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ABOUT THE MUSIC Concepts including freedom, simplicity, man’s place in nature and mysticism underpin the thematic writing throughout this program, with works by Australian composer Brenton Broadstock, Swedish composer Göran Fröst, as well as lauded Finnish composer Einojuhani Rautavaara, expressing and exploring these aspects of the human experience. The program is anchored by Mozart works from diﬀerent points in his life: his rarely performed Symphony No.21, written when he was just 16 and still carving a career for himself throughout Europe, and his Clarinet Concerto, written 19 years after the Symphony, and in the ﬁnal months of his life. While the Clarinet Concerto remains a pinnacle of the repertoire, the Symphony belongs to a set of works written when the 16-year-old composer was in Salzburg, and throughout, presents brilliantly innovative yet understated musical ideas the young composer was exploring. We welcome back Martin Fröst, one of this generation’s most exciting and dynamic artists, performing the Mozart concerto on the basset clarinet, the instrument for which the concerto was originally written. Some in the audience will recall Martin’s previous performance with the ACO in 2011, which included a choreographed performance of Peacock Tales by Anders Hillborg. On this tour Martin continues championing and exploring possibilities of choreography alongside performance in concert, with the Australian premiere of his brother Göran Fröst’s DTangled. ACO principal violinist Satu Vänskä is leading these performances, and is featured soloist in the virtuosic Paganini Caprice No.9, as realised through the compositional lens of the Soviet, Denisov. Satu will also step into the role of heroine in the imaginary musical journey through nature, shared through these premiere performances of Brenton Broadstock’s Never Truly Lost.
TOUR NINE MOZART CLARINET CONCERTO SATU VÄNSKÄ Lead Violin MARTIN FRÖST Clarinet Einojuhani RAUTAVAARA A Finnish Myth DENISOV
Five Paganini Caprices: Caprice No.9
DTangled [AUSTRALIAN PREMIERE]
Symphony No.21 in A, K.134
INTERVAL Brenton BROADSTOCK
Never Truly Lost* [WORLD PREMIERE]
Clarinet Concerto in A, K.622
Approximate durations (minutes): 6 – 3 – 10 – 20 – INTERVAL – 11 – 25 The concert will last approximately one hour and 45 minutes including a 20-minute interval.
City Hall Thu 14 Nov 7.30pm
Hamer Hall Sun 17 Nov 2.30pm Mon 18 Nov 8pm
City Recital Hall Angel Place Tue 19 Nov 8pm Wed 20 Nov 7pm Fri 22 Nov 1.30pm Sat 23 Nov 7pm
CANBERRA Llewellyn Hall, ANU Sat 16 Nov 8pm
Opera House Sun 24 Nov 2pm
*Brenton Broadstock’s Never Truly Lost has been commissioned by Rob & Nancy Pallin for Rob’s 70th birthday, in memory of Rob’s father, Paddy Pallin. The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
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Martin Fröst left an indelible impression on audiences and ACO musicians on his debut Australian tour in 2011. Since then we have released an acclaimed recording with him (Copland and Hillborg concertos), performed with him at Amsterdam’s Concertgebouw and Vienna’s Musikverein, and we now are excited to welcome him back to Australia to perform the Mozart Clarinet Concerto with the ACO in Canberra, Melbourne, Newcastle and Sydney. Martin’s extraordinary musicianship is matched by his fearless exploration of new repertoire which extends him as a performer. On his last Australian tour, his masked and choreographed performance of Hillborg’s Peacock Tales stunned audiences and on this tour he debuts a new work by his brother Göran in which mime and marionette meet virtuoso instrumentalist. While Satu Vänskä is directing this program from the ACO’s Stradivarius violin, Richard Tognetti is preparing an intensive program of Bach’s music to be performed next month in Brisbane, Canberra, Melbourne and Sydney, including the Brandenburg Concertos and the Christmas Oratorio. The ACO’s incredibly busy 2013 season ends on 19 December in Melbourne, after which a vat of mulled wine will be well earned!
Mozart Clarinet Concerto Wed 20 November, 7pm EST Brandenburg Concertos Wed 4 December, 8pm Christmas Oratorio Thu 19 December, 6.30pm
UPCOMING TOURS Brandenburg Concertos 3 — 8 December Christmas Oratorio 15 — 19 December
FREE PROGRAMS To save trees and money, we ask that you please share one program between two people where possible.
PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue. 2 AUSTRALIAN CHAMBER ORCHESTRA
TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA
RAUTAVAARA A Finnish Myth © Maarit Kytöharju-Fimic
Einojuhani RAUTAVAARA (b. 1928, Helsinki) A leading Finnish composer since the early 1950s, Rautavaara was championed in his youth by Jean Sibelius. His eclectic and unique writing eschews dogma and incorporates inﬂuences from across genres and time periods to create music of immediate intellectual and aural appeal.
Born in Helsinki in 1928, Einojuhani Rautavaara studied musicology at Helsinki University and composition at the Sibelius Academy, where he became a student of Aarre Merikanto. In 1953, while still a student, he wrote his remarkable A Requiem in Our Time, a Stravinsky-inﬂuenced neoclassical work for brass and percussion that won him both the 1954 Thor Johnson competition and the attention of Finnish composer-godfather Jean Sibelius. That attention paid oﬀ the following year when, in honour of the great composer’s 90th birthday, the Koussevitzy Foundation empowered Sibelius to select a young Finnish composer to study on scholarship in the United States. Sibelius chose Rautavaara, who consequently spent the next two years in America, studying with Vincent Persichetti at Juilliard and with Roger Sessions and Aaron Copland at Tanglewood. Rautavaara has been active and proliﬁc ever since, composing eight symphonies and numerous smaller orchestral works, more than a half-dozen concertos, plentiful chamber music, choral works, and four operas.
ABOUT THE MUSIC Like Sibelius before him, Rautavaara writes music that combines the modern with the traditional, the intellectual with the Romantic, and incorporates powerful themes of nature, mysticism, and legend, especially those of his native land. The brief 1977 work A Finnish Myth, for string orchestra, illustrates all of these characteristics. ‘Folk music and Finnishness – however one wants to deﬁne it – have plainly been one of the stable, ongoing themes of my musical language throughout the diﬀerent stylistic periods of my work,’ Rautavaara writes, citing A Finnish Myth as a good example. ‘In other respects, this little piece illustrates the preoccupations which were important to me at that time: clusters, textural ﬁelds, and symmetries of various kinds.’ JAY GOODWIN © 2013
Further listening Conductor Juha Kangas and the Ostrobothnian Chamber Orchestra recorded Rautavaara’s A Finnish Myth (Ondine). AUSTRALIAN CHAMBER ORCHESTRA 3
DENISOV Five Paganini Caprices: Caprice No.9 © Dmitri Smirnov
Edison DENISOV (b. 1928, Tomsk, Russia — d. 1996, Paris) A post-Stalin Soviet Union composer and ideologue, Denisov studied and assimilated the techniques of the world’s leading avant-garde composers acting as a bridge in both directions between Western music and music from behind the Iron Curtain.
