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©T&CO. 2011



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On behalf of TAL, welcome to what is certain to be an extraordinary concert — one that promises to showcase the fresh thinking, amazing energy and technical virtuosity for which the ACO is renowned. It is this kind of thinking, innovation and life affirming energy that has drawn TAL towards becoming a National Tour Partner of the ACO in 2011. And it is particularly fitting that our partnership is beginning in a year when so much else at TAL is new — most notably, our name. As many of you may be aware, we were formerly known as TOWER Australia. Nothing else about us has changed, however. Just as the ACO is bringing us a blend of timeless and leading edge talent, so does TAL maintain its enduring position as the specialist voice in life insurance, while exploring new and innovative ways to deliver the best possible products and services. Please, enjoy the performance. Enjoy the vitality, the energy, the sense of wonder at being able to listen to compositions that have delighted audiences for hundreds of years — and will continue to do so for hundreds of years to come. Because, certainly for us at TAL, enjoyment and quality is what life is all about.







Erkki-Sven Tüür’s second commission for the ACO, Flamma (‘fire’, ‘blaze’, ‘flame’ in Latin) is abundant in musical allusions, fire as spectacle, as destruction from the skies, as regenerating force in the landscape. The music charts a single 14-minute arc. The bass’ and cellos’ furious ascent reaches higher and higher in mutating chains, accompanied by shifting ‘sound clouds’ from the violins and violas. Gradually revealed in its core ‘frozen state’ is a hymn-like texture played by the whole orchestra. Then, mirroring the opening, the upper strings take over the ascending music, supported by static clusters below.


Symphony No.88


[replaces Tüür’s Flamma for Sydney Opera House and Melbourne Sunday matinee performances]

Haydn, too, had played with fire in his eccentrically stormy symphonies of the 1770s. By the late 1780s, however, he had harnessed his creative force in Allegro movements, such as those in his 88th, of extraordinarily focussed, controlled energy, delivered moreover with panache and characteristic humour. Meanwhile, as seems fitting for a work that he sent off to Paris on the cusp of the French Revolution, its heightened sense of colour is due not least to Haydn’s democratically ceding some of the violinist-leader’s previously customary limelight to the rest of the orchestra, especially woodwinds. As fiddler and composer, Wieniawski’s genius mellowed with maturity. His first violin concerto was so unhinged by the pyrotechnics of its opening movement as to prompt one reviewer to warn: ‘Madman on the loose!’ But while he continued, as another commentator put it, to ‘play with fire over an abyss’, his Second Concerto, ten years later, is an elegant, well-crafted score, giving due weight both to spectacular solo display and tumultuous orchestral tuttis, and to full-voiced lyricism. Deafness, Beethoven admitted in 1802, was making him ‘malevolent, stubborn, misanthropic’. But although stern seriousness was also becoming his musical trademark, he also strove to essay easier emotions. Uniquely, his Pastoral Symphony celebrates simple country life. Burbling brooks, songbirds, a harvest home, a sudden storm, and final shepherds’ hymn signpost the hours of an idyllic rural day. Though as Beethoven himself indicated: ‘Anyone who knows country life can divine the composer’s intention without a lot of titles.’

WIENIAWSKI Violin Concerto No.2 in D minor, Op.22 I N T E R VA L

BEETHOVEN Symphony No.6 in F major, Op.68, “Pastoral” Approximate durations (minutes): 14 [Tüür] or 23 [Haydn] – 24 – INTERVAL – 42 The concert will last approximately two hours including a 20-minute interval.



Llewellyn Hall Sat 5 Nov 8pm

Opera House Sun 13 Nov 2pm



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

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

PERTH Concert Hall Wed 9 Nov 7.30pm

BRISBANE QPAC Fri 18 Nov 8pm

Pre-concert talks take place 45 minutes prior to the concerts. The Australian Chamber Orchestra reserves the right to alter scheduled artists or programs as necessary.

Cover photo: Richard Tognetti © Gary Heery


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ACO ON THE RADIO ABC CLASSIC FM: Tue 22 Nov, 1.05pm Beethoven Pastoral Symphony Sun 18 Dec, 1pm 2011 London concert featuring pianist Simon Trpˇ ceski and trumpet player Tine Thing Helseth Sun 1 Jan 2012, 1pm 2011 Amsterdam concert featuring clarinet virtuoso Martin Fröst

NEXT TOUR Chopin & Mendelssohn’s Octet with Polina Leschenko 11—22 Feb 2012

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The ACO’s biggest program for 2011 comes right at the end of the season, with the Orchestra in its largest mode for this concert of music by Wieniawski and Beethoven. And as we warmly welcome a new piece for the strings of the ACO by Estonian composer Erkki-Sven Tüür, we also warmly welcome TAL as our newest National Tour Partner, supporting us to bring this concert to audiences all over the country. Although this concert is the last in the ACO’s 2011 season, it is not the last project in the Orchestra’s schedule for the year. To round off our busiest ever year of international touring, Richard and the Orchestra head to Europe in the last week of November for one of the most impressive international tours we’ve ever undertaken. Starting in Birmingham’s superb Symphony Hall on 27 November, the tour encompasses some of Europe’s most prestigious venues including London’s Queen Elizabeth Hall (29 November), Vienna’s Musikverein (30 November), Munich’s Gasteig Philharmonie (1 December), Antwerp’s de Singel (3 December), the Concertgebouw in Amsterdam (4 December), Stadthalle in Wilhelmshaven (6 December), the Luxembourg Philharmonie (7 December), the Stadtcasino in Basel (8 December) and ending with two private concerts (one at the Australian Embassy in Paris for Servcorp and one at St James’s Palace in London). After an intense and demanding tour like this, I think Richard and the musicians will be ready for a post-concert drink in London on Monday 12 December to wrap up a huge year! One sad duty we will perform at that end of year party is a farewell to violist Stephen King, who is leaving us after more than eight years to become a member of the Australian String Quartet, based in Adelaide. Steve has not only been a wonderful musician in the ACO but has been a driving force behind the ACO’s growing Education Program. His commitment and energy in this specialist area have contributed enormously to the success of this arm of the ACO’s activity and we will miss him greatly. Thank you for your support and enthusiasm throughout 2011 and we all look forward to seeing you often throughout 2012. TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA AUSTRALIAN CHAMBER ORCHESTRA 5

