager
Gabriel van Aalst Orchestra Manager
Kylie Anania Patrons Manager
Erin McNamara Tour Manager
Liz D’Olier Development Coordinator
Elissa Seed Travel Coordinator
Jennifer Collins Librarian
Georgia Rivers Marketing Manager
Rosie Rothery Marketing Executive
Vicki Stanley Education and Emerging Artists Manager Sarah Conolan Education Assistant
Chris Griﬃth Box Oﬃce Manager Mary Stielow National Publicist Dean Watson Customer Relations Manager Lachlan Wright Oﬃce Administrator & Marketing Assistant
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AUSTRALIAN CHAMBER ORCHESTRA 25
ACKNOWLEDGEMENTS GOVERNMENT SUPPORT
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.
VENUE SUPPORT We are also indebted to the following organisations for their support:
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ACKNOWLEDGEMENTS VENUE SUPPORT
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General Manager Bronwyn Edinger Sales & Marketing Manager Gina Anker Technical Manager Cally Bartley Functions & Bar Manager Paul Berkeley Technician Donald Brierley Marketing Assistant Kim Bussell Event & Production Coordinator Katie Christou Venue Services Manager James Cox Accounts Coordinator Kerry Johnston Duty Manager Barbara Keﬀel Publicist Cassie Lawton Building Services Manager Graham Parsons Executive Assistant Rosemary Penman Operations Assistant Vico Thai Box Oﬃce Manager Craig Thurmer Technician Jeﬀ Todd Box Oﬃce Assistant Rachel Walton Event Assistant Stephanie Wise CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Oﬃce 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com
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AUSTRALIAN CHAMBER ORCHESTRA 27
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28 AUSTRALIAN CHAMBER ORCHESTRA
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.
MEDICI PATRON MRS AMINA BELGIORNO-NETTIS
PRINCIPAL CHAIRS Richard Tognetti AO
Principal 2nd Violin
Michael Ball AM & Daria Ball Joan Clemenger Wendy Edwards Prudence MacLeod
Robert & Kay Bryan
Principal Double Bass
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
FRIENDS OF MEDICI
Brian Nixon Principal Timpani Mr Robert Albert AO & Mrs Libby Albert
Mr & Mrs R Bruce Corlett
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO INSTRUMENT FUND The ACO has established its Instrument Fund, to oﬀer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s ﬁrst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Assistant Leader of the Orchestra. The ACO pays tribute to its Founding Patrons of the Fund, who have made donations to the Orchestra to assist the Fund to acquire the Stradivarius violin. PETER WEISS AM, PATRON VISIONARY $500,000 – $1m
OCTET $100,000 – $199,000
Peter Weiss AM
CONCERTO $200,000 – $499,000
QUARTET $50,000 – $99,000
Naomi Milgrom AO
John and Anne Leece
SONATA $25,000 – $49,999
SOLO $5,000 – $9,999
ENSEMBLE $10,000 – $24,999
PATRONS $500 – $4,999
Leslie & Ginny Green
June & Jim Armitage Angela Roberts
2010 TRANSATLANTIC TOUR PATRONS The ACO would like to pay tribute to the following donors who supported our highly successful 2010 Trans-Atlantic Tour. MRS AMINA BELGIORNONETTIS, PATRON Mr Peter Hall Mr Barry Humphries AO CBE Anthony & Sharon Lee Louise & Martyn Myer Sir Michael Parkinson CBE Foundation Harry Triguboﬀ AO & LEAD PATRONS Rhonda Triguboﬀ $50,000+ The Belgiorno-Nettis Family Ian Wallace & Kay Freedman Anonymous (1) 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
Gretel Packer peckvonhartel architects Julien & Michelle Playoust John Taberner & Grant Lang Michael & Eleonora Triguboﬀ Peter Weiss AM
SOLO PATRONS ENSEMBLE PATRONS $5,000 – $9,999 $10,000 – $19,999 Antoinette Albert 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
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 Jan Bowen 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 Yates AM & 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 in 2011. CREATIVE MUSIC FUND COMMISSION Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin Austin Bell & Andrew Carter
