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Now you’re flying

Proud Principal Partner of the Australian Chamber Orchestra.


2013 marks Virgin Australia’s first season as Principal Partner of the Australian Chamber Orchestra and we are very proud to be associated with one of the world’s most distinguished touring ensembles. Through the support of Virgin Australia and the use of our domestic and international flight network, the ACO will be able to share its music with more people in Australia and around the world. This is particularly important for regional communities in Australia, for example Mount Isa, where the ACO Ensemble performed for the first time ever in November last year. We are also delighted to be the partner for the ACO’s first National Tour in 2013, Tognetti’s Mozart. The ACO is renowned for its vibrant and innovative interpretations - and Mozart’s classical compositions are arguably some of the greatest of all time. On behalf of Virgin Australia, I hope you enjoy this special performance.




© Helen White

By Richard Tognetti

Close to 250 years separate the oldest and newest works on this program, the first of our 2013 season. From the final moments of Haydn’s passionate “La passione”, to the contemporary sphere of Brett Dean’s “Abandoned playground” we can experience, aurally, nothing less than the evolution of the orchestra.

Richard Tognetti Director and Violin

The Haydn and Mozart symphonies in this program display emotion-laden and expressive orchestral writing in a style known as Sturm und Drang, born in the 1760s in the midst of a period of cultural rationalism and classicism. This brief but emotional moment in music came to an end in the 1780s, and in a way anticipated the Romantic movement that was to come at the turn of the century. Between our Sturm und Drang bookends, we have another evolution at play; that of the continuum of the concerto, with a Mozart concerto for violin on one end, and Brett Dean’s concerto for six-string electric violin on the other, specially written for the ACO. Brett’s Electric Preludes explores programmatic elements ranging from the Australian physical landscape, to the stark imagery of abandoned playgrounds, and even poetry from the master Rilke. I am fascinated with the work for its exploration of the electric violin as a solo instrument and the opportunities it presents for melding the realm of creative possibility in electronica with the traditional conventions of the concert hall. Sound engineer Bob Scott deserves special mention for his collaboration in realising this work. Brett, Bob and I have been developing the electronica aspects of this concerto for the past year, and as you will hear, Bob transmogrifies my sound into the world that has come out of Brett Dean’s imagination. I am particularly grateful that Brett is able to join us conducting his piece for its inaugural Australian tour, and we are all very excited to be sharing this with our audiences in Australia.



BRETT DEAN Conductor & Composer (Electric Preludes)


Symphony No.49 in F minor, “La passione”


Electric Preludes* (AUSTRALIAN PREMIERE)



Violin Concerto No.3 in G major, K.216


Symphony No.25 in G minor, K.183

* Brett Dean’s Electric Preludes has been commissioned for Richard Tognetti, the ACO and Festival Maribor by Jan Minchin.

Durations (minutes): 24 –20 – INTERVAL – 24 – 24 The concert will last approximately two hours including a 20-minute interval.

ADELAIDE Town Hall Tue 5 Feb, 8pm CANBERRA Llewellyn Hall Sat 2 Feb, 8pm

MELBOURNE Arts Centre Sun 3 Feb, 2.30pm Mon 4 Feb, 8pm PERTH Concert Hall Wed 6 Feb, 7.30pm

SYDNEY Opera House Sun 10 Feb 2pm City Recital Hall Angel Place Tue 12 Feb, 8pm Wed 13 Feb, 7pm Fri 15 Feb, 1.30pm Sat 16 Feb, 7pm

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


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As the ACO’s 2013 season opens, we are very proud that this first national subscription tour is presented by our Principal Partner Virgin Australia. Virgin Australia joined us in the middle of last year and have taken great care of our musicians on several national tours already. We look forward to a long and hugely successful partnership. At last year’s Festival Maribor in Slovenia, Richard Tognetti unveiled Brett Dean’s Electric Preludes – a stunning new concerto for electric violin and string orchestra, written specially for Richard and the ACO. It was a memorable premiere and we are thrilled to bring it to audiences around Australia in this opening program of 2013. Last year was the ACO’s busiest year yet and was capped off in December with the announcement that our performances of Beethoven’s Symphony No.9 last August had been voted Best Orchestral Concert of the Year in the Limelight magazine awards. This is a great tribute to Richard and his fearless rise to the challenge of this towering score and to the superb Choir of Clare College, Cambridge. Thank you for being with us for the opening of our 2013 season. I look forward to seeing you throughout the year.