Edison Denisov, whose inﬂuence as teacher and ideologue was as great or greater than his impact as a composer, came to music late, having no interest until a chance encounter with a mandolinist neighbour as a teenager. After ﬁve years of study at the Tomsk Music School, he was encouraged to continue on his musical path by Shostakovich, who convinced him to pursue further studies at the Moscow Conservatory. Following his graduation, Denisov became one of the most fearless musical ﬁgures of the post-Stalin Soviet Union, undertaking in-depth surveys and analyses of the work of the world’s leading avant-garde composers, past and present, including Stravinsky, Schoenberg, Webern, Berg, Nono, Stockhausen, Lutoslawski, Bartók, and Hindemith, all of whom, of course, were censured by the government. In addition to assimilating those composers’ techniques into his own music, he made his research and the original works available to fellow composers and students, encouraging them to do the same. He also acted as an artistic conduit in the opposite direction, introducing the work of the USSR’s best composers to the West, most notably that of Alfred Schnittke and Soﬁa Gubaidulina.
ABOUT THE MUSIC Dating from 1985, the Five Paganini Caprices are just one link in a long chain of compositions inspired by the legendary 19th-century violinist-composer’s brilliantly virtuosic solo works, which already boasted re-imaginations by Brahms and Rachmaninoﬀ among many others. Denisov’s versions set the original violin parts above dusky, swirling accompaniments for string orchestra that explore and accentuate the many possible harmonic implications of Paganini’s work and showcase Denisov’s textural and formal inventiveness. JAY GOODWIN © 2013
Further listening The Denisov Paganini Caprices have been recorded by I Musici de Montreal conducted by Yuri Turovsky and featuring violinist Stepan Arman (Chandos). 4 AUSTRALIAN CHAMBER ORCHESTRA
FRÖST DTangled AUSTRALIAN PREMIERE
BACKGROUND In addition to his work as a composer and orchestrator, Göran Fröst is principal violist of the BBC National Orchestra of Wales. He began writing his own music in 2007, and his brother Martin, one of the world’s leading clarinet soloists, has been a source of inspiration and collaborator on several works, including Three Klezmer Dances and arrangements of Brahms’ Hungarian Dances.
ABOUT THE MUSIC
Göran FRÖST (b. 1974, Sweden)
One of Scandinavia’s ﬁnest violists and a composer since 2007, Göran Fröst and his brother, clarinettist Martin Fröst, have developed conducting choreography, a new form of performance in which a soloist plays and conducts through choreographed movement.
DTangled, a spectacular and innovative work that combines music and choreography, harnesses Martin’s remarkable combination of talents, calling for him to play, sing, dance, and conduct. The composer writes: From a single spark light is lit. In a single moment time begins. In a single breath freedom lives, air is bent, the note is sung, the movement starts. In one single thought your idea is born. DTangled was born out of an idea to create a fusion between music and movement on the classical music scene. The music speaks of humanity’s longing for freedom and simplicity. The setting for conducting clarinetist and orchestra points in a new direction, introducing the new concept of ‘conducting choreography.’ Within the piece there is a will to ‘DFormalize’ classical performance and ‘DCrypt’ the code of a newborn form of making music on stage. One solo cello will begin it all on a D. JAY GOODWIN © 2013
AUSTRALIAN CHAMBER ORCHESTRA 5
MOZART Symphony No.21 in A, K.134 (Composed 1772)
I. II. III. IV.
Allegro Andante Menuetto Allegro
Wolfgang Amadeus MOZART (b. 1756, Salzburg — d. 1791, Vienna) Mozart, one of history’s most gifted child prodigies, developed into one of history’s greatest composers, mastering virtually every compositional genre of his time despite only living to age 35. He is recognised as a quintessential Classical composer and one of music’s great innovators.
During the early 1770s, Mozart, then in his mid-teens, was outgrowing his label as a child prodigy. Though he could still dazzle audiences with his amazing skill at the keyboard and on the violin, he was beginning to receive recognition instead as an emerging composer. Despite this change of emphasis, however, Mozart’s father, Leopold, was no less dedicated to dragging the young Wolfgang across the whole of Europe to showcase his talents for the rich, famous, and inﬂuential – a process that had been ongoing for almost a decade. From 1770 to 1773, Leopold’s focus was on Italy, and so the Mozarts journeyed south from their native Salzburg three separate times during those years, visiting Turin, Verona, Mantua, Milan, Lodi, Parma, Bologna, Florence, Rome and many of the countless smaller towns in between that boasted an aristocratic soul with a passing interest in music. All of this travelling would have been impossible however, without Leopold’s and Wolfgang’s salaries from their positions as court musicians in Salzburg, so each time they returned home, much productivity was expected to make up for their extended absences.
ABOUT THE MUSIC A case in point, Mozart’s Symphony No.21, K.134, was composed in Salzburg in August 1772 – between the second and third Italian trips – and is the last in a series of eight symphonies composed during that summer which marked the beginning of a burst of symphonic production from the 16-year-old composer that would result in some 30 new works over the next ﬁve years. The symphonies from this period also display Mozart’s fast-growing sophistication and ambition, evident in his emerging preference for the more rigorous, four-movement Austro-German style of symphonic writing rather than the comparatively lighter, more capricious, three-movement Italianate one. Calling for a small orchestra of two ﬂutes (rather than the traditional oboes), two horns, and strings, the Symphony No.21 is a highly accomplished and thoroughly enjoyable piece that, sadly, has not achieved a frequency of performance to 6 AUSTRALIAN CHAMBER ORCHESTRA
Generally translated as ‘Storm and Stress’, Sturm und Drang was an artistic movement in the 18th century, which is most easily deﬁned by its artistic aims: to frighten, to stun and to overcome with emotion.
Further listening The Symphony has been recorded as part of a complete cycle of Mozart Symphonies with the Academy of Ancient Music, conducted by Christopher Hogwood (L’oiseau Lyre)
match its praise from critics and scholars. The four movements of this work, which musicologist Stanley Sadie considers ‘among Mozart’s most closely argued,’ are strongly linked, and each is unusual for this composer in its thematic focus, largely concentrating on exploring the possibilities of a single musical idea. It also is remarkable for its intensity and breadth of expression, which at times sounds like a distant relative to Haydn’s so-called ‘Sturm und Drang’ style. This new aspect in Mozart’s work is described by the composer’s early and most comprehensive biographer Hermann Ebert as a ‘Romantic element,’ which ‘in this particular creation of the young ﬁreball…ﬁnds an expression in a mixture of inward rapture, bizarre whimsy, and impassioned outbursts that storm the very portals of heaven.’ JAY GOODWIN © 2013
BROADSTOCK Never Truly Lost WORLD PREMIERE
Brenton BROADSTOCK (b. 1952, Melbourne) Proliﬁc and driven by idealism, Australian composer Brenton Broadstock takes a socially active approach to his work, writing orchestral, chamber, vocal and ﬁlm music that seeks to fulﬁll what he describes as his moral obligation to ‘improve society through my art’.