PERIOD INSTRUMENTS USED IN THIS CONCERT At his general store at Maitland, NSW, in 1850, William Liscombe advertised “English and Roman violin strings … strong enough to tether a donkey”! Like those the ACO’s string players have fitted to their instruments for this concert (at pitch A=430), they would have been made of twined gut; though not, despite the common belief, feline. Possibly, the word “catgut” derived from “kit-gut”, “kit” being a word for the fiddle. The sound of catgut is audibly different – less constant, suggestible, occasionally even threatening to be unreliable – from the, quite literally, steelier modern synthetic wired strings. Yet it was gut that produced the sounds that composers from Haydn to Wieniawski heard, and that poor deaf Beethoven imagined. Gut was one casualty in the so-called progress of musical technology toward that blended massed orchestral sound we know so well from latetwentieth-century recordings. So too the quirkier, uneven, harder-to-handle winds and brass. “German” flutes were made of wood not silver, “clarionets” had fewer keys, and “hautboys” (oboes) produced a sound that, according to one eighteenth-century dictionary, was “Majestical

and Stately… not much Inferior to the Trumpet”. Meanwhile, the trumpets and horns that Haydn and Beethoven scored for had yet to acquire sophisticated modern valve systems; to produce a scale required careful lipping, to play in more than one key changes of “crooks” (added sections of tubing, of various lengths, that altered the instrument’s fundamental pitch). Whereas modern orchestral sound aims at smoothing over the vagaries of a hundred different breathings and bowings, a small orchestra of “Classical” instruments cannot hide its individual human mechanics. Rather, from the soloist’s phrasing of melodies to the ensemble’s voicing of chords, its distinctive sound swells out more directly – kinetically – from the very acts of making it. Contemporaries described Haydn’s symphonies, produced by such orchestras, as “full of fire”. Erkki-Sven Tüür has generously allowed the ACO strings to undertake the unusual experiment of premiering his new modern score, Flamma, with the same technology. Will it prove to be sadly outmoded? Or still capable – two hundred years on – of kindling a blaze?

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TÜÜR Flamma 2011 Barbara Blackman commission Performed on 5, 7, 9, 15, 16, 18 and 19 November

The Composer Writes: I am delighted to say that this is already the second composition I have created for one of the world’s leading chamber orchestras, the magnificent ACO.

Erikki-Sven TÜÜR (b. Kärdla, Hiiumaa Island, 1959) Perestroika proved well-timed to deliver this former Estonian rock musician international attention just as his composing career was reaching full stride. The elements, natural forces, and primal landscapes — from his Baltic Sea island home to Uluru — have inspired his large output of orchestral works, whose typically terse titles reliably prefigure arresting aural encounters. He has also composed an opera Wallenburg (2001). Flamma (a blazing fire, blaze, flame in Latin)

Further reading and listening Tüür’s Sixth Symphony (2007) is the title work of Strata, a CD selection of his orchestral music on ECM New Series 2040. The ‘links’ page on the composer’s website ( lists authorised Youtube videos, including exciting performances of his 1993 string-orchestra trilogy, Action—Passion—Illusion by the Tallinn Music Highschool. A fascinating six-minute sample of his multimedia work comes in the trailer to the animated feature Life without Gabriella Ferri (2008) at The Internet Movie Database: com/video/wab/vi835584537.

Flamma begins with a brief and extremely intense introduction. The double bass and cellos perform furious ascending passages that reach higher and higher in mutating chains. On this, the violins and violas form constantly shifting “sound clouds” that consist of up to 15-tone chords; at some point the introduction is led to its culmination by the violas with a melodic line that emerges from the contact of the sound clouds and ascending passages. The extraordinariness of the culmination chord lies in the fact that the “low” instruments are playing in their highest and the “high” instruments in their lowest register. The composition then starts unravelling through solos alternating with instrument groups. Ensembles are formed within the orchestra to contradict the full sound of the orchestra. The principal thematic development takes place slowly – this is achieved alternately by the first and second violins through constantly evolving repetitions. The same material is then presented in its so-called “frozen state”, like a chorale with homophonic texture played by the whole orchestra – at first it intersects the composition in fragments and only later appears in its entirety. We enter the summarising section of the piece in a position resembling the mirror effect: the first violins are playing ascending passages, supported by the static multi-tone chords “below”. Fire is both a destructive and purifying force – indigenous Australians have understood it well and have tapped the idea extensively in their traditions. Hence the title, rich in allusions. Flamma is dedicated to the Australian Chamber Orchestra and Richard Tognetti. © 2011 ERRKISVEN TÜÜR Translated from Estonian by Pirjo Püvi

ACO performance history Tüür’s first commission for the ACO, Whistles and Whispers from Uluru, was premiered with recorder soloist Genevieve Lacey in November 2007.


HAYDN Symphony No.88 in G (Composed 1787)

Adagio – Allegro Largo Menuetto e Trio (Allegretto) Finale (Allegro con spirito) Performed on 6 and 13 November

Joseph HAYDN (b. Rohrau, 1732 — d. Vienna, 1809) From his comfortable backwater post as composer and orchestra leader to the Esterhazy princes, Haydn staged a virtual takeover of European music in the 1780s. In Paris and London, his symphonies and quartets first shocked and then delighted audiences. As English commentator Charles Burney wrote in 1789, his music was ‘so new to the player and hearer that they are equally unable, at first, to keep pace with his inspiration’.

Following the success of Haydn’s famous set of six Paris symphonies (Nos 82-87) in 1787, that city, still in its preRevolutionary heyday, was to take his next five symphonies as well. Johann Tost, a former violinist in Haydn’s orchestra, visited Paris in 1788 carrying with him Nos 88 and 89 (composed the previous year), which he sold to the publisher Sieber. In 1788, too, the young French aristocrat Count d’Ogny, who had commissioned the first six Paris symphonies for the Concert de la Loge Olympique, requested a further three for that organisation. These were Nos 90-92 (which the overworked composer also used to meet a commission from Prince von Oettingen-Wallerstein in Bavaria – a gentleman who was subsequently less than pleased to discover himself only a joint owner of the music). The last of this group, No.92, is now known as the Oxford, because Haydn himself later performed it there. Symphony No.88, too, is still occasionally nicknamed according to a misleading English connection – Letter V, which was no more than a 19th-century catalogue reference used by the Philharmonic Society of London. Following a solemn slow introduction, the first-movement Allegro makes a disarmingly modest, indeed artless, entrance, soon unbuttoning into a merry scamper which seems to belie the portentous introduction. But the application of Haydn’s contrapuntal skill and developmental ingenuity transforms this unpromising material into what H.C. Robbins Landon describes as ‘undoubtedly an intellectual tour de force of the first magnitude’.

ACO performance history This is the first time the ACO has performed Haydn’s Symphony No.88.