NEXT TOUR The Reef 22 Feb – 4 Mar



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HAYDN Symphony No.49 in F minor, “La passione” (Composed 1768)


Adagio Allegro di molto Menuet e Trio Finale (Presto)


Joseph HAYDN (b. Rohrau, 1732 — d. Vienna, 1809) Haydn was hugely prolific and highly influential. His output encompassed almost every form of music, sometimes to an extreme degree (over 100 symphonies, over 60 string quartets.) The link in the chain between Bach and Mozart, the Classical era would be unimaginable without him.

Sturm und Drang see feature article on page 13

Polyphonic: Polyphony is a musical texture in which some or all of the parts move in an independent (or contrapuntal) fashion. Contrapuntal: Counterpoint is the relationship between coherent layers of independent melodic lines.


The designation “La passione” and the wide circulation achieved by this symphony in the courts and monasteries of late 18th-century Europe suggest, as does the extraordinary music itself, some special purpose, presumably related to Holy Week. The title however is unauthentic, and there is no evidence of any such intent either within the music (for example, the use of recognisable church melodies, as in the “Lamentatione” Symphony No.26, composed within about 12 months after “La passione”) or in any extramusical documentation. Even if the title was current during the composer’s lifetime, as is possible, there is no knowing whether he approved it. What can be said with certainty is that this was the last, and undoubtedly the greatest, of seven symphonies Haydn composed in the archaic ‘church sonata’ form, with a slow opening movement. While the ‘church sonata’ symphonies have no overtly religious intent, they are essentially solemn works or, as in the present case, bleak, tense and often anguished. Written in 1768, the third summer of the fabulous Esterhaza castle, raised by Haydn’s princely employer on former swamplands in Hungary, “La passione” is an early but archetypal product of the composer’s so-called Sturm und Drang (Storm and Stress) period. Although the term Sturm und Drang, applied by French scholar Théodore de Wyzewa at the time of Haydn’s death centenary in 1909, misleadingly implies a link with the somewhat later Sturm und Drang movement in literature and art (which sprang up around the writings of Goethe and Schiller from about 1773), it nevertheless aptly characterises the passionate and emotional intensity of some of the music that flowed from Haydn’s pen between about 1766 and 1773. Sturm und Drang in Haydn’s symphonies shares with the ‘church sonata’ form a widespread use of minor or remote keys, frequent polyphonic and contrapuntal textures, dynamic contrasts, and spare, unadorned instrumentation. The Sturm und Drang symphonies are often tragic, sombre, even violent. And, as James Webster asserts, “Haydn’s everpresent tendency towards eccentricity occasionally verges on outright irrationality.”

WORK IN DETAIL Among a series of unlikely key signatures (including B major for Symphony No.46 and F sharp minor for No.45, the “Farewell”), the choice of F minor for “La passione” reflects a rare and special occasion. This was a key Haydn reserved for just a few works – the String Quartet Op.20 No.5, the great Andante and Variations for keyboard (Hob.XVII:6), and the suicidal aria of Nanni in the opera L’infedeltà delusa (Infidelity Outwitted). With unique singleness of purpose, he casts every movement of the present work in the home key of F minor, providing a smidgin of relief only in the central trio section of the minuet, where a contrasting tonality in the major is virtually unavoidable. Spiritually and emotionally therefore, the mood is dark throughout, shifting from deepest gloom to the almost hysterical energy of desperation. Haydn achieves variety within the basically mono-tonal framework through wide melodic leaps (as in the second movement) and contrasts of dynamics. The all too brief burst of sunshine in the trio of the minuet is illumined by gleaming horns in their upper register. The composer’s subtle pursuit of thematic unity is to be seen in the very opening phrase of the first movement, where the leaden progression of notes moving ever so slightly up and down from C provides the core material from which, as H.C. Robbins Landon observes, Haydn will develop the themes of all four movements: C-D flat-B flat-C.