Brenton Broadstock was born in Melbourne, studied at Monash University and subsequently enrolled in composition study at Memphis State University with Donald Freund and with Peter Sculthorpe at the University of Sydney. He began teaching at the University of Melbourne in 1982, becoming head of composition in 1990. His Tuba Concerto (1985) won the 1987 Hambacher Preis and after his 1988 residency with the Melbourne Symphony Orchestra he emerged as one of Australia’s most recorded and performed composers. Known for an increasingly lyrical style, Brenton’s music explores themes of personal anguish (Symphony No.1 Towards the Shining Light), environmental concerns (Deserts Bloom … Lakes Die), and vivid literary images (Symphony No.5 Born from Good Angel’s Tears). ‘As a human being, I believe that I have a moral obligation to do what I can to improve the society I live in,’ wrote Brenton Broadstock in 1992. ‘The corollary of this, as a human being who is predominantly involved in the artistic expression of music composition, is that I am morally obliged to improve society through my art.’ This socially-active compositional philosophy is readily apparent in Broadstock’s works, many of which directly confront or allude to a variety of the world’s ills, most notably the destruction of speciﬁc natural environments as well as of the world’s ecosystem at large. Though not decrying a particular abuse or advocating for a AUSTRALIAN CHAMBER ORCHESTRA 7
particular cause, the new work Never Truly Lost dovetails with this theme by portraying the beauty of nature – and the value of our relationship to it – that is so desperately at risk.
ABOUT THE MUSIC The composer writes: Never Truly Lost is dedicated to Robert and Nancy Pallin and was commissioned to celebrate Robert’s 70th birthday. It is in memory of Robert’s father, Paddy Pallin. The title comes from the book of the same name by Paddy Pallin and is prefaced by this quote: ‘You are only lost when you don’t know where you are or you don’t know where to go to safety. So I’ve never been truly lost, but I’ve sometimes been somewhat bewildered.’ Solfege: A term dating from the late 18th century, solfege is the singing of scales, intervals and melodic exercises to syllables, generally used in the teaching of basic music skills. Solfege is best exempliﬁed by the song ‘Do Re Mi’ in the 1965 ﬁlm The Sound of Music.
Further listening As a sampling of Brenton’s other works for orchestra, the Tasmanian Symphony Orchestra has recorded an entire disc of Brenton Broadstock’s music, available from ABC Classics.
Never Truly Lost is a journey through an imaginary landscape, an imaginary ‘bush walk.’ The solo violin is the walker, going through an ever changing scenery, sometimes enjoying the walk and at other times battling the rugged bushland and the elements, sitting under a scintillating night sky, fording a turbulent Alpine stream or just immersed in the wonder of the natural environment. It is not a programmatic piece but allows the listener to create their own imaginary journey. The solo violin plays a melody throughout, ﬁrst heard about 2.5 minutes into the piece. Its pitches are derived from Robert’s name. So, “Robert” is: R = D (using solfege), (O is not used), B = B, E = E, R = D, T = B (using solfege). This melody is used in many ways and heard played by all the instruments at various times. Sometimes it is clear and sometimes it is hidden, but it always returns in a new guise or in a diﬀerent environment. It is never lost! BRENTON BROADSTOCK © 2013
MOZART Clarinet Concerto in A, K.622 (Composed 1791)
I. Allegro II. Adagio III. Rondo BACKGROUND
The Clarinet Concerto dates from the last months of Mozart’s life and stands as the last purely instrumental work the composer produced; only the unﬁnished Requiem and Laut verkünde unsre Freude, K.623, (known as the Little Masonic Cantata), received the composer’s attention between the completion of the concerto in October 1791 and his sudden death on December 5. Like almost all of his late music for
8 AUSTRALIAN CHAMBER ORCHESTRA
clarinet, Mozart’s concerto was inspired by and written for the virtuoso Anton Stadler, a slightly seedy character and a close – if unreliable – friend of Mozart’s, who shared the composer’s love of food, drink, and (to the dismay of Mozart’s family) gambling. Stadler’s artistry, however, won universal approval and acclaim, sometimes rhapsodically so: ‘Never have I heard the like of what you contrive with your instrument,’ wrote critic Johann Friedrich Schink. ‘Never should I have imagined that a clarinet might be capable of imitating the human voice as faithfully as it was imitated by you. Verily, your instrument has so soft and so lovely a tone that none can resist it who has a heart, and I have one, dear Virtuoso. Let me thank you!’. Anton Stadler: silhouette
To complement his prodigious talents and advance the development of his instrument, Stadler developed a clarinet with an extended lower register, completing its deepest octave by adding length and extra keys. Though he didn’t have a special name for it (presumably hoping that it would simply become the standard clarinet), it is now referred to as a ‘basset clarinet.’ It was for this extended instrument that Mozart wrote his concerto. Unfortunately, the original manuscript was lost soon after its completion, and so the version known to audiences ever since is a slightly adjusted transcription for standard clarinet, made by publishers in the years following Mozart’s death. In the last 50 years or so, scholars and performers have attempted to reconstruct the original version, but none of these has gained much traction. Barring a new manuscript discovery, the version for standard clarinet will continue its primacy however Martin Fröst will perform the concerto on the basset clarinet for these performances with the ACO.
ABOUT THE MUSIC
Further listening Martin Fröst is featured in two recordings of the Mozart Concerto, most recently with the Deutsche Kammerphilharmonie Bremen as soloist and director (BIS).