If the Parisian audiences for Symphony No.88 were surprised to see a timpanist and a pair of trumpeters sitting idle throughout the first movement (trumpets were normally dropped from works in G major because of technical limitations in that key), they would have been astonished to see all three musicians suddenly burst into AUSTRALIAN CHAMBER ORCHESTRA 9

life at bar 41 of the slow movement. Not only is the Largo (in the trumpet-friendly key of D major) a set of variations on a beatific melody, first heard in the extraordinary, and delicate, sonority of solo oboe supported by solo cello; not only is the intrusion of the trumpets and kettledrums at bar 41 and later both loud and forceful; but Parisians had never before experienced such instruments in the traditional serenity of a symphonic slow movement. They had not yet heard Mozart’s sole exploration of such instrumentation (in the Linz Symphony, No.36, of 1783), nor had they heard the similar slow-movement orchestration of the 1785 Serenade in D by Haydn’s younger brother Michael in Salzburg. Nearly a century later, Johannes Brahms was so struck by the intensity of expression achieved through the powerful use of unexpected instruments in this memorable movement that he is reported to have declared, ‘I want my Ninth Symphony to sound like that.’ Trumpets and timpani assist vigorously in the stamping rhythms of an earthy peasant dance in the Menuetto, while a bagpipe-like drone underpins the central Trio section. Like the first movement, the Finale opens in a mood of innocent pleasantry. But the high spirits become boisterous as the movement proceeds in the brilliant, yet musically complex, combination of sonata and rondo form to which Haydn was increasingly attached, until it culminates in a spectacular canon between the upper and lower strings. To Landon, this is ‘a perfect tribute to the Viennese predilection for combining intellect and beauty’. The display of contrapuntal virtuosity exhausted, it remains only to restate the material in its original innocence, then rein in on an imposing cadence before ending in a jubilant sprint.



WIENIAWSKI Violin Concerto No.2 in D minor, Op.22 (Composed 1862)

I Allegro moderato II Romance: Andante non troppo III Allegro con fuoco – Allegro moderato (à la zingara)

Henryk WIENIAWSKI (b. Lublin, 1835 — d. Moscow, 1880) Like his legendary precursor Paganini, this Polish fiddlercomposer’s talent was hailed as ‘demonic’. Colleague and rival, Joseph Joachim called him ‘the maddest most hotheaded virtuoso I’ve ever met’. Two days after the premiere of this, his Second Concerto, one usually venomous St. Petersburg reviewer, César Cui, admitted to a friend: ‘I still haven’t recovered from that opening Allegro yet!’

ACO performance history This is the first time the ACO has performed Wieniawski’s Violin Concerto No.2.

Particular composers are sometimes associated with a certain instrument, often one they themselves played or for which otherwise they held an especial affinity. We think of Chopin or Liszt, for example, and their extraordinary output for the piano. The violin has no shortage of special pleaders – Vivaldi, Paganini and Kreisler have all shaped how we think about the violin – but in the 19th century when first Chopin and then Liszt were making their unique claims for the piano as the pre-eminent solo instrument, one of a pair of Polish brothers, based first in St Petersburg and then in Brussels, was having a similar dog-whistle effect on that generation’s violinists. The man in question was Henryk Wieniawski. (The brother, Józef, younger by two years, was following in Liszt’s footsteps as a leading piano virtuoso of the late 19th century.) Both brothers left Poland early to commence study as something of child prodigies at the Paris Conservatoire. Their career followed in step, as Józef accompanied his brother in recital tours across Europe in the first part of the 1850s, before Józef took off to pursue his own solo career. Henryk’s composition career started early: his total catalogue is not huge, but the first work listed was published when he was just 12. The concerto on this program – his second for the violin – is a work of his maturity, though, as a player and a composer. Commenced while he was in his early 20s the work was completed in 1862 but then not published until 1870. So, what happens? The first movement offers no confusion as to which century we’re in, a Romantic, melody-driven introduction featuring brief solos for horn, oboe and bassoon gradually setting up a mood of foreboding for almost a full three minutes before the solo violin eventually enters. When it does it echoes, at first, the fragmentary, questioning interjections of the wind solos, sharing the limelight initially with the viola and then the flute, in small private dialogues in the midst of the orchestral milieu. But it takes seemingly no time at all for the violin to come fully to the fore, at first with an increasingly confident iteration of the bitty opening material and then with one of the AUSTRALIAN CHAMBER ORCHESTRA 11

characteristically blistering virtuosic flourishes that will, increasingly, distinguish this work. The movement works almost as an extended courtship between soloist and orchestra, the violin’s increased conviction at first stunning the orchestra into the role of mere accompanists and then, as the orchestra’s initial directness returns to the foreground a more equal division of labour and limelight ensues – the violin’s tendency towards energetic cadenza (there are an enormous number of black dots) notwithstanding. Along the way, though, there is also an increasing passion in the melodic power, which is immensely affecting. This intensity is extended in the second movement, which starts with almost folk-song simplicity but gradually gathers in emotion. Compared with the outer movements and their virtuosic brilliance, the short middle movement is much more concerned with stillness and sheer beauty, every element of the violin’s capacity for legato line being exploited to the full.

Further reading and listening As you may discover checking your phone during interval, Wieniawski even has a Facebook page these days. A worthier memorial to his genius is the Wieniawski Violin Competition. Its website (www. has details of the 14th competition held in Poznan last month. Click on the photo of Wieniawski to access further resources about the composer himself. ‘From old recordings’ has audio samples from an Edison phonograph recording of his famous Legend, and a modern recording by convenor of the 13th Competition, Konstanty Kulka.

In the final movement, though, the orchestra and – especially – the soloist let rip again. This is the stuff that has young violinists waking sweaty in the night, the rapidfire delivery of notes, with necessarily filigree precision, all over the instrument. Yet it isn’t virtuosity for its own sake, as might easily be charged, and a dry discussion of the technique involved in the outer movements does little to convey their poignant concentration. The finale certainly lacks nothing of the passion or drama that the first two movements have set up, but it also has a piquant taste all its own, described in the subtitle of the movement’s second section: “à la zingara”, or “gypsy style”. In short, this is not specialist literature for violin geeks, but, rather, is superbly constructed music of universal appeal. Hugely technically demanding, yes, but technique always in support of the music and never the other way around. Can we say the same of all the great “virtuoso” composers of the period?