T Cavanagh & J Gardner Chin Moody Family Anne Coombs & Susan Varga Greg Dickson John Gaden AM Cathy Gray
OTHER COMMISSIONS Robert & Nancy Pallin 30 AUSTRALIAN CHAMBER ORCHESTRA
Brian Kelleher Penny Le Couteur Andrew Leece Scott Marinchek & David Wynne Kate Mills Janne Ryan
Barbara Schmidt & Peter Cudlipp Jane Smith Richard Steele Peter Weiss AM Cameron Williams Anonymous (1)
NATIONAL EDUCATION PROGRAM PATRONS Janet Holmes à Court AC
Marc Besen AO & Eva Besen AO
TRUSTS AND FOUNDATIONS
HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE THYNE REID FOUNDATION THE NEILSON FOUNDATION LIMB FAMILY FOUNDATION THE SUNJOTO FOUNDATION — ‘The Spirit of Giving’
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 Belgiorno-Nettis 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 Jeﬀ Mitchell Drs Alex & Pam Reisner John Taberner & Grant Lang
Ian Wallace & Kay Freedman Peter Weiss AM Anonymous (1) DIRETTORE $5,000 $9,999 The Abercrombie Family Foundation The Belalberi Foundation Elizabeth & Nicholas Callinan John & Lynnly Chalk Ross & Rona Clarke Bridget Faye AM Ian & Caroline Frazer Dr & Mrs E C Gray Melbourne Community Foundation – Ballandry (Peter Griﬃn Family) Fund Keith Kerridge Wayne N Kratzmann Philip A Levy Fiona & Mark Lochtenberg
Lorraine Logan Louise & Martyn Myer Foundation Marianna & Tony O’Sullivan John Rickard Roberts Family A J Rogers Alden Toevs & Judi Wolf Ian Wilcox & Mary Kostakidis Anonymous (5) MAESTRO $2,500 $4,999 Michael Ahrens Jane Allen Will & Dorothy Bailey Bequest Virginia Berger Michael Cameron Cam & Helen Carter Jon Clark & Lynne Springer Caroline & Robert Clemente Leith & Darrel Conybeare
AUSTRALIAN CHAMBER ORCHESTRA 31
ACO DONATION PROGRAM M Crittenden John & Gloria Darroch Kate Dixon Leigh Emmett Suellen Enestrom John & Jenny Green Nereda Hanlon & Michael Hanlon AM Don Hart Lindi & John Hopkins Penelope Hughes Angela James & Phil McMaster Philip Maxwell & Jane Tham Jan McDonald John Marshall & Andrew Michael, Apparel Group Pty Ltd Donald Morley Hon Dr Kemeri Murray AO J G Osborn Sandra & Michael Paul Endowment S & B Penfold Ralph & Ruth Renard Greg Shalit & Miriam Faine Mrs Carol Sisson Petrina Slaytor Dr Charles Su & Dr Emily Lo Tom Thawley Dr R & Mrs R Tinning Laurie Walker Alastair Walton Ralph Ward-Ambler AM & Barbara Ward-Ambler Karen & Geoﬀ Wilson Janie & Neville Wittey Sir Robert Woods Anonymous (10) 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 Brains
Sally Bufé Neil Burley & Jane Munro Mark Burrows & Juliet Ashworth G Byrne & D O’Sullivan J & M Cameron Sandra Cassell Ann Cebon-Glass Paul Cochrane John & Christine Collingwood Judy Croll Betty Crouchley Diana & Ian Curtis Marie Dalziel June Danks Michael & Wendy Davis Christopher & Kathryn Dibden Jennifer Dowling 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 Rhyll Gardner Colin Golvan SC Warren Green Elizabeth & Peter Harbison Lesley Harland Pete Hollings Carrie & Stanley Howard Wendy Hughes Pam & Bill Hughes Phillip Isaacs OAM David Iverach Warren & Joan Johns Andrew Johnston D & I Kallinikos John Landers & Linda Sweeny Greg Lindsay AO & Jenny Lindsay Joanne Frederiksen & Paul Lindwall Bronwyn & Andrew Lumsden Clive Magowan Anne Male-Perkins Mr & Mrs Greg & Jan Marsh Deidre & Kevin McCann Brian & Helen McFadyen Judith McKernan
32 AUSTRALIAN CHAMBER ORCHESTRA
P J Miller Marie Morton Nola Nettheim The Hon Mr. Justice Barry O’Keefe AM & Mrs Janette O’Keefe Anne & Christopher Page Patagonian Enterprises Pty Ltd peckvonhartel architects Prof David Pennington AC 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 Peter & Johanna Stirling Benson John & Jo Strutt Leslie C Thiess Colin & Joanne Trumble Ngaire Turner Kay Vernon Ellen Waugh 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 (13) CONCERTINO $500 $999 A Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Mr L H & Mrs M C Ainsworth A Annand Elsa Atkin Banting Electronics Tamara Best Brian Bothwell Denise Braggett D J Brown