Mozart prudently scored his concerto for an orchestra with a full assortment of strings but a wind section of just two bassoons and two horns, sparing the solo clarinet any competition from instruments with a similar timbre. Or perhaps timbres would be more accurate, as the clarinet’s greatest strength is its wide range, each register of which has a distinct and striking voice. Mozart took full advantage of this timbral abundance, including extended sections to showcase each of them – from the crystalline upper register to the husky resonance of the deepest – as well as passages that emphasise the contrast by requiring the soloist to quickly jump between registers. The concerto is also a tribute to the clarinet’s and Mozart’s lyric abilities. Judging from Schink’s praise of Stadler’s voice-like playing, this work was perfectly designed for its intended soloist; at times, its ravishing music sounds like it was written for orchestra and voice – if that voice somehow had the combined range of a baritone, tenor, mezzo-soprano, and soprano. JAY GOODWIN © 2013 AUSTRALIAN CHAMBER ORCHESTRA 9
SATU VÄNSKÄ © Jonathan May
VIOLIN Satu Vänskä was appointed Assistant Leader of the Australian Chamber Orchestra in 2004. Satu was born to a Finnish family in Japan where she took her ﬁrst violin lessons at the age of three. Her family moved back to Finland in 1989 and she continued her studies with Pertti Sutinen at the Lahti Conservatorium and the Sibelius Academy. From 1997 Satu was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich where she ﬁnished her diploma in 2001. In 1998 Sinfonia Lahti named her Young Soloist of the Year. In 2000 she was a prize winner of the Deutsche Stiftung Musikleben and from 2001 she played under the auspices of the Live Music Now Foundation founded by Lord Yehudi Menuhin which gave her the opportunity to perform with musicians like Radu Lupu and Heinrich Schiﬀ. Satu performs regularly as guest director and soloist with the ACO, and features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor. An ardent chamber musician, Satu was presented in recital in July 2012 by the Sydney Opera House as part of their Utzon Music Series. Satu plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund. Chair sponsored by Kay Bryan. aco.com.au/satu_vanska
AUSTRALIAN CHAMBER ORCHESTRA 11
MARTIN FRÖST © Mats Backer
CLARINET In May 2014 Martin Fröst will be presented with the Léonie Sonning Music Prize, which is now recognised as one of the world’s longest standing and highest musical honours. He is the ﬁrst clarinettist to be chosen for the award. Autumn 2013 sees the release on BIS of an all Mozart CD – Clarinet Concerto, in which he directs The Deutsche Kammerphilharmonie Bremen, the Kegelstatt Trio with Leif Ove Andsnes and Antoine Tamestit and the Allegro in B ﬂat with Janine Jansen, Boris Brovtsyn, Maxim Rysanov and Torleif Thedéen. Fröst also performs the Mozart Concerto in his debuts with the Gewandhausorchester Leipzig (Sir Roger Norrington), Rundfunk-Sinfonieorchester Berlin (Stanisław Skrowaczewski), Orpheus Chamber Orchestra at Carnegie Hall, and Bamberg Symphony Orchestra (Jonathan Nott). On tour, he performs the concerto with the Gewandhausorchester Leipzig (Riccardo Chailly), Camerata Salzburg (Louis Langrée), Academy of St Martin in the Fields and the Swedish Chamber Orchestra (Thomas Dausgaard). Other upcoming highlights include Fröst’s debuts with the Royal Concertgebouw Orchestra, Orchestre National de France, Bamberg Symphony Orchestra, TonhalleOrchester Zürich, Orchestre de la Suisse Romande, Luzerner Sinfonieorchester, Cincinnati Symphony, Houston Symphony and Washington’s National Symphony Orchestra. He will also be Artist in Residence at the Gothenburg Symphony, Amsterdam’s Concertgebouw and London’s Wigmore Hall. A keen recitalist and chamber musician, appearances in 2013/14 include a series of concerts with Marc-André Hamelin and Anthony Marwood, with performances in Boston, San Francisco, and London’s Wigmore Hall. 2014 marks the 10th season of Vinterfest in Mora, Sweden, of which Fröst is Artistic Director. He also holds the post of Artistic Director of the International Chamber Music Festival in Stavanger, Norway. martinfrost.se
12 AUSTRALIAN CHAMBER ORCHESTRA
AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN
ACO Musicians Richard Tognetti Artistic Director and Lead Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Rebecca Chan Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal Viola Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello
Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous crossartform projects and pieces specially commissioned for the ensemble. Founded in 1975, this string orchestra comprises leading Australian and international musicians. The Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig. Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised. Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andreæ cello on loan from Peter Weiss ao and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Award-winning Bach recordings, multi-award-winning documentary ﬁlm Musica Surﬁca and the complete set of Mozart Violin Concertos.
The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.
The ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall. In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.
The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.
aco.com.au AUSTRALIAN CHAMBER ORCHESTRA 13
MUSICIANS ON STAGE
Photos: Paul Henderson-Kelly, Helen White
Principal Violin Chair sponsored by Kay Bryan
Violin Chair sponsored by Ian Wallace & Kay Freedman
Violin Chair sponsored by Anthony & Sharon Lee
Violin Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund
Principal Viola Chair sponsored by peckvonhartel architects
TIMOVEIKKO VALVE ❖ Principal Cello Chair sponsored by Peter Weiss ao
Viola Chair sponsored by Philip Bacon AM
JULIAN THOMPSON #
MAXIME BIBEAU ✩
Cello Chair sponsored by Bruce & Joy Reid Foundation
Cello Chair sponsored by The Clayton Family
Principal Bass Chair sponsored by John Taberner & Grant Lang
LLOYD HUDSON 2 KATIE ZAGORSKI
1 Courtesy of West Australian Symphony Orchestra 2 Courtesy of Tasmanian Symphony Orchestra 3 Courtesy of Sydney Conservatorium of Music, University of Sydney 4 Courtesy of Slovenian Philharmonic Orchestra
Players dressed by
CAMERON HILL SHAUN LEECHEN 1 LACHLAN O’DONNELL LIISA PALLANDI
ANDREW BARNES 3 MELISSA WOODROFFE
JOŽE ROŠER 4 JENNA BREEN
≈ 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 with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. # Julian Thompson plays a 1721 Giuseppe Guarneri ﬁlius Andreæ cello kindly on loan from the Australia Council. ✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from private Australian benefactors. 14 AUSTRALIAN CHAMBER ORCHESTRA
ACO BEHIND THE SCENES BOARD Guido Belgiorno-Nettis am Chairman Angus James Deputy Bill Best John Borghetti Liz Cacciottolo Chris Froggatt
Janet Holmes à Court ac John Grill Heather Ridout ao
Andrew Stevens John Taberner Peter Yates am
Richard Tognetti ao Artistic Director
ADMINISTRATION STAFF EXECUTIVE OFFICE
Timothy Calnin General Manager
Cathy Davey Chief Financial Oﬃcer
Rosie Rothery Marketing Manager
Jessica Block Deputy General Manager
Steve Davidson Corporate Services Manager
Amy Goodhew Marketing Coordinator
Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti AO
Rachel O’Brien Accountant
Clare Morgan National Publicist
Shyleja Paul Assistant Accountant
Jack Saltmiras Digital Content & Publicity Coordinator
ARTISTIC & OPERATIONS
Luke Shaw Head of Operations & Artistic Planning
Jill Colvin Acting Development Manager
Chris Griﬃth Box Oﬃce Manager
Alan J. Benson Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Elissa Seed Travel Coordinator Jennifer Powell Librarian/Music Technology Assistant Bernard Rofe Assistant Librarian EDUCATION
Dean Watson Customer Relations Manager
Rebecca Noonan Corporate Relations Manager
Poppy Burnett Box Oﬃce & CRM Database Assistant
Alexandra Cameron-Fraser Public Aﬀairs Manager
Christina Holland Oﬃce Administrator
Tom Tansey Events Manager Tom Carrig Senior Development Executive
Retha Howard Patrons & Foundations Manager
Ken McSwain Systems & Technology Manager
Ali Brosnan Patrons & Foundations Executive
Emmanuel Espinas Network Infrastructure Engineer
Sally Crawford Development Coordinator
ARCHIVES John Harper Archivist
Phillippa Martin Acting Education & Emerging Artists Manager Sarah Conolan Education Assistant
AUSTRALIAN CHAMBER ORCHESTRA 15
ACKNOWLEDGEMENTS GOVERNMENT SUPPORT
VENUE SUPPORT We are also indebted to the following organisations for their support:
PO Box 7585 St Kilda Road Melbourne Victoria 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au
LLEWELLYN HALL School of Music Australian National University William Herbert Place (oﬀ Childers Street) Acton, Canberra VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: email@example.com
VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Ms Deborah Beale, Mr Sandy Clark, Mr Julian Clarke, Ms Catherine McClements, Mr Graham Smorgon am, Mr David Vigo ARTS CENTRE MELBOURNE FOUNDATION BOARD OF GOVERNORS Mr Sandy Clark Chairman Mr John Haddad ao Emeritus Chairman Miss Betty Amsden oam, Mrs Debbie Dadon, Mr John Denton, Mr Carrillo Gantner ao, Mr Tom Harley, Ms Dana Hlavacek, Mrs Mem Kirby oam, Mrs Jennifer Prescott
AEG OGDEN (PERTH) PTY LTD
EXECUTIVE GROUP Ms Judith Isherwood Chief Executive Ms Jodie Bennett Executive Corporate Services (CFO) Mr Tim Brinkman Executive Performing Arts Ms Louise Georgeson General Manager – Development, Corporate Communications & Special Events Ms Sarah Hunt General Manager, Marketing & Audience Development Mr Kyle Johnston Executive Customer Enterprises
Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.
Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal. FOR YOUR INFORMATION The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.
PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briﬀa
AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips 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
ACKNOWLEDGEMENTS VENUE SUPPORT
A City of Sydney Venue Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Anne-Marie Heath General Manager
PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444 Chair: Henry Smerdon am Deputy Chair: Rachel Hunter TRUSTEES Simon Gallaher, Helene George, Bill Grant oam, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White EXECUTIVE STAFF Chief Executive: John Kotzas Director – Marketing: Leisa Bacon Director – Presenter Services: Ross Cunningham Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government
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
SYDNEY OPERA HOUSE TRUST Mr John Symond am (Chair) Mr Wayne Blair, Ms Catherine Brenner, The Hon Helen Coonan, Ms Renata Kaldor ao, Mr Chris Knoblanche, Mr Robert Leece am rfd, Mr Peter Mason am, Mr Leo Schoﬁeld am, Mr Robert Wannan
Director-General, Department of Science, Information Technology, Innovation and the Arts: Andrew Garner
SYDNEY OPERA HOUSE EXECUTIVE Chief Executive Oﬃcer Louise Herron am Chief Operating Oﬃcer Claire Spencer Director, Programming Jonathan Bielski Director, Theatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, External Aﬀairs Brook Turner Director, Commercial David Watson
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.
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: sydneyoperahouse.com
The Honourable Ian Walker mp Minister for Science, Information Technology, Innovation and the Arts
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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. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: email@example.com. 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–1310 — 17179 — 1/141113
AUSTRALIAN CHAMBER ORCHESTRA 17
THEATRE DINING PRIME RESTAURANT - $59
SUBTERRANEAN BAR & GRILL - $19.50
2 courses + a glass of wine
Your choice of selected dishes + a glass of wine
INTERMEZZO RISTORANTE - $59
GPO PIZZA BY WOOD - $19.50
2 courses + a glass of wine
Any small pizza + a glass of wine
POSTALES RESTAURANTE - $47
GPO OYSTER BAR - $19.50
2 courses + a glass of wine
Your choice of selected dishes + a glass of wine
POSTALES TAPAS BAR - $19.50
CRYSTAL BAR - $19.50
Your choice of one tapa + a glass of wine
Your choice of burger, chips, salad + a glass of wine
Bookings: 9229 7700 | Web: www.gposydney.com
ACO 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
Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod
Kate & Daryl Dixon
Principal Double Bass
Peter Weiss ao
John Taberner & Grant Lang
Anthony & Sharon Lee
Violin Chair Terry Campbell ao & Christine Campbell
Ian Wallace & Kay Freedman
The Bruce & Joy Reid Foundation
Australian Communities Foundation – Connie & Craig Kimberley Fund
The Clayton Family
CORE CHAIRS Aiko Goto Violin
Philip Bacon am
FRIENDS OF MEDICI
Mr R. Bruce Corlett am & Mrs Ann Corlett
Mr Robert Albert ao & Mrs Libby Albert
AUSTRALIAN CHAMBER ORCHESTRA 19
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, Principal Violin of the Orchestra. The ACO pays tribute to its Founding Patrons of the Fund.
BOARD MEMBERS Bill Best (Chairman) Jessica Block Janet Holmes à Court ac John Leece am John Taberner
FOUNDING PATRONS PETER WEISS ao, PATRON VISIONARY $1m+ Peter Weiss ao
ENSEMBLE $10,000$24,999 Leslie & Ginny Green
CONCERTO $200,000–$499,999 Amina Belgiorno-Nettis Naomi Milgrom ao
OCTET $100,000–$199,999 QUARTET $50,000–$99,999 John Leece am & Anne Leece
FOUNDING INVESTORS Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Steven Duchen Brendan Hopkins Angus & Sarah James John Taberner Ian Wallace & Kay Freedman
20 AUSTRALIAN CHAMBER ORCHESTRA
SOLO $5,000$9,999 Amanda Staﬀord
PATRONS $500$4,999 June & Jim Armitage Leith & Darrel Conybeare John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Pamela McGaw Patricia McGregor Alison Reeve Angela Roberts Robyn Tamke Anonymous (2)
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 2012 and 2013.
THE REEF LEAD PATRONS
Tony & Michelle Grist
Graham & Treﬃna Dowland Wendy Edwards Euroz Charitable Foundation Don & Marie Forrest Tony & Rose Packer Nick & Claire Poll Gavin & Kate Ryan Jon & Caro Stewart Simon & Jenny Yeo Anonymous (1)
Jane Albert Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin T Cavanagh & J Gardner Anne Coombs & Susan Varga Amy Denmeade Toni Frecker John Gaden am Cathy Gray Susan Johnston & Pauline Garde
Brian Kelleher Andrew Leece Scott Marinchek & David Wynne Kate Mills & Sally Breen Nicola Penn Martin Portus Janne Ryan Barbara Schmidt & Peter Cudlipp Richard Steele Stephen Wells & Mischa Way Anonymous (1)
ELECTRIC PRELUDES by Brett Dean Commissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the 2013 ACO National Concert Season.
NEVER TRULY LOST by Brenton Broadstock Commissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.
SPECIAL COMMISSIONS PATRONS Dr Jane Cook & Ms Sara Poguet Mirek Generowicz Peter & Valerie Gerrand V Graham Anthony & Conny Harris Andrew & Fiona Johnston Lionel & Judy King Dr Suzanne Trist Margot Woods & Arn Sprogis Team Schmoopy Anonymous (1)
AUSTRALIAN CHAMBER ORCHESTRA 21
NISEKO SUPPORTERS The ACO would like to pay tribute to the following donors who have supported our involvement with the Niseko Winter Music Festival.