BEETHOVEN Symphony No 6 in F major, Op. 68, “Pastoral” (Recollections of Country Life) (Composed 1808)

Awakening of pleasant feelings upon arriving in the country: Allegro ma non troppo Scene at the brook: Andante molto mosso Peasants’ merrymaking: Allegro – The storm: Allegro –

Ludwig van Beethoven (b. Bonn, 1770 — d. Vienna, 1827) Final heir of the classicists, precursor of the romantics, definitive heroic pianistcomposer; contemporaries grappled with the ‘seriousness, energy and sublimity’ of his symphonies. In 1817, a reviewer marvelled at ‘the excellency of these gigantic productions of the great Beethoven’! Deafness cruelly curtailed his performing career and social life. But forced to look deep into himself, this difficult German imagined a brave new musical future for all of Europe.

ACO performance history The ACO performed Beethoven’s Symphony No.6 in three subscription tours; in 1990, 2000 and 2004.

Shepherds’ hymn of joy and thanksgiving after the storm: Allegretto

Looking back from 1808 on the “Golden Days” of Mozart’s Vienna in the 1780s, Beethoven must have imagined it to be a freelance musician’s paradise. Admittedly, in the early years after his own arrival in the city in 1792, Beethoven too had enjoyed quite widespread popularity on a depleted aristocratic concert circuit. But, more recently, it had been his own healthy lack of deference to the nobility, as much as endemic economic problems or the huge patriotic embarrassment of the Napoleonic occupation, that had conspired to deny him the financial support and goodwill of many of those potential patrons and employers that remained. Dogged by his own growing personal problems, and his frequent changes of address, his life had become the apparently endless series of difficulties that would characterise his second decade in Vienna. It led him to the verge of paranoia, and to look on the city as harbouring “intrigues, cabals, and underhand dealings” against him. As the poet J.W. Goethe commented after meeting him in 1812, “If not entirely wrong in believing the world to be detestable, he does not make it any the more enjoyable either for himself or for others by his attitude.” But if Beethoven was not easy to get on with, he had gained some skill at making the most of the few advantages he had. In October 1808, for instance, he had been offered 3400 Austrian florins a year to leave Vienna and take up a post as musical director at Kassel to Napoleon’s brother, Jerome, the newly-created King of Westphalia. While obviously having no intention of accepting the position, he let it be known that he was considering the offer seriously, and then set out to prove how indispensable he was to Viennese musical life by arranging on 22 December at the Theater an den Wien an Advent “Academy” (or concert) of AUSTRALIAN CHAMBER ORCHESTRA 13

his latest works, most of them new to Vienna, including two as yet unperformed symphonies (Nos 5 and 6). As a bargaining tool, the impression made by the concert must have fallen somewhat short of what he hoped. The crème of Vienna’s musicians were engaged elsewhere that day, performing a new oratorio by Haydn at the Burgtheater in aid of the Society for Musicians’ Widows. A later report put it politely by saying that Beethoven’s performers, on the other hand, were “assembled from very heterogeneous elements”! Meanwhile, Beethoven’s concert not only took place in a suburban venue, but was very long, lasting from half-past six until half-past ten, during which time the audience moreover had to put up with the intense cold. As well as both symphonies, the program included the Fourth Piano Concerto, movements from the Mass in C, and – so as not to leave the chorus without something else to do – the Choral Fantasy (Op. 80), written at the last minute especially for the concert. As a result, the music was under rehearsed and poorly played by the “scratch” orchestra he had at his disposal. Beethoven played the piano himself in the Concerto and the Fantasy, and also improvised an extra solo fantasia. However, this might not have been a wise move. Ignaz von Seyfried, the impresario of the theatre, later reported to the composer Louis Spohr that Beethoven himself was responsible for parts of the concert almost descending into farce: “Beethoven played a new piano concerto of his, but already at the first tutti, forgetting that he was the soloist, he leapt up and began conducting in his own unusual way. At the first sforzando he threw out his arms so fiercely that he knocked over both lamps on the music-stand of his piano. And when the audience laughed, he became so distracted that he stopped the orchestra and made them begin again. Seyfried, worried that this would happen again in the reprise, took the precaution of having two choirboys stand next to Beethoven and hold the lamps instead. But one of them unwisely stepped close to follow the music from the piano part, and when the fatal sforzando happened again, the poor boy got Beethoven’s right hand, slap in his face, so terrifying him that he dropped the lamp anyway. At least the other boy, more wary and observant, ducked in time. If the audience had laughed once, this time they dissolved into a riot. Beethoven hammered away in such a rage that on the next chord of his solo he broke six strings. Not surprisingly, all efforts to restore calm were in vain for some time afterward.” Remarkably, then, Beethoven’s underlying ploy seems to have worked. Within months, three of his most long14 AUSTRALIAN CHAMBER ORCHESTRA

suffering supporters – the Archduke Rudolph and Princes Kinsky and Lobkowitz – had clubbed together to offer him an annuity of 4000 florins on condition that he stay in Vienna. Given the ingrained class consciousness of Viennese society at the time (more so since the French occupation), the measure of forbearance shown by these noble patrons toward the belligerently egalitarian Beethoven is quite remarkable. Chief among them, Rudolph, was after all the emperor’s brother. And no less remarkable, perhaps, given the virtual debacle of this concert, was their continued faith in his musical talent. Rudolph at least had the measure of Beethoven’s gifts from first-hand experience as a pupil of Beethoven. The score of a work like the Sixth Symphony, alone, would have been enough to remind him – as he indeed believed – of this sometimes boorish man’s underlying genius. Beethoven composing the Pastoral by a Brook. Lithograph from the Almanac of the Zurich Musikgesellschaft for 1834.

Any description of Beethoven’s circumstances at the time seems to take us a long way from the music. But, in one respect, it is possible to see in the Sixth Symphony a positive attempt on Beethoven’s part to come to terms with his dissatisfactions with urban Vienna. What better panacea than an escape to the country? The idea of a symphony depicting country life had been forming in his mind for some time, and appeared to coalesce around his summer vacations spent in the village and spa resort of Heiligenstadt on the Danube. In 1803 he had sketched a version of the quirky dance at the centre of the “Peasants’ Merrymaking”, as well as a short passage for the second movement marked “the murmuring of the brook” (along with the helpful comment “the larger the stream the deeper the note”). The composer’s “Pleasant feelings on arriving in the country” are immediately plain in the refreshingly simpleminded opening theme with its rustic bagpipe-like drone (on violas and cellos) as accompaniment. However, apart from being more relaxed and expansive than the openings of the Third or Fifth Symphonies, this movement follows the traditional symphonic pattern, as well as fulfilling Beethoven’s pictorial intentions. Likewise, the “Scene at the brook” is a formally conventional slow movement. Until the coda that is, with its unaccompanied bird calls (marked as such in the score): a flute as nightingale, an oboe as quail, and a clarinet as cuckoo. For the rest of the work, however, Beethoven does modify conventional symphonic layout, having three more movements (instead of two) and running them together without a break. “Peasants’ Merrymaking” is the ideal AUSTRALIAN CHAMBER ORCHESTRA 15