Further Listening Richard Tognetti recommends the Antal Dorati-led recording of the complete Haydn symphonies featuring Philharmonia Hungarica (Decca 4781221)

ACO Performance History Haydn’s Symphony No.49 was performed by the ACO in 1988 as part of the Sydney Festival and in tours to the US and Europe. The ACO performed the piece again in 2004.

The opening Adagio is much the biggest movement, and arguably the spiritual core of the symphony. Yet, unlike some of Haydn’s earlier ‘church sonata’ symphonies, “La passione” maintains its emotional and spiritual force, without tailing off, through four equally inspired movements. The wildly leaping melody of the Allegro second movement is swept forward on an irresistible tide in the bass, impotent anguish continuing to lash out spasmodically after the first fierce passion is exhausted. The Minuet – though one would scarcely think of dancing to it – is dogged, subdued, beginning not with Haydn’s customary springy upbeat but on a mechanical, hang-dog downbeat. The Finale is a flight from relentless nightmare, not destined for glory in imposing cadences at the end but simply thankful to get there. “La passione” lacks none of the sureness of touch occasionally missing from Haydn’s other Sturm und Drang music. The composer is, as Landon puts it, “passing through the eye of the storm” (a storm effectively created by himself ). That experience was to prove crucial in the long-term development of his own music and the music of his successors.

ANTHONY CANE © 1989/2001


© Pawel Kopc

DEAN Electric Preludes AUSTRALIAN PREMIERE (Composed 2012) I. II. III. IV. V. VI.

Brett DEAN (b. Brisbane 1961) Brisbane-born composer Brett Dean continues to enjoy a remarkable career as performer and composer, having begun his journey in Australia. After travelling to Germany on an Australia Council grant, he won a position in the viola section of the Berlin Philharmonic while in his twenties, and began composing in 1988. Now based in Berlin and Melbourne, his works are regularly performed around the world.

Abandoned playground Topography – Papunya Peripeteia The beyonds of mirrors Perpetuum mobile Berceuse

Electric violin programming by Bob Scott Electric Preludes was commissioned by Jan Minchin for Richard Tognetti, the ACO, and Festival Maribor.

FROM THE COMPOSER It seems fitting that my new work for Richard Tognetti and the ACO, “Electric Preludes”, has been commissioned by Melbourne art curator and gallerist Jan Minchin. My work has always had a strong visual aspect to it, owing much to the long-standing partnership with my wife, Heather Betts, herself a painter. Several of my works, such as “Beggars and Angels” and “Night Window” pay direct homage to the influence of Heather’s remarkable paintings on my own creative life. These new preludes follow this line of creativity, owing much of their inspiration and development to visual stimuli. Whilst conceived as pieces of pure music, the lines, gestures and energies contained within nevertheless owe much of their ultimate shape to imagery.

ACO Performance History Brett Dean has composed seven commissions for the ACO since 1997. His most recent ACO commission is Electric Preludes, which you hear in this concert.

Some of these came to my attention by traditional means; seeing the National Gallery of Victoria’s extraordinary exhibition “Tjukurrtjanu: Origins of Western Desert Art” last year, for example, proved to be an especially inspiring encounter. The magical cartographic works of Clifford Possum Tjapaltjarri in particular, displaying such an encyclopaedic knowledge of his country, led directly to the second movement, “Topography-Papunya”, in which the music unfolds as if seen from above, taking in more and more detail as it scans and focuses, joining the dots as it were. Another prelude was inspired simply by browsing through images on the web. The initial idea for the very opening of the piece, an ascending arpeggio over all six strings of Richard’s Violectra - and its subsequent descending counterpart heard somewhat later, reminded me of a rusty, squeaky swing in