NISEKO PATRONS Ann Gamble Myer Alf Moufarrige Louise & Martyn Myer Foundation Peter Yates AM & Susan Yates
NISEKO SUPPORTERS A J Abercrombie Warwick Anderson Breeze Family Tim Burke Simone Carson Suzy Crittenden Cathryn Darbyshire & Andrew Darbyshire am Kerry Gardner & Andrew Myer Phil & Rosie Harkness Ryota Hayashi Louise Hearman & Bill Henson Simon & Katrina Holmes à Court Family Trust
Howard & Launa Inman Robert Johanson & Anne Swann Richard & Lizzie Leder Naomi Milgrom Clarke & Leanne Morgan Richard & Amanda O’Brien Jill Reichstein Schiavello Peter Scott John & Nicky Stokes Dr Mark & Mrs Anna Yates Oliver Yates Anonymous (2)
INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in 2013. International Tour Patrons Catherine Holmes à Court-Mather International Tour Supporters Jan Bowen Jenny & Stephen Charles Suellen & Ron Enestrom Delysia Lawson Julia Ross
22 AUSTRALIAN CHAMBER ORCHESTRA
ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Bill Best (Chairman) Guido Belgiorno-Nettis am Chairman ACO & Executive Director Transﬁeld Holdings Leigh Birtles Executive Director UBS Wealth Management Anna Bligh
Liz Cacciottolo Senior Advisor UBS Australia Ian Davis Managing Director Telstra Television Chris Froggatt Tony Gill
Tony O’Sullivan Head of Investment Banking Lazard Australia
Peter Shorthouse Client Advisor UBS Wealth Management
Heather Ridout ao Director Reserve Bank of Australia
John Taberner Consultant Herbert Smith Freehills
MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chairman) Chairman Royal Institution of Australia Director AIA Ltd
Debbie Brady Ben Brady Stephen Charles Christopher Menz
Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan SC
EVENT COMMITTEES Bowral
Elsa Atkin Michael Ball am (Chairman) Daria Ball Cam Carter Linda Hopkins Judy Lynch Karen Mewes Keith Mewes Tony O’Sullivan Marianna O’Sullivan The Hon Michael Yabsley
Ross Clarke Steﬃ Harbert Elaine Millar Deborah Quinn
Lillian Armitage Margie Blok Alison Bradford Liz Cacciottolo (Chair) Dee de Bruyn Judy Anne Edwards JoAnna Fisher Chris Froggatt Elizabeth Harbison Bee Hopkins Sarah Jenkins Vanessa Jenkins
Somna Kumar Prue MacLeod Julianne Maxwell Julie McCourt Elizabeth McDonald Julia Pincus Sandra Royle Nicola Sinclair John Taberner Jennifer Tejada Judi Wolf
DISABILITY ADVISORY COMMITTEE Amanda Tink Training Coordinator Arts Activated National Conference Convenor Accessible Arts Morwenna Collett Program Manager Arts Funding (Music) Australia Council for the Arts
AUSTRALIAN CHAMBER ORCHESTRA 23
ACO DONATIONS PROGRAM The ACO pays tribute to all of our generous foundations and donors who have 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.
PATRONS NATIONAL EDUCATION PROGRAM Janet Holmes à Court ac Marc Besen ao & Eva Besen ao
TRUSTS AND FOUNDATIONS HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE NEILSON FOUNDATION
EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Australian Communities Foundation – Ballandry Fund Daria & Michael Ball Steven Bardy & Andrew Patterson The Belalberi Foundation Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin John & Janet Calvert-Jones Carapiet Foundation Mark Carnegie Stephen & Jenny Charles Darin Cooper Family Daryl & Kate Dixon Geoﬀ & Dawn Dixon Chris & Tony Froggatt Daniel & Helen Gauchat John Grill & Rosie Williams Belinda Hutchinson am Angus & Sarah James PJ Jopling qc Miss Nancy Kimpton Bruce & Jenny Lane Prudence MacLeod
Alf Moufarrige Louise & Martyn Myer Foundation Bruce Neill Jennie & Ivor Orchard Alex & Pam Reisner Mr Mark Robertson oam & Mrs Anne Robertson Margie Seale & David Hardy Tony Shepherd ao Mr John Singleton am Beverley Smith John Taberner & Grant Lang Alden Toevs & Judi Wolf The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao John & Myriam Wylie E Xipell Anonymous (2)
DIRETTORE $5,000 $9,999 Geoﬀ Alder Brad Banducci Patricia Blau Marjorie Bull Joseph & Veronika Butta Terry Campbell ao & Christine Campbell The Clayton Family
24 AUSTRALIAN CHAMBER ORCHESTRA
Victor & Chrissy Comino Leith & Darrel Conybeare Peter & Tracey Cooper Mr R. Bruce Corlett am & Mrs Ann Corlett Ellis Family Suellen & Ron Enestrom Bridget Faye AM Ian & Caroline Frazer Maurice Green ao & Christina Green Annie Hawker Rosemary Holden Bee Hopkins Warwick & Ann Johnson Julie Kantor Keith & Maureen Kerridge Lorraine Logan David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation David Mathlin Julianne Maxwell P J Miller Jan Minchin Marianna & Tony O’Sullivan John Rickard The Sandgropers Paul Schoﬀ & Stephanie Smee Anthony Strachan
ACO DONATIONS PROGRAM Tamas Szabo Cameron Williams Karen & Geoﬀ Wilson Peter Yates am & Susan Yates Carla Zampatti Foundation Anonymous (1)
MAESTRO $2,500 $4,999 Mrs Jane Allen Will & Dorothy Bailey Charitable Gift Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Bill & Marissa Best Mr Leigh Birtles Rosemary & Julian Block Dr David & Mrs Anne Bolzonello Ben & Debbie Brady Andrew Clouston Robert & Jeanette Corney Judy Crawford Kate Dixon Leigh Emmett Michael Fitzpatrick R Freemantle Ann Gamble Myer Colin Golvan sc Warren Green Nereda Hanlon & Michael Hanlon am Liz Harbison Mrs Yvonne Harvey & Dr John Harvey ao Peter & Helen Hearl Wendy Hughes Graeme Hunt Glen Hunter & Anthony Niardone Vanessa Jenkins I Kallinikos Peter Lovell Macquarie Group Foundation Sandra & Michael Paul Endowment Elizabeth Pender Patricia H Reid Endowment Pty Ltd