pretext for a regular scherzo. The dancing is brought to a stop, literally, by “The Storm” for which Beethoven introduces a piccolo and a pair of trombones, instruments more usually found before that time in opera overtures than in concert-hall symphonies. They add a suitably portentous colouring. Finally, the storm passes as the shepherds sing their “Hymn of Thanksgiving”. However, as Beethoven himself said: “Anyone who has an idea of life in the country can divine for himself the composer’s intentions without a lot of titles.” Beethoven’s secretary and often rather too fanciful biographer, Anton Schindler, records that he accompanied his by then profoundly deaf master on a trip back to the country in the spring of 1823:

Further reading and listening Beethoven was well aware deafness was making him a pariah. Read his own thoughts, in the moving letter to his brothers known as the Heiligenstadt Testament, at Heiligenstadt_Testament. You can download PDF scans of both the composer’s original manuscript and the 1826 first edition of the Sixth Symphony at Petrucci Music Library ( On the same page, listen to one of oddest arrangements of the Pastoral yet…for recorder consort! If you enjoyed the symphony, try Richard and the ACO’s CD of Beethoven’s Violin Concerto, available from the ACO Shop at

“We decided to go first to Heiligenstadt and its charming surroundings, where he had put so many musical works to paper, and where he had also made many studies of nature. The sun was shining as in summer and the countryside was already clad in its best spring finery. After we had seen the baths of Heiligenstadt with their adjoining gardens and other pleasant sights, and reminisced the while about the works which he had created there, we continued our excursion to the Kahlenberg in the direction of Grinzing. As we walked along the pleasant grassy valley between Heiligenstadt and Grinzing, which is traversed by a softly murmuring brook flowing rapidly down from the nearby hills, shaded in places by tall elm trees, Beethoven frequently stopped and, filled with happy feelings of rapture, let his gaze wander over the beautiful landscape. Then he sat down in the field, leaning against an elm, and asked me if any yellow-hammers were to be heard in the upper branches of these trees. But all was quiet… The Pastoral Symphony! As the painter completes each element and brings the whole into a united picture, so also did Beethoven in this tone painting. It begins peacefully enough in the foreground – the manifold parts are always resolved quietly. After the terrifying and fearsome depiction of the thunderstorm, the background again resolves itself peacefully, and when in the final measures the distant note of the hunting horn is heard, we feel as if we were in the great concert hall of nature. Praise be to thee, exalted master!”



STEPHEN KING FAREWELL We have seen some fresh faces join the ACO in the past few years. But there comes a time when we must say goodbye to a more familiar face. Unfortunately for us, Steve King is moving to Adelaide to join the Australian String Quartet. Not only will we miss his energy, enthusiasm and entertaining antics when on tour, but we will be losing a key member of our education team. We may have lost a violist but we have gained an enthusiastic subscriber in Adelaideâ&#x20AC;&#x2122;s glorious Town Hall. But please, Steve â&#x20AC;&#x201C; keep the heckling to a minimum. Especially during the quiet haunting viola solos. All the best from all of us. Chris Moore Principal Viola





Photo © Paul Henderson-Kelly

ARTISTIC DIRECTOR AND LEADER AUSTRALIAN CHAMBER ORCHESTRA Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Maribor Festival in Slovenia.

“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 been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig. In 2003, Tognetti 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 also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, co-created The Red Tree, inspired by illustrator Shaun Tan’s book. He 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. As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005. Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.


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 violin, 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-nine 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 and Chandos 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 the complete set of Mozart Violin Concertos. The ACO appears in the television series Classical Destinations II and the award-winning film Musica Surfica, both available on DVD and CD.

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

In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of AC O2, an elite training orchestra which tours regional centres. AUSTRALIAN CHAMBER ORCHESTRA 19


RICHARD TOGNETTI AO HELENA RATHBONE* Artistic Director and Lead Violin Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

Principal 2nd 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 Australian Communities 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


Cello Chair sponsored by The Bruce & Joy Reid Foundation

Cello Chair sponsored by the Clayton Family

* 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. # Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 20 AUSTRALIAN CHAMBER ORCHESTRA

Photos: Paul Henderson-Kelly, Helen White

Players dressed by





Principal Bass Chair sponsored by John Taberner & Grant Lang





GUY JOHNSTON Guest Principal Cello




Principal Piccolo



CRAIG HILL* Principal Clarinet



Principal Bassoon

Principal Trombone







Principal Horn

Principal Bass Trombone




Principal Timpani


# Appears courtesy of Australian Opera and Ballet Orchestra * Appears courtesy of Melbourne Symphony Orchestra † Appears courtesy of Melbourne Conservatorium of Music

Principal Trumpet



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 Jessica Block Deputy General Manager and Development Manager Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO

Elissa Seed Travel Coordinator Jennifer Collins Librarian

DEVELOPMENT Alexandra Cameron-Fraser Corporate Relations and Public Affairs Manager Kate Bilson Events Manager Tom Carrig Senior Development Executive Lillian Armitage Philanthropy Manager Sally-Anne Biggins Patrons Manager Stephanie Ings Investor Relations Manager

Chris Griffith Box Office Manager Mary Stielow Publicist Dean Watson Customer Relations Manager David Sheridan Office Administrator

ARTISTIC & OPERATIONS Richard Tognetti AO Artistic Director Luke Shaw Head of Operations and Artistic Planning Erin McNamara Tour Manager Lisa Mullineux Acting Orchestra Manager

EDUCATION Vicki Stanley Education and Emerging Artists Manager Sarah Conolan Education Assistant FINANCE Steve Davidson Chief Financial Officer Cathy Davey Senior Accountant Shyleja Paul Assistant Accountant


MARKETING Georgia Rivers Marketing & Digital Projects Manager Rosie Rothery Marketing Executive

INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist

ABN 45 001 335 182

Australian Chamber Orchestra Pty Ltd is a not for profit company registered in NSW.