ACO DONATION PROGRAM Arnaldo Buch Colleen & Michael Chesterman Stephen Chivers John Clayton Angela & John Compton Michael Cook Alan Fraser Cooper P Cornwell & C Rice Money Warehouse Sharlene Dadd Lindee Dalziell Anouk Darling Mari Davis Lucio Di Bartolomeo Jane Diamond Martin Dolan In Memory of Raymond Dudley Rodney Beech & Mariee Durkin-Beech M T & R L Elford Julie Ewington Mr & Mrs R J Gehrig Mirek Generowicz Brian Goddard Steve Gray Kelvin & Rosemary Griﬃth Tom Griﬃth & Adrienne Cahalan Richard W Gulley Matthew Handbury Annie Hawker 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
Penelope Little Sydney & Airdrie Lloyd Lorraine Lord Judy Lynch James MacKean Jennifer Marshall Peter Mason AM Donald C Maxwell Dr Hamish & Mrs Rosemary McGlashan Kim & Shirley McGrath Harold & Bertha Milner John Mitchell Marie Morton Helen & Gerald Moylan Sharyn Munro Susan Negrau Maurice Newman AC Ken Nielsen J Norman Graham North Robin Oﬄer Allegra & Giselle Overton Josephine Paech Leslie Parsonage Deborah Pearson Mr Kevin Phillips Michael Power Alison Renwick John & Virginia Richardson Michael Ryan Garry E Scarf & Morgie Blaxill Jeﬀ Schwartz Alison Scott Vivienne Sharpe Mr Ted Springett In Memory of Dr Aubrey Sweet Andrew & Pip Stevens IT Elizabeth Thomas Matthew Toohey G C & R Weir Dr Gwen Woodroofe Woodyatt Family Michael & Susan Yabsley Anonymous (33)
CONTINUO CIRCLE BEQUEST PROGRAM The late Kerstin Lillemor Andersen Dave Beswick Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow 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 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 Lillian.Armitage@aco.com.au. AUSTRALIAN CHAMBER ORCHESTRA 33
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 Peter Yates AM & Mrs 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 Guido BelgiornoNettis AM Chairman ACO & Joint Managing Director Transﬁeld Holdings
Liz Cacciottolo Senior Advisor UBS Australia Ian Davis Managing Director Telstra Television Chris Froggatt Tony Gill
Rhyll Gardner General Manager Group Strategy St George Bank Brendan Hopkins Tony O’Sullivan Managing Partner O’Sullivan Partners
Tony Shepherd Chairman Transﬁeld Services John Taberner Consultant Freehills
MELBOURNE DEVELOPMENT COUNCIL Chair – Peter Yates AM Chairman Royal Institution of Australia and Peony Capital
Libby Callinan Stephen Charles Paul Cochrane Investment Advisor Bell Potter Securities
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
34 AUSTRALIAN CHAMBER ORCHESTRA
Sydney Mar Beltran Creina Chapman Suzanne Cohen Patricia Connolly Elaine Davoren Judy Anne Edwards Elizabeth Harbison Bee Hopkins
Sarah Jenkins Vanessa Jenkins Abigail Jones Andrew Laughlin David Stewart Mary Stollery Tom Thawley Rosie Williams
ACO PARTNERS 2011 CHAIRMAN’S COUNCIL MEMBERS 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 Belgiorno-Nettis AM Chairman Australian Chamber Orchestra & Joint Managing Director Transﬁeld Holdings
Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance
Mr John Marshall & Mr Andrew Michael Apparel Group Limited
Mr Peter Schiavello Managing Director Schiavello Group
Mr Peter Mason AM Chairman AMP Limited & Mrs Kate Mason
Mr Glen Sealey General Manager Maserati Australia & New Zealand
Mr Michael Andrew Australian Chairman KPMG
Mr Angelos Frangopoulos Mr David Mathlin Chief Executive Oﬃcer Australian News Channel Senior Principal Sinclair Knight Merz
Mr Philip Bacon AM Director Philip Bacon Galleries
Mr John Grill Chief Executive Oﬃcer WorleyParsons
Mr Michael Maxwell & Mrs Julianne Maxwell Mr & Mrs Clive Smith
Mr Brad Banducci Chief Executive Oﬃcer Cellarmasters Group
Mrs Janet Holmes à Court AC
Mr Geoﬀ McClellan Chairman Freehills