an abandoned playground. Just entering those two words in a google image search provided a beautifully wistful gallery of possible narratives and imagined sounds. Try it. But the most striking image that fired my fantasy throughout the entire compositional process was that of Richard standing with the ACO, his exotic electric fiddle under his chin, taking mere breaths of sound and embryonic motivic shapes and transforming them, with the help of this impressive piece of electronics and sound designer Bob Scott at the mixing desk, filling the hall and enticing the orchestra’s manifold responses. My heartfelt thanks to Richard and Bob for their invaluable contributions to this joyfully collaborative commission, and to Jan Minchin for her belief in the project and the financial support to allow us to realize it. BRETT DEAN ©2012

BACKGROUND This was a concerto waiting to happen, a work by a composer writing for an old friend, and giving that friend an opportunity to whirl away – and sing – on a new instrument: a sixstring electric violin. Physically, with its extra strings, and electronically, because the sound can now be modified before it reaches us, the electric violin is not just a new instrument but a radically different one. The additional strings come at the bottom, a fifth below the G string and a fifth below that, taking the instrument deep down into cello territory. At the same time, electronic programming allows for the tone to be changed, reverberation added, notes shifted in register, harmonics brought forward. The result is an instrument as different from a regular violin as an electric guitar is different from its acoustic progenitor, an instrument zinging and incisive and poetic in its own ways, which Brett Dean here lays before us. Further Reading Andrew Ford’s “Try Whistling This” (Black Inc. 2012) includes a chapter on Brett Dean’s music. More details on Bretts music can be found on the publisher Boosey and Hawkes’ website: Brett+Dean

In place of big concerto movements – he did that in his 2006 piece for standard violin and orchestra, The Lost Art of Letter Writing – Dean presents six preludes, or “character pieces,” as he has also called them, playing altogether for under twentyfive minutes and, in their immediacy and brevity, suiting the medium. To quote the composer again, the work explores “the intersection between high instrumental virtuosity of a ‘classical’ nature on the one hand and sound worlds that are only possible with electronics on the other, all commented upon by an essentially ‘unplugged’ string chamber orchestra.” The work was commissioned by the gallery director Jan Minchin, completed in March last year, and first performed in Maribor, Slovenia, six months later.


WORK IN DETAIL At the start, spasmodic gestures from the electric violin seem to arouse the mysterious sound of three (second) violins playing with practice mutes as they wander chromatically, homeless. Dean here was haunted by photographs of abandoned playgrounds he found online. As the soloist’s arpeggios turn this way and that, the movement develops in energy to the point where the orchestra is racing off. When it has come to a standstill, three violas take over the wandering, which returns to second violins as the electric violin plumbs resonant chords with the cellos. There is again a visual image behind, or beyond, the second prelude, which relates to the art produced by indigenous painters around Papunya, in the Northern Territory, as exhibited in the National Gallery of Victoria’s 2011-12 show “Tjukurrtjanu.” The electric violin’s high falling minor sixths, A–C sharp, seem to be part of a universal slow breathing, which is taken up by the orchestra, and which survives as some members of the orchestra become intensively dynamic, the movement coming to rest and the soloist skidding away in the high treble. Richard Tognetti performs on a six-string Violectra electric violin made by David Bruce Johnson in Birmingham, England. His violins come in four-, five-, six-, seven- and even eight-string versions. The sixstring version played by Richard has two extra bass strings (C and F) which create a bold bass/baritone sound and take the instrument deep into cello territory.

Peripeteia is a term originating from ancient Greece referring to the turning-point in a drama. The one here is short, and seems to represent challenge, panting expectation and outburst. Next comes a slow movement evoked by a line from a poem – a French poem by Rilke, in the voice of a water lily: “into my body at the bottom of the water / I attract the beyonds of mirrors…” The magical texture has the orchestra in muted descending scales, moving at three different speeds simultaneously, with the electric violin whistling high above. All changes for a dramatic close. And all changes again for the Perpetuum mobile, which is exactly that, though intercut with menacing arpeggios and, at one point, with repetitions of the A–C sharp falls from the “Papunya” prelude, faster and almost unrecognisable. Perhaps, in this busy activity, the whole past of the piece is being reviewed. There is a solo cadenza, after which the intensive movement continues, to a point of exhaustion. The final lullaby (Berceuse) comes up out of the bass register, where some of the cellos are tuned down, and soon reaches up into spectacular high melody from the electric violin. Slowly the solo instrument steps down to where it began, as the orchestra settles with it into a harmony on F, the pitch of its bottom string.