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Office: 1800 444 444 Email: Website:



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


PO Box 3567 South Bank, Queensland 4101 Telephone: 07 3840 7444 Chair Henry Smerdon AM Deputy Chair Rachel Hunter Trustees

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

We are also indebted to the following organisations for their support:

Simon Gallaher Helene George Bill Grant Sophie Mitchell Paul Piticco Mick Power AM Susan Street Rhonda White

LLEWELLYN HALL School of Music Australian National University William Herbert Place (off Childers Street) Acton, Canberra

Chief Executive John Kotzas Director – Presenter Services Ross Cunningham Director – Corporate Services Kieron Roost Acting Director – Patron Services Deborah Murphy Executive Manager – Human Resources Alicia Dodds Executive Manager – Production Services Bill Jessop Acting Executive Manager – Marketing Stefan Treyvaud



VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email:

AEG OGDEN (PERTH) PTY LTD PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briffa Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government The Honourable Anna Bligh MP Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet Ken Smith Deputy Director-General, Arts Queensland Leigh Tabrett Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900




A City of Sydney Venue Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Bronwyn Edinger General Manager CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001

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

Administration 02 9231 9000 Box Office 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website

Chief Executive Officer Richard Evans Chief Operating Officer David Antaw Chief Financial Officer Claire Spencer Director, Building Development & Maintenance Greg McTaggart Director, Marketing, Communications & Customer Services Victoria Doidge Director, Venue Partners & Safety Julia Pucci Executive Producer, SOH Presents Jonathan Bielski SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Office: 02 9250 7777 Facsimile: 02 9250 7666 Website:

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: Website:

Chairman Brian Nebenzahl OAM, RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie Clarke Manager—Production—Classical Music Alan Ziegler

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN 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 (HK) 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—117 — 16581 — 1/051111


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 Australian Communities 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 R. Bruce Corlett AM & Mrs Ann Corlett


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 $1m+

OCTET $100,000 – $199,000

ENSEMBLE $10,000 – $24,999

Peter Weiss AM

Amina Belgiorno-Nettis

Leslie & Ginny Green

LEADER $500,000 – $999,999

QUARTET $50,000 – $99,000

SOLO $5,000 – $9,999

John and Anne Leece

CONCERTO $200,000 – $499,000

SONATA $25,000 – $49,999

Naomi Milgrom AO

PATRONS $500 – $4,999 June & Jim Armitage Angela Roberts

2011 EUROPEAN TOUR PATRONS The ACO would like to pay tribute to the following donors who are supporting our highly anticipated 2011 European Tour. Graeme & Jing Aarons Samantha Allen John & Philippa Armfield Steven Bardy Isla Baring Linda & Graeme Beveridge BG Group Paul Borrud Ben & Debbie Brady Kay Bryan Massel Group Terry Campbell AO & Christine Campbell Jenny & Stephen Charles The Clayton Family Penny Clive & Bruce Neill John Coles Commonwealth Bank Robin D’Alessandro & Noel Philp Jennifer Dunstan Bridget Faye AM

Ann Gamble Myer Rhyll Gardner Alan & Joanna Gemes Tony Gill Global Switch Limited Andrew & Hiroko Gwinnett Peter Henshaw & Fargana Karimova Peter & Sandra Hofbauer Janet L Holmes à Court AC Catherine Holmes à CourtMather Brendan & Bee Hopkins P J Jopling QC Lady Kleinwort Wayne Kratzmann Prudence MacLeod Bill Merrick P J Miller Jan Minchin Justin Raoul Moffitt Alf Moufarrige


Louise & Martyn Myer Foundation Sir Douglas Myers Marianna & Tony O’Sullivan peckvonhartel architects Diana Polkinghorne Rio Tinto Limited Gregory Stoloff & Sue Lloyd David Stone Andrew Strauss Tim & Sandie Summers John Taberner & Grant Lang Patricia Thomas OBE Beverley Trivett Loretta van Merwyk Malcolm Watkins Michael Welch Wesfarmers Limited Gillian Woodhouse Ms Di Yeldham Anonymous (3)

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 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)

OTHER COMMISSIONS Robert & Nancy Pallin







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 ARTIST PATRON & EDUCATION PATRONS $10,000+ The Abercrombie Family Foundation Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin Darin Cooper Family John & Patti David Australian Communities Foundation – Ballandry (Peter Griffin Family) Fund Brendan & Bee Hopkins Roger Massy-Greene & Belinda Hutchinson AM Miss Nancy Kimpton Julianne Maxwell Andrew P Messenger Jeff Mitchell Louise & Martyn Myer Foundation Drs Alex & Pam Reisner John Taberner & Grant Lang Ian Wallace & Kay Freedman Peter Weiss AM Anonymous (1)

DIRETTORE $5,000  $9,999 The Belalberi Foundation Elizabeth & Nicholas Callinan Ross & Rona Clarke Bridget Faye AM Ian & Caroline Frazer Annie Hawker Keith Kerridge Wayne N Kratzmann Philip A Levy

Fiona & Mark Lochtenberg Lorraine Logan Hon Dr Kemeri Murray AO Marianna & Tony O’Sullivan John Rickard Roberts Family A J Rogers Alden Toevs & Judi Wolf Ian Wilcox & Mary Kostakidis Anonymous (3)

MAESTRO $2,500  $4,999 Michael Ahrens Jane Allen Virginia Berger Cam & Helen Carter Jon Clark & Lynne Springer Caroline & Robert Clemente Leith & Darrel Conybeare M. Crittenden John & Gloria Darroch Kate Dixon Professor Dexter Dunphy AM Leigh Emmett Suellen Enestrom John & Jenny Green Philip Griffiths Architects Nereda Hanlon & Michael Hanlon AM Lindi & John Hopkins Angela James & Phil McMaster David & Megan Laidlaw Philip Maxwell & Jane Tham Jan McDonald John Marshall & Andrew Michael, Apparel Group Pty Ltd P J Miller Donald Morley J G Osborn Sandra & Michael Paul Endowment


S & B Penfold Ralph & Ruth Renard D N Sanders Greg Shalit & Miriam Faine Ms Petrina Slaytor Dr Charles Su & Dr Emily Lo Tom Thawley Dr & Mrs R Tinning Laurie Walker Ralph Ward-Ambler AM & Barbara Ward-Ambler Karen & Geoff Wilson Janie & Neville Wittey Anonymous (11)

VIRTUOSO $1,000  $2,499 Annette Adair Peter & Cathy Aird Rae & David Allen Andrew Andersons Lillian & Peter Armitage Sibilla Baer Doug & Alison Battersby The Beeren Foundation Ruth Bell Victoria Beresin Bill & Marissa Best Jessica Block Brains Vicki Brooke In memory of Elizabeth C. Schweig Sally Bufé Neil Burley & Jane Munro G Byrne & D O’Sullivan J & M Cameron Sandra Cassell Ann Cebon-Glass Paul Cochrane John & Christine Collingwood Judy Croll Betty Crouchley