Ralph & Ruth Renard Ruth Ritchie Susan & Gary Rothwell D N Sanders Cheryl Savage Brian Schwartz Jennifer Senior Greg Shalit & Miriam Faine Petrina Slaytor Philippa Stone Tom Thawley Ralph Ward-Ambler am & Barbara Ward-Ambler Drs Victor & Karen Wayne Anonymous (4)
VIRTUOSO $1,000 $2,499 Annette Adair Peter & Cathy Aird Antoinette Albert David & Rae Allen Andrew Andersons Australian Communities Foundation – Clare Murphy Fund Virginia Berger Linda & Graeme Beveridge Jessica Block In memory of Peter Boros Vicki Brooke Sally Bufé Rowan Bunning Neil Burley & Jane Munro Massel Australia Pty Ltd Bella Carnegie Sandra Cassell Julia Champtaloup & Andrew Rothery Elizabeth Cheeseman Elizabeth Chernov Stephen Chivers Caroline & Robert Clemente Angela & John Compton Bernadette Cooper Laurence G Cox ao & Julie Ann Cox Anne & David Craig Judy Croll Lindee & Hamish Dalziell
Mrs June Danks Michael & Wendy Davis Martin Dolan Anne & Thomas Dowling Dr William F Downey Michael Drew Emeritus Professor Dexter Dunphy am Peter Evans Julie Ewington Elizabeth Finnegan Stephen Fitzgerald Lynne Flynn Jane & Richard Freudenstein Justin & Anne Gardener Jaye Gardner Paul Gibson & Gabrielle Curtin Richard & Jay Griﬃn Griﬃths Architects Peter Halstead Lesley Harland Jennifer Hershon Reg Hobbs & Louise Carbines Michael Horsburgh am & Beverley Horsburgh Carrie & Stanley Howard Penelope Hughes Stephanie & Michael Hutchinson Brian Jones Bronwen L Jones Carolyn Kay & Simon Swaney Mrs Judy Lee Mr Michael Lee Mr John Leece am Sydney & Airdrie Lloyd Charlotte & Adrian Mackenzie Jane Mathews ao Janet P Matton Kevin & Deidre McCann Paul & Elizabeth McClintock Brian & Helen McFadyen Donald & Elizabeth McGauchie Jenny McGee J A McKernan Peter & Ruth McMullin Jillian & Robert Meyers Graeme L Morgan John Morgan Suzanne Morgan
AUSTRALIAN CHAMBER ORCHESTRA 25
ACO DONATIONS PROGRAM Jane Morley Marie Morton Nola Nettheim Graham North Elspeth & Brian Noxon Origin Foundation Brendan Ostwald Anne & Christopher Page Leslie Parsonage Rowland Paterson peckvonhartel architects David Penington ac Tom Pizzey Michael Power Mark Renehan Dr S M Richards am & Mrs M R Richards Warwick & Jeanette Richmond in Memory of Andrew Richmond Josephine Ridge Em. Prof. A. W. Roberts am Joan Rogers Peter J Ryan Manfred & Linda Salamon Jennifer Sanderson Garry E Scarf Peter & Ofelia Scott Gideon Shaw Diana & Brian Snape am Maria Sola & Malcolm Douglas Ezekiel Solomon am Keith Spence Cisca Spencer Robert Stephens Professor Fiona Stewart Andrew Strauss John & Josephine Strutt Dr Charles Su & Dr Emily Lo Kyrenia & Rob Thomas Paul Tobin Peter Tonagh Ngaire Turner Venture Advisory Kay Vernon David Walsh Janie Wanless & Nev Wittey G C & R Weir Mrs M W Wells
Rachel Wiseman & Simon Moore Sir Robert Woods cbe Lee Wright Don & Mary Ann Yeats William Yuille Anonymous (18)
CONCERTINO $500 $999 A Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Ruth Bell Max Benyon Tamara Best Brian Bothwell Dr Sue Boyd Denise Braggett Diana Brookes Mrs Kay Bryan Arnaldo Buch Tim & Jacqueline Burke Lynda Campbell Helen & Ian Carrig Julie Carriol Kirsten Carriol Colleen & Michael Chesterman Richard & Elizabeth Chisholm Georg Chmiel Elizabeth Clayton ClearFresh Water Jilli Cobcroft Geoﬀ Cousins & Darleen Bungey Carol & Andrew Crawford Professor John Daley & Dr Rebecca Coates Marie Dalziel Mari Davis Deﬁance Gallery David Dix In Memory of Raymond Dudley Anna Dunphy M T & R L Elford Carol Farlow Ian Fenwicke Jean Finnigan & Peter Kerr Janet Fitzwater
26 AUSTRALIAN CHAMBER ORCHESTRA
Michael Fogarty Nancy & Graham Fox Brian Goddard Steven Gregg Katrina Groshinski & John Lyons Annette Gross Dr Penny Herbert in memory of Dunstan Herbert Marian Hill Sue & David Hobbs Geoﬀ Hogbin Julie Hopson How to Impact Pty Ltd Pam & Bill Hughes Dr & Mrs Michael Hunter Geoﬀ & Denise Illing Diane Ipkendanz Margaret & Vernon Ireland Philip & Sheila Jacobson Owen James Barry Johnson & Davina Johnson oam Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso ao Danièle Kemp Josephine Key & Ian Breden TFW See & Lee Chartered Accountants Greg Lindsay ao & Jenny Lindsay Andrew & Kate Lister Megan Lowe Robin & Peter Lumley Bronwyn & Andrew Lumsden James MacKean Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Ian & Pam McGaw H E McGlashan Colin McKeith Jeanne McMullin Joanna McNiven I Merrick Julie Moses Dr G Nelson Jenny Nichol
ACO DONATIONS PROGRAM J Norman Richard & Amanda O’Brien Robin Oﬄer Josephine Paech Lisa Paulsen Deborah Pearson Robin & Guy Pease Kevin Phillips Miss F V Pidgeon am The Hon C W Pincus qc Ian Pryer Ruth Redpath Team Schmoopy Lucille Seale Mr Berek Segan obe am & Mrs Marysia Segan Andrew & Rhonda Shelton Anne Shipton Roger & Ann Smith-Johnstone Alida Stanley & Harley Wright Mrs Judy Ann Stewart Geoﬀrey Stirton & Patricia Lowe In memory of Dr Aubrey Sweet Leslie C Thiess Matthew Toohey Sarah Jane & David Vaux Evan Williams am Sue Wooller & Ron Wooller Rebecca Zoppetti Laubi Brian Zulaikha Anonymous (19)
CONTINUO CIRCLE BEQUEST PROGRAM The late Charles Ross Adamson The late Kerstin Lillemor Andersen Steven Bardy 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 The late John Nigel Holman Penelope Hughes Estate of Pauline Marie Johnston The late Mr Geoﬀ Lee am oam Mrs Judy Lee The late Shirley Miller Selwyn M Owen The late Richard Ponder Ian & Joan Scott G.C. & R Weir Margaret & Ron Wright Mark Young Anonymous (11)
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 Dr John Harvey ao Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao
Patrons list is current as of 10 October 2013.