MOZART Concerto No.3 in G major, K.216 “Strassburg” (Composed 1775) (Cadenzas: Tognetti)

I. Allegro II. Adagio III Rondeau: Allegro – Andante – Allegretto – Allegro

Wolfgang Amadeus MOZART (b. Salzburg, 1756 — d. Vienna, 1791) Beginning as a gifted child prodigy, Mozart quickly developed into one of history’s greatest composers; though he only lived to age 35, he mastered virtually every compositional genre of his time. Today, he is recognised both as the epitome of the Classical style and one of music’s greatest innovators.

ACO Performance History Before Richard Tognetti joined to ACO in 1989, this Concerto was performed by the ACO with soloists Yehudi Menuhin in 1979, Felix Ayo in 1980, John Harding in 1982, Miha Pogacnik in 1984 and Isaac Stern in 1985. Since 1989, Richard Tognetti has lead performances of this concerto in national and international tours, including a performance at the Vasse Felix Festival last year.

Opera buffa: A genre of Italian comic opera, including such masterpieces as Mozart’s Le nozze di Figaro, developed in the 18th century as a foil to ‘serious’ opera seria and typified by everyday characters embroiled in complex storylines and unlikely plot twists.

BACKGROUND For reasons now known only to himself, in April 1775 Mozart started to write violin concertos. As the leader of Archbishop Colloredo’s court orchestra in Salzburg, he probably intended the solo parts for his own performance, he played as dazzlingly on the violin as he did on keyboard. (His court colleague Antonio Brunetti has also been nominated as a likely soloist.) Mozart’s father Leopold, usually a tough judge, once wrote to him: ‘You yourself do not know how well you play the violin…when you play with energy and with your whole heart and soul…’ The five concertos written that year between April and December seem to be the only works of their kind that Mozart ever produced, though there are a number of others whose authenticity is either doubtful or else completely discredited. Looking at the five concertos as a set, most observers find that the first two are less than perfect, apparently written by a 19 year old testing the waters. With the third, Mozart began to hit his stride. The more popular of his violin concertos are among the earliest works by Mozart still heard regularly in the concert hall.

WORK IN DETAIL Other major musical events for Mozart in 1775 included the premiere of La finta giardiniera (inelegantly translated as The Fake Female Gardener), a cheerful opera buffa; and the composition of its slightly more serious cousin, Il re pastore (The Shepherd King). Interestingly, for Mozart didn’t often quote himself, the Concerto No.3 opens with a theme from this dramatic work. This opening Allegro movement is dashing and virtuosic, notwithstanding its opera-inspired lyricism, and we can sense the young musician gleefully revelling in its technical challenges. Things settle down in the Adagio, where muted strings and gentle winds lend a lilting aspect to its atmosphere. In the Rondeau, Mozart seems to really let himself go. The recurring theme which anchors the structure is the one sane constant in a movement which abounds in different speeds, rhythmic


ACO Performance History Richard Tognetti’s recording of the 3rd Concerto with the ACO (Bis 1754) is available from the ACO shop.

patterns and tonalities, as though he had collected a number of great little unrelated tunes and wanted to use them all at once. The overall effect is exhilarating rather than the mess it could have been with a less gifted composer.

KATHERINE KEMP © 2001/2004

MOZART Symphony No.25 in G minor, K.183/173dB (Composed 1773)


Allegro con brio Andante Menuetto e trio Allegro

BACKGROUND Wolfgang Amadeus Mozart

ACO Performance History The ACO performed Mozart’s Symphony No.25 as part of a 1987 national tour.