ACO DONATION PROGRAM Diana & Ian Curtis Marie Dalziel June Danks Michael & Wendy Davis Anne & Tom Dowling Jennifer Dowling Wendy Edwards Anne-Maree Englund Peter Evans Julie Ewington H E Fairfax Elizabeth Finnegan Nancy & Graham Fox Anne & Justin Gardener Rhyll Gardner Colin Golvan SC Warren Green Elizabeth & Peter Harbison Paul Harris Patagonian Enterprises Pty Ltd Pete Hollings Peter & Ann Hollingworth Penelope Hughes Wendy Hughes Pam & Bill Hughes Phillip Isaacs OAM Warren & Joan Johns Mrs Caroline Jones D & I Kallinikos Len La Flamme John Landers & Linda Sweeny Mrs Judy Lee Greg Lindsay AO & Jenny Lindsay Joanne Frederiksen & Paul Lindwall Bronwyn & Andrew Lumsden Macquarie Group Foundation Clive Magowan Anne Male-Perkins Mr & Mrs Greg & Jan Marsh Jennifer Marshall Jane Mathews AO Deidre & Kevin McCann Brian & Helen McFadyen J A McKernan Mrs Helen Meddings Graeme L Morgan Marie Morton Nola Nettheim Anne & Christopher Page peckvonhartel architects

Prof David Penington AC Nick & Claire Poll Warwick & Jeanette Richmond In memory of Andrew Richmond Em Prof A W Roberts AM Pamela Rogers Julia Champtaloup & Andrew Rothery Tony Shepherd Diana & Brian Snape AM Maria Sola & Malcolm Douglas Cisca Spencer Peter & Johanna Stirling Benson John & Jo Strutt Leslie C Thiess Colin & Joanne Trumble Ngaire Turner Kay Vernon Ellen Waugh M W Wells Sir Robert Woods Nick & Jo Wormald Anna & Mark Yates Don & Mary Ann Yeats Peter Young William Yuille Anonymous (15)

CONCERTINO $500  $999 Antoinette Ackermann Mr L H & Mrs M C Ainsworth Elsa Atkin Banting Electronics Jeremy Ian Barth Tamara Best Brian Bothwell Denise Braggett Diana Brookes Jasmine Brunner Stephen Chivers Georg & Monika Chmiel John Clayton Angela & John Compton Alan Fraser Cooper Dr Julie Crozier Sharlene Dadd Lindee Dalziell Mari Davis

Martin Dolan In memory of Raymond Dudley Rodney Beech & Mariee Durkin-Beech M T & R L Elford Mirek Generowicz Dr Peter & Dr Valerie Gerrand Paul Gibson & Gabrielle Curtin Brian Goddard Kelvin & Rosemary Griffith Tom Griffith & Adrienne Cahalan Matthew Handbury Lesley Harland Dr Penny Herbert in memory of Dunstan Herbert Michael Horsburgh AM & Beverley Horsburgh Dr & Mrs Michael Hunter John & Pamela Hutchinson Stephanie & Michael Hutchinson Philip & Sheila Jacobson Mrs Angela Karpin Dominic & Sophia Kazlauskas Bruce & Natalie Kellett Sydney & Airdrie Lloyd Lorraine Lord Peter Lovell & Michael Jan Judy Lynch Donald C Maxwell Dr Hamish & Mrs Rosemary McGlashan Kim & Shirley McGrath Harold & Bertha Milner John Mitchell & Carol Farlow Helen & Gerald Moylan Susan Negrau Maurice Newman AC J Norman Graham North Robin Offler Allegra & Giselle Overton Josephine Paech Leslie Parsonage Deborah Pearson Kevin Phillips Michael Power Alison Renwick Team Schmoopy Manfred & Linda Salamon


ACO DONATION PROGRAM Garry E Scarf In memory of H. St. P. Scarlett Jeff Schwartz Vivienne Sharpe Andrew & Pip Stevens Master William Taylor John & Pat Webb G C & R Weir Anonymous (29)

CONTINUO CIRCLE BEQUEST PROGRAM The late Kerstin Lillemor Andersen Dave Beswick Ruth Bell Sandra Cassell The late Mrs Moya Crane

Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France 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 (10)

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

SONATA $30,000 – $49,999

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

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

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


ACO INSTRUMENT FUND BOARD MEMBERS Chairman: Brendan Hopkins Bill Best Jessica Block

John Leece OAM John Taberner

ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Chair: Bill Best Guido Belgiorno-Nettis AM Chairman ACO & Joint Managing Director Transfield Holdings Liz Cacciottolo Senior Advisor UBS Australia

Ian Davis Managing Director Telstra Television

Tony O’Sullivan Managing Partner O’Sullivan Partners

Chris Froggatt

Tony Shepherd Chairman Transfield Services

Tony Gill Rhyll Gardner General Manager Group Strategy St George Bank

John Taberner Consultant Freehills

Brendan Hopkins

MELBOURNE DEVELOPMENT COUNCIL Chair: Peter Yates AM Chairman Royal Institution of Australia and Director AIAA Ltd

The Hon. Justice Stephen Charles QC

Debbie & Ben Brady

Colin Golvan SC

Paul Cochrane Investment Advisor Bell Potter Securities

Jan Minchin Director Tolarno Galleries Susan Negrau




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

Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn

Mar Beltran Creina Chapman Suzanne Cohen Di Collins Patricia Connolly Judy Anne Edwards Elizabeth Harbison Bee Hopkins

Sarah Jenkins Vanessa Jenkins Abigail Jones Andrew Laughlin David Stewart Mary Stollery Tom Thawley


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 Mr Michael Andrew Global 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 Michael & Mrs Helen Carapiet The Hon. Stephen Charles QC & Mrs Jenny Charles Mr & Mrs Robin Crawford

Mr Angelos Mr John Marshall & Frangopoulos Mr Andrew Michael Chief Executive Officer Apparel Group Limited Australian News Channel Mr Peter Mason AM Mr Colin Golvan SC & Chairman Dr Deborah Golvan AMP Limited & Mrs Kate Mason Mr John Grill Chief Executive Officer Mr David Mathlin WorleyParsons Senior Principal Sinclair Knight Merz Mrs Janet Holmes à Court AC Mr Michael Maxwell & Mrs Julianne Maxwell Mr & Mrs Simon & Katrina Holmes à Court Mr Geoff McClellan Observant Pty Limited Partner Freehills Mr John James Managing Director Mr John Meacock Vanguard Investments Managing Partner NSW Australia Deloitte Mr Warwick Johnson Managing Director Optimal Fund Management Ms Catherine Livingstone AO Chairman Telstra