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 Retha Howard on 02 8274 3835 or at Retha.Howard@aco.com.au. AUSTRALIAN CHAMBER ORCHESTRA 27
ACO PARTNERS 2013 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 BelgiornoNettis am Chairman Australian Chamber Orchestra & Executive Director Transﬁeld Holdings
Mr Greg Ellis Chief Executive Oﬃcer REA Group
Mr Didier Mahout CEO Australia & NZ BNP Paribas
Dr Bob Every Chairman Wesfarmers
Mr David Mathlin Senior Principal Sinclair Knight Merz
Aurizon Holdings Limited
Mr Angelos Frangopoulos Chief Executive Oﬃcer Australian News Channel
Ms Julianne Maxwell
Mr Philip Bacon am Director Philip Bacon Galleries Mr David Baﬀsky ao
Mr Richard Freudenstein Chief Executive Oﬃcer FOXTEL
Mr Brad Banducci Director Woolworths Liquor Group
Mr Colin Golvan SC & Dr Deborah Golvan
Mr Jeﬀ Bond Chief Executive Oﬃcer Peter Lehmann Wines
Mr John Grill Chairman WorleyParsons
Mr John Borghetti Chief Executive Oﬃcer Virgin Australia
Mr Andrew & Mrs Hiroko Gwinnett
Mr Hall Cannon Regional Delegate, Australia, New Zealand & South Paciﬁc Relais & Châteaux Mr Michael & Mrs Helen Carapiet Mr Stephen & Mrs Jenny Charles Mr Georg Chmiel Chief Executive Oﬃcer LJ Hooker Mr Julian Clarke Chief Executive Oﬃcer News Limited Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am
Mr Michael Maxwell Mr Geoﬀ McClellan Partner Herbert Smith Freehills Mr Donald McGauchie ao Chairman Nufarm Limited Ms Naomi Milgrom ao Ms Jan Minchin Director Tolarno Galleries
Mrs Janet Holmes à Court ac
Mr Jim Minto Managing Director TAL
Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited
Mr Alf Moufarrige Chief Executive Oﬃcer Servcorp
Ms Catherine Livingstone ao Chairman Telstra
Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects
Mr Tim Longstaﬀ Managing Director, Corporate Finance, Deutsche Bank, Australia/New Zealand
Mr Neil Perry am Rockpool
Mr Andrew Low Chief Executive Oﬃcer RedBridge Grant Samuel
Ms Margie Seale & Mr David Hardy
Mr Steven Lowy am Lowy Family Group
Mr Glen Sealey General Manager Maserati Australia & New Zealand
28 AUSTRALIAN CHAMBER ORCHESTRA
Mr Mike Sangster Managing Director Total E&P Australia
Mr Tony Shepherd ao President Business Council of Australia Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Paul Sumner Director Mossgreen Pty Ltd Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd Mr Michael Triguboﬀ Managing Director MIR Investment Management Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Ms Vanessa Wallace Director Mr Malcolm Garrow Director Booz & Company Mr Peter Yates am Chairman, Royal Institution of Australia Director, AIA Ltd
ACO CORPORATE PARTNERS The ACO would like to thank its corporate partners for their generous support. PRINCIPAL PARTNER
FOUNDING PARTNER: ACO VIRTUAL
NATIONAL TOUR PARTNERS
PERTH SERIES PARTNER
ASSOCIATE PARTNER ACO VIRTUAL
REGIONAL TOURING PARTNER
CONCERT AND SERIES PARTNERS
Peter Weiss AO
Warwick & Ann Johnson
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO NEWS • NOVEMBER 2013
news TOGNETTI AS LIMELIGHT GUEST EDITOR December edition on sale 21 November For the ﬁrst time ever, Richard Tognetti is doing a celebrity shift at Limelight Magazine editing their special Christmas edition. The December issue includes an in-depth look at Bach’s sacred masterpiece, the Christmas Oratorio (which we perform in Sydney, Melbourne and Canberra next month); Richard’s interview with the Radiohead guitarist and respected contemporary composer Jonny Greenwood, and much more. See limelightmagazine.com.au for details.
NEW CD RELEASE Bach, Beethoven & Brahms Richard Tognetti’s latest album of classical solo repertoire by Bach and Beethoven has just been released. Accompanied by ACO friends Neal Peres Da Costa (continuo) and Daniel Yeadon (cello) the track list includes excerpts from Beethoven’s Violin Concerto in D and Brahms’ Symphony No.1 plus Bach’s Violin Concerto in A minor BWV1041. Buy a copy and explore our full list of recordings at aco.com.au/shop or call 1800 444 444 during business hours.
30 AUSTRALIAN CHAMBER ORCHESTRA
MELBOURNE GALA DINNER Quintessential Our annual Melbourne gala dinner, presented by Tiffany & Co., was held on Tuesday 27 August in the elegance and grandeur of the Australian Club. Guests were treated to a wonderful private performance led by Richard Tognetti with a surprise guest appearance by transgressive cabaret sensation Meow Meow.
The event was a great success, raising $140,000 to support our Education Program and, in particular, our education activities in Victoria in 2014. These funds will help us bring our ACO Academy to Melbourne next July and deliver workshops and masterclasses. We would like to thank Peter Yates and the Melbourne Development Committee for their support.
Penny Clive and Janet Holmes Ă Court AC
Tamas and Joanna Szabo
Angelos Frangopoulos and Katherine Sroka
Terry Campbell AO, Christine Campbell, Daria Ball and Michael Ball AM
AUSTRALIAN CHAMBER ORCHESTRA 31
STUDENTS MEET THEIR ACO SKYPE TUTOR IN PERSON! Picton public school music and art program Throughout this year, primary students from Picton Public School have been taking part in a new ACO initiative which teaches students about music through visual art. US-based ACO casual violinist Sharon Roffman (pictured) has been teaching Picton students via Skype for almost one year, essentially taking the class room around the world with her as she tours internationally. Working with local Picton visual artist and classroom teacher Melissa Wheeler, Sharon has taught the class about expression and emotion in music. Earlier this month, Sharon ﬂew from the USA to spend a week with the students in person. Having become something of a celebrity with students, it was a heartwarming reception followed by a hugely successful week of activities. In 2014, we expand the Music and Art Program by hosting professional courses for primary school teachers interested in implementing the program in their own schools. If you would like to register your interest, please email firstname.lastname@example.org.
YOUR SAY… Brahms 4 & Isserlis’ Dvor ˇák “Steven Isserlis endeared himself to the audience with his sense of humour. ACO brilliant as usual and Steven Isserlis absolutely fantastic! Thank you all for a wonderful concert.” — M. Markovic “The ACO absolutely on form yet again tonight. Sublimely expressive, perfectly together. Their playing simply sparkled.” — E. Cliff “ACO was on ﬁre tonight! Nearly took the roof off Llewellyn Hall. Fantastic!!” — R. White
“Thank you Richard Tognetti and Steven Isserlis for reigniting my love for Dvorˇák and Brahms tonight. Beautiful performances.” — Emily “What a fantastic performance yesterday, such colours, dynamics, virtuosity in ensemble…ACO is truly the best chamber orchestra in the world. Especially the Dvorˇák cello concerto was mesmerising. See you next year in Amsterdam!” — F. Steijns
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32 AUSTRALIAN CHAMBER ORCHESTRA
Building a smarter planet:
Smarter customers demand smarter commerce. Today, customers are deciding when and where the buying process begins, when it ends, who will be part of that process, what order it will follow, and how all elements in the chain – market, buy, sell and service – will be linked. Each individual’s data is the key to connecting the value chain to the customer – helping businesses to understand and predict customer needs and to orchestrate partners and suppliers in greater responsiveness to changes in buying behaviour. The opportunity is enormous. According to a recent IBM® Institute for Business Value survey, more than US$15 trillion in inefﬁciencies comes from waste throughout the global commerce system, such as inventory backlogs and failed product launches*. Given the rise of new generations of empowered and digitally literate customers, it’s clear that the world’s commercial systems have to become as smart as the individuals who are now driving them. Fortunately, they can – and in the process, will redeﬁne how we buy, market and sell on a smarter planet. Let’s build a smarter planet. Join us and see what others are doing at ibm.com/smarterplanet/au
TRADEMARKS: IBM, the IBM logos, ibm.com, Smarter Planet, Let’s build a smarter planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services of IBM or others. A current list of IBM trademarks is available on the Web at “Copyright and trademarks information” at www.ibm.com/legal/copytrade.shtml. © Copyright IBM Australia Limited 2012 ABN 79 000 024 733 © Copyright IBM corporation 2012 All Rights Reserved. These customer stories are based on information provided by the customers and illustrate how certain organisations use IBM products. Many factors have contributed to the results and beneﬁts described. IBM does not guarantee comparable results elsewhere.* The IBM Business Value survey is available at: http://www.ibm.com/ibm/ﬁles/Y067208R89372O94/11The_worlds_4_trillion_dollar_challenge-Executive_Report_1_3MB.pdf. IBMNCA0626/SCOMMERCE/ACO