Futher Listening Richard Tognetti recommends the complete Mozart symphonies recorded by Chrisopher Hogwood and the Academy of Ancient Music (L’oiseau Lyre 452496)

Knowing Paris’ insatiable love for symphonies, Mozart wrote to his father to send some scores. Leopold’s response was brutal: “It is better that whatever does you no honour should not be given to the public. That is the reason why I have not given any of your symphonies to be copied, because I suspect that when you are older and have more insight you will be glad no-one has got hold of them, though at the time you composed them you were quite pleased with them.” Leopold may have had a point. Mozart had written a number of symphonies in the early 1770s, when he was in his late teens, as he assimilated the lessons of Haydn, J.C. Bach and others. Few of them are ‘great’, and indeed Mozart was, for most of his career, temperamentally better suited to the concerto than the symphony. But there are two indisputably important pieces among the early symphonies: the serenely gracious A major Symphony K.201 and its polar opposite, the ‘little’ G minor work, K.183, which you hear in this program. Minor-key symphonies were relatively rare at the time, given the genre’s usually ceremonial function, and Mozart only wrote two: this and the late K.550 (also in G minor). But composers like Carl Philipp Emanuel Bach and Joseph Haydn had experimented with ‘extreme’ modes of expression – a number of Haydn’s Strum und Drang symphonies from around 1770 are characterised by minor tonality, dramatic gestures including syncopation (insistent off-beat patterns), hefty unison passages, sudden changes of volume, and a self-conscious use of Baroque counterpoint.


WORK IN DETAIL Mozart’s first G minor symphony displays many of the stylistic traits of Haydn’s Sturm und Drang works, and its orchestration – including two pairs of horns (for extended tonal and dynamic range) and the independent use of the bassoons (that is, not merely to stiffen the bass line) – gives the work its dark colour and rhetorical force. The Allegro con brio opens with driving syncopations that outline, in unison, a jagged falling ‘baroque’ figure that is answered by a phrase built on an emphatic minor arpeggio. The second group of themes is in the relative major key, B flat – a contrast to which Milos Forman provided a brilliant visual analogy in the film Amadeus Mozart’s (fictional) nemesis, the mad, wounded composer Salieri, is carried through snow-bound streets in the minor-key sections, while dancers whirl in a bright ballroom to the major-key themes. As the movement’s recapitulation unfolds, the major-key themes appear in the minor, with disturbing new implications. As the four-note figure dominates the first movement, a tiny three-note ‘cell’ economically powers the E flat major Andante. The G minor Menuetto has stark unisons and octaves, but a contrasting pastoral trio for winds in the major key. Then, more Sturm und Drang in the Allegro finale, made even more substantial by Mozart’s insistence, as in the first movement, that both halves should be repeated. GORDON KERRY © 2010

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THE TURBULENT BIRTH OF STURM UND DRANG MARTIN BUZACOTT No one who was there would ever forget the evening of 17 October 1761 in Vienna’s Burgtheater. As the world premiere of Christoph Willibald Gluck’s ballet Don Juan drew toward its end, the eponymous anti-hero was surrounded onstage by devils, who tormented the doomed man before hurling themselves, and him with them, into a sea of fire, all the while accompanied by a jagged, intense, astonishing, altogether unprecedented musical score in the key of D minor. “The subject is extremely sad, lugubrious and terrible,” wrote one witness afterwards of a work which became synonymous with a new concept – the creation of fear in music – that caught on rapidly. Boccherini lifted almost the entire passage for the Finale of his Symphony “La Casa del Diavolo”, Gluck himself used it again to accompany the Furies when his next opera Orfée premiered in Paris, and in the avant-garde musical circles of Stuttgart and Mannheim, ‘demonic D minor’ became all the rage. It was as if 130 years of decorum and order, not only in music but in all the arts, had been overturned in just that final four minutes of theatrical hellfire and damnation. From that moment on, artistically, the German-speaking nations were now at war with the French Academy, the institution of 40 learned scholars who, by government decree and under the archaic influence of Aristotle and his principles of unity, had determined what was and wasn’t permissible in creative expression. Like the nations themselves with their potentate princes and infallible hereditary rulers, European creative artists since the 1630s had been subject to the strictest forms of censorship in which their work would only reach the public if it met with the prior approval of the authorities. Play plots, for instance, had to traverse no more than 24 hours of time and be set in the one location. Strict rules were placed on how principal roles were to be characterised, and most of all, there must be unity of style with no clashing of genres, and in music, definitely no minor keys in crucial positions. The classical dramas of the 14 AUSTRALIAN CHAMBER ORCHESTRA