Mr Jeﬀ Bond General Manager Peter Lehmann Wines Mr Michael Carapiet Executive Chairman Macquarie Capital and Macquarie Securities The Hon. Stephen Charles QC & Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger AM & Kenneth G. Coles AM Mr Craig Drummond Chief Executive Oﬃcer and Country Head Bank of America Merrill Lynch Australia
Mr & Mrs Simon & Mr John Meacock Katrina Holmes à Court Managing Partner NSW Observant Pty Limited Deloitte Mr John James Managing Director Vanguard Investments Australia Mr Warwick Johnson Managing Director Optimal Fund Management
Ms Naomi Milgrom AO Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL
Ms Catherine Livingstone AO Chairman Telstra
Mr Clark Morgan Vice Chairman UBS Wealth Management Australia
Mr Steven Lowy AM Group Managing Director Westﬁeld Group
Mr Alf Moufarrige OAM Chief Executive Oﬃcer Servcorp
Mr Didier Mahout CEO Australia & New Zealand BNP Paribas
Mr Scott Perkins Head of Global Banking Deutsche Bank Australia/New Zealand
Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Security
Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Michio (Henry) Taki Managing Director & CEO Mitsubishi Australia Ltd Mr Alden Toevs Group Chief Risk Oﬃcer Commonwealth Bank of Australia Mr Michael Triguboﬀ Managing Director MIR Investment Management Ltd Ms Vanessa Wallace Director Booz & Company Mr Kim Williams AM Chief Executive Oﬃcer FOXTEL Mr Peter Yates AM Chairman Royal Institution of Australia and Peony Capital
AUSTRALIAN CHAMBER ORCHESTRA 35
ACO PARTNERS The ACO receives around 45% of its income from the box oямГce, 35% from the business community and private donors and less than 20% 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
NATIONAL TOUR PARTNERS
PERTH SERIES PARTNER
QLD/NSW REGIONAL TOUR PARTNER
CONCERT AND SERIES PARTNERS
PREFERRED TRAVEL PARTNER
ACCOMMODATION AND EVENT SUPPORT
ACO is supported by the NSW Government through Arts NSW
BAR CUPOLA 36 AUSTRALIAN CHAMBER ORCHESTRA
STACCATO: ACO NEWS EDUCATION NEWS May was a busy month for the ACO’s Education Program. ACO players facilitated string workshops in Melbourne, Perth and Sydney. These events are a great opportunity for school string players to rehearse alongside ACO musicians.
three-year project in Picton which aims to develop musical culture in local schools and throughout the community.
On 24 May, a quintet of ACO musicians played a concert for primary school students at Matraville Soldiers’ Settlement School, and participated in the students’ music classes. The children performed alongside and even conducted the quintet of ACO players. In Picton (NSW), on 27 May, a quartet of ACO players led a workshop with local youth ensemble, the Picton Strings, to prepare them for their debut with the ACO. This concert marks the beginning of the ACO’s
Richard Tognetti with students from Matraville Soldiers’ Settlement School
Julian Thompson plays the “thongophone” with students from Matraville Soldiers’ Settlement School
Maxime Bibeau and Isabella Brown at the Sydney Combined Schools Workshop
Combined Schools Workshop in the ACO rehearsal studio, Sydney
AUSTRALIAN CHAMBER ORCHESTRA 37
STACCATO: ACO NEWS AcO2 NSW, QUEENSLAND & NORTHERN TERRITORY TOUR BACH & SCHUBERT JS BACH Goldberg Variations, BWV988 SCHUBERT Arpeggione Sonata, D821 TÜÜR Action–Passion–Illusion Thomas Gould Guest Director and Lead Violin AcO2 Since graduating from the Royal Academy of Music in 2006, young British violinist Thomas Gould has been showered with glowing and enthusiastic acclaim from critics and audiences. He makes his Australian debut directing Ac O 2 in an ingenious arrangement for string orchestra of one of the most magniﬁcent pieces of music of all time, Bach’s Goldberg Variations. Starting with a simple song, Bach guides us through a myriad of musical styles over thirty variations. First, though, music from Estonian pop-starturned-composer Erkki-Sven Tüür and Schubert’s charming Arpeggione Sonata.