Rowena Danziger AM Mr Steven Lowy AM & Kenneth G. Coles AM Co-Chief Executive Officer Dr Bob Every Westfield Group Chairman Wesfarmers Mr Didier Mahout CEO Australia & Mr Robert Scott New Zealand Managing Director BNP Paribas Wesfarmers Insurance

Ms Naomi Milgrom AO Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Clark Morgan Vice Chairman UBS Wealth Management Australia Mr Alf Moufarrige OAM Chief Executive Officer Servcorp Mr Scott Perkins Head of Global Banking Deutsche Bank Australia/New Zealand


Mr Glen Sealey General Manager Maserati Australia & New Zealand Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Security Mr & Mrs Clive Smith 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 & Director AIAA Ltd

ACO PARTNERS The ACO would like to thank its partners for their generous support. FOUNDING PARTNER












ACO NEWS EDUCATION NEWS AcO2 During AcO’s August tour of regional Queensland, New South Wales and the Northern Territory the Orchestra ran string workshops with students from Brisbane, Cairns, Grafton, Mackay and Rockhampton. “AcO has certainly inspired a young boy in our region. Now thanks to AcO he is reinvigorated, motivated, and ready to follow his passion again.” Mark Fawcett, Mackay Entertainment Centre. In September, the ACO also held string workshops for students in Parramatta and Bangalow in New South Wales. On 2–4 December, AcO make their Vasse Felix Music Festival debut in Margaret River, WA. Guest Director and Lead Violin, Dale Barltrop, leads the Orchestra in three programs of music by Vivaldi, Mozart, Bach, Handel, Ravel, Mendelssohn and more. Details and bookings at

Todd Obst and Peter Clark at the Mackay String Workshop

© Fiona Sacco

Matraville School Concert ACO musicians Helena Rathbone, Mark Ingwersen, Nicole Divall and Julian Thompson visited the Matraville Soldiers’ Settlement School in August, performing an interactive concert for the primary school students and taking part in music classes. Right: Conducting the ACO Below left: Mark Ingwersen with students Below right: Julian Thompson with students

© Fiona Sacco

© Fiona Sacco


ACO NEWS MERCHANDISE NEW RELEASE Martin Fröst & ACO This studio recording was made during the ACO’s tour with pianist Martin Fröst earlier this year and features: COPLAND Clarinet Concerto (the disc also includes the original, unpublished ending of the concerto) BRAHMS (arr. Göran Fröst) Four Hungarian Dances (Nos. 1, 13, 13 & 21) LUTOSLAWSKI Dance Preludes HILLBORG Clarinet Concerto “Peacock Tales”  PIAZZOLLA Oblivion FRÖST Klezmer Dances HÖGBERG Dancing with Silent Purpose

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

ACO NEWS CALLING ALL SKIERS! How does three days of powder snow skiing combined with three evenings of concerts by the Australian Chamber Orchestra sound? Join the ACO in the ski fields of Niseko in Hokkaido, Japan from 12–14 January 2012. The Orchestra performs each evening, leaving the day free for skiing, fabulous Japanese food and perhaps the odd onsen. For concert details and to book tickets, visit JTB Australia has arranged an 8-day tour especially for ACO fans, including flights, accommodation, lift pass and concert tickets. Numbers are strictly limited so please contact JTB Australia on 1800 105 451 or go to for more details.


the Australian Chamber Orchestra at Niseko Ski Resort in


Come and join us as we enjoy performances by the ACO on an 8 day tour to the Niseko ski resort in Hokkaido. This location is a magnet for skiers who appreciate its legendary powder snow, fabulous ski runs and mountain scenery. Niseko also boasts an excellent mix of traditional Japanese and western food and natural hot springs.


Numbers are strictly limited so please contact JTB Australia on 1800 105 451 or go to for more details * Quoted price is current as of 15 October 2011 and is subject to availability and change without notice For full terms and conditions please see website


Peter Weiss with Timo-Veikko Valve, Principal Cello, Australian Chamber Orchestra.

Kevin Szekely, Chief Executive PRG, with Poppy Fassos, General Manager Group Sponsorships, Commonwealth Bank of Australia.

The ACO would like to congratulate our extraordinary friend and supporter, Medici Patron and Patron of the ACO Instrument Fund, Peter Weiss AM, who received the Goldman Sachs Philanthropy Leadership Award at the recent Australian Business Arts Foundation (AbaF) National Awards.

As Peter himself has said, “When you put me into the ground and spread the dust, I’d be far more rested to know that my cause for being here was to fund the arts rather than making frocks.”

Peter has been a supporter of the ACO for over 20 years and recently spearheaded the development of the ACO Instrument Fund – an initiative established to buy fine instruments for ACO musicians to play – by donating $1m (the biggest donation in the ACO’s history). Peter has allowed the (previously confidential) magnitude of this donation to be publicised, in the hope that it will encourage others to follow his lead and support the Fund. Peter’s passion for music stems from his love for the cello – a love that inspired him to purchase a rare 1729 Giuseppe Guarneri filius Andreæ cello, valued at over $1m, for the exclusive use of the ACO’s Principal Cello, Timo-Veikko Valve. Peter leads by example and has used his influence, warmth and infectious sense of fun to energise music and the arts in Australia. He is a leading philanthropist, an ambassador and a true friend of the ACO. 38 AUSTRALIAN CHAMBER ORCHESTRA

The partnership between the ACO and the Commonwealth Bank was also acknowledged in the awards, with the ACO’s General Manager Timothy Calnin, and Poppy Fassos, CBA’s General Manager Group Sustainability & Partnerships (pictured above right with Kevin Szekely from award sponsor PRG), accepting the PRG Commitment Award. This prestigious award is given to the most outstanding arts partnership of over 7 years. For more than 23 years, the partnership between the ACO and the Commonwealth Bank has helped bring world-class music to people all over the country. We are proud of the way this special partnership has grown and developed over the years – as each of our organisations has grown – to now encompass both the annual National Tour Partnership and the loan to the ACO of the Bank’s rare 1759 Guadagnini violin, played by Principal Second Violin Helena Rathbone.

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

Beethoven Pastoral Symphony Concert Program  

The Australian Chamber Orchestra's concert program for the 2011 November Beethoven Pastoral Symphony concert