ancient Greeks and Romans were the model to be followed. The abominations of that illdisciplined Englishman Shakespeare were the negative examples to be avoided at all costs. But the artificiality and stifling creative restriction of these century-old prejudices were beginning to rankle. Just months after the premiere of Gluck’s Don Juan, JeanJacques Rousseau published Emile, or On Education, the opening line of which proposed “Everything is good as it leaves the hands of the Author of things; everything degenerates in the hands of man.” Emile, or On Education, represented a questioning of human institutions and established authority and it liberated young intellectuals all over Europe. British authors like Horace Walpole and James Macpherson, less restricted artistically than their continental European counterparts, began to find a wider readership for their emerging Gothic tales in which fear and dread, far from being purged from their readers in the classical manner, was instead instilled within them. Shakespeare, with his gargantuan plots, socially-diverse characters, and clashes of register, started making a comeback amid the young generation of German intellectuals led by Goethe, Schiller, Lenz and Merck. And as Don Juan burned its way into Germanspeaking consciousness throughout the 1760s (literally in one case with the Finale’s flames burning down the theatre), musicians caught onto the spirit of the times. This minirevolution had no name but its legacy remains in the work of Haydn and Mozart, and the passages of music within their works that even today sound strikingly original and intense. In 1766, with Gluck’s radical influence at its peak, the 34-year-old Haydn was promoted from the Deputy role to become Kapellmeister at the Esterházy court in Hungary. In the process of taking charge of his own symphony orchestra, he was given a creative freedom that he’d never experienced previously. “My prince had been satisfied with all my works,” Haydn recalled afterwards, “I received applause;

being the head of an orchestra I was able to make experiments, to observe what produced an effect and what weakened it; thus, I could correct, make additions or cut off something and venture; I was isolated from the world; there was no one in my surroundings to make me doubt my own self and pester me, and therefore I had to become original.” Between 1768 and 1772 the results of that ‘originality’ were that, of the next ten symphonies that Haydn composed, six were in a minor key and so were some of the piano sonatas and string quartets, the first time in dozens upon dozens of works that he had ever done this. Not only did he mess with the traditional keys, but everything else within the works broke rules as well, with turbulent first movements, some starting slowly and gravely, and diabolical finales, the whole structure built on angular phrases, syncopations, rapid juxtapositions of dynamics, and comedy and tragedy intermingled with unprecedented abandon. The “La passione” Symphony had every movement in the same key of F minor, others featured long passages where the tension built and built without release, so much so that some of the symphonies from the period were believed rightly or wrongly to have been composed with theatrical rather than symphonic performance in mind. What emerged from the experimentation though was a new conception of the symphony as a form, no longer a largely formulaic diversion for the amusement of the aristocracy, but a vehicle for the expression of the most intense and profound emotional and intellectual journey of any individual. Perhaps the most perfect examples of the new rude-boy turbulence sweeping musical Europe was the work of Georg Benda, and in particular his melodramas Medea and Ariadne auf Naxos, dating from 1774-1775. One of Benda’s greatest admirers was Mozart, who wrote home to his father from Mannheim on 12 November 1778: “The piece I saw was Benda’s Medea. He has composed another one, Ariadne auf Naxos, and both are really excellent. You know that of all the Lutheran Kapellmeisters Benda has always been my favorite, and I like those two works of his so much that I carry them about with me.” Mozart