NEW SOUTH WALES PORT MACQUARIE – The Glasshouse Tue 9 Aug 8pm
GRAFTON – Clarence Valley Conservatorium Wed 10 Aug 8pm
QUEENSLAND REDLANDS – Performing Arts Centre Fri 12 Aug 7.30pm NAMBOUR – Civic Centre Sat 13 Aug 8pm GLADSTONE – Entertainment Centre Sun 14 Aug 8pm
ROCKHAMPTON – Pilbeam Theatre Tue 16 Aug 7.30pm MACKAY – Entertainment & Convention Centre Thu 18 Aug 7.30pm CAIRNS – Civic Theatre Fri 19 Aug 7.30pm
NORTHERN TERRITORY DARWIN – The Studio, Darwin Entertainment Centre Sat 20 Aug 7pm
Details & Bookings: aco.com.au PRESENTING PARTNER
38 AUSTRALIAN CHAMBER ORCHESTRA
Ac O 2 PRINCIPAL PARTNER
STACCATO: ACO NEWS EUROPEAN TOUR WITH THE ACO 25 November – 10 December Hear the ACO perform in venues across Europe: • Musikverein, Vienna • Concertgebouw, Amsterdam • Philharmonie, Luxembourg • Queen Elizabeth Hall, London • Symphony Hall, Birmingham and attend opera performances in Vienna and Frankfurt.
Your host, Len Amadio AO, provides cultural commentary on the music, art and architecture of each of these magical cities and introduces each of the concerts.
“I am delighted to oﬀer a European music tour featuring the Australian Chamber Orchestra. The orchestra will perform ﬁve concerts in some of the world’s most prestigious venues, joined by distinguished soloists such as Freddy Kempf (piano), Tine Thing Helseth (trumpet), Simon Trpčeski (piano) and Martin Fröst (clarinet). There will be ample sightseeing opportunities in all cities we visit – Birmingham, London, Vienna, Frankfurt, Amsterdam, the French fortress city of Metz and Luxembourg. I urge you to consider joining me as we experience some of the great music centres of the UK and Europe.” –Len Amadio AO
Symphony Hall, Birmingham
For details please contact ALUMNI TRAVEL 1300 799 887 / firstname.lastname@example.org / www.alumnitravel.com.au
AUSTRALIAN CHAMBER ORCHESTRA 39
STACCATO: ACO NEWS THE ACO’S 2011 CHAIRMAN’S COUNCIL AND MAJOR PATRONS COCKTAIL PARTIES In March, the ACO hosted its annual Chairman’s Council and Major Patrons Cocktail Parties in Sydney and Melbourne. These special events thank the ACO’s Chairman’s Council members and Major Patrons for their continued investment in, and support of the Orchestra. In Sydney, Julia Ross opened her stunning Point Piper home to the ACO on a glorious Saturday evening for a cocktail party that featured an exclusive performance by a quartet of the ACO’s Principal musicians.
Sydney Chairman’s Council and Major Patrons Cocktail Party.
Maudie Palmer AO, Marc Besen AO and Eva Besen AO in Melbourne.
Melbourne Chairman’s Council and Major Patrons Cocktail Party.
40 AUSTRALIAN CHAMBER ORCHESTRA
In Melbourne, the then Governor of Victoria, His Excellency Professor David de Kretser AC and Mrs Jan de Kretser invited the ACO to Government House, for an evening soirée featuring an exquisite performance by the ACO led by Richard Tognetti. The ACO’s Chairman’s Council and Major Patrons are an integral part of the ACO family and continue to generously support the players, the ACO’s international touring schedule and the ACO’s Education Program. We are truly grateful for their invaluable support.
Beau Neilson and Satu Vänskä in Sydney.
The ACO in Melbourne.
STACCATO: ACO NEWS PARTNER PROFILE
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PARTNER OFFER Katering Special Offer Katering, Sydney’s leading provider of innovative, stylish and divine culinary experiences, and loyal supporter of the ACO, would like to oﬀer ACO subscribers a 10% discount on catering for events hosted between 1 June 2011 and 31 August 2011. Book now! Call Katering on 02 9319 2700 or visit http://www.katering.com.au/
AUSTRALIAN CHAMBER ORCHESTRA 41
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, ibm.com 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 www.ibm.com/legal/copytrade.shtml IBMNCA0569