thought about writing a melodrama himself (the closest he got was the incomplete opera Zaïde), but his real familiarity with the new ‘theatrical’ style of composition came through his interest in the music of Gluck. Mozart not only knew Gluck’s orientalist opera La Rencontre Imprévue (translated as The Unexpected Encounter) from 1764 but used it as a model for his own Abduction from the Seraglio, which Gluck enjoyed so much that he invited its composer to dinner. Mozart was also well-acquainted with Gluck’s ballet Semiramide from 1765, so much so that he considered using the same story for an opera of his own. But the first signs that the young Mozart was capturing the spirit of the times had come as early as the tomb scene of Lucio Silla in 1772, and then in 1773-1774 he composed two instrumental works in keys that were synonymous with the new emotional style – the String Quartet in D minor, K.173 and the ‘Little’ G minor Symphony, K183. With the influence of Gluck and Benda upon him, Mozart’s Idomeneo had minor-key drama in spades, especially in the storm scenes and the flight chorus, and the same spirit even began to infiltrate his piano concertos. When he reached Don Giovanni, it had been fully assimilated, the final descent into Hell of the anti-hero rivalling that of Gluck’s original in its intensity and musical depiction of terror. But Gluck died in the year of Don Giovanni’s premiere and by that stage, the artistic outpouring of turbulence and upheaval that he’d started, its subjectivity and celebration of unbridled ‘natural’ expression, had been largely abandoned by Haydn and indeed was no longer the sole preserve of music. From the 1770s, the new sensibility became primarily the preserve of young literary and theatre men. Mozart’s first minor-key works coincided exactly with the first essays on revolutionary drama by Louis Sebastien Mercier and Jakob Lenz, the latter’s Remarks on the Theatre turning away from classical models to the example of Shakespeare. Goethe’s novel The Sorrows of Young Werther emerged in the same year, 1774. Its torrid semi-autobiographical tale of an impossible love-affair contained a theme which would resonate for a century or more thereafter, best expressed by the painter of the title when he says: “I could not draw a line at AUSTRALIAN CHAMBER ORCHESTRA 15

all now, not a line, and yet I have never been a greater painter than I am now.” Art existed, in other words, not as the product of externally enforced rules but as a by-product of individual feeling. Such was its emphasis on personal creativity and the sense of self, that it was quite possible to be an ‘artist’ without even creating art itself, a theme taken up decades later by Keats in his proclamation that unheard melodies are sweeter than heard ones! That sentiment, dramatically embodied by Beethoven’s deafness, would later come to characterise what we now know as the Romanticism of the 19th century. But this earlier form was distinct and temporary, the product of youthful passion that passes into a more sober maturity. Goethe and Schiller both abandoned it within a decade in favour of their Weimar classicism, Lenz soon lapsed into mental illness, and other key figures went off to join the army. And so it all ended by the 1780s, a few years prior to the French Revolution, without anyone ever having given the movement a name. But back in 1776, Friedrich Maximillian Klinger wrote a play set against the backdrop of the American Revolution, in which he advocated the liberation of the individual from the tyranny of outside forces and from the oppressive intellectual chains of rationalism. The play’s name was Sturm und Drang, literally ‘Storm and Urge’ but more frequently translated as ‘Storm and Stress’. While the play itself made no lasting impact, and Klinger himself ended up just a few years later as a Russian army officer, the title stuck as the name for this movement rejecting the rationalism of the Enlightenment and celebrating the tumultuous power of nature in all its human and ecological forms. And when in 1909 Théodore de Wyzewa wrote an article on Haydn’s music from the period 1765-1774, he ignored the anachronistic timeframe and applied the label Sturm und Drang to the great man’s symphonies of the period. Those doyens of modern musicology, 16 AUSTRALIAN CHAMBER ORCHESTRA

H.C. Robbins Landon and Charles Rosen then took it up, resulting in Haydn’s symphonies composed between 1768 and 1772, together with some of Mozart’s minor-key works, being labelled almost universally (and certainly by modern marketers!) as examples of the Sturm und Drang artistic style. But it’s a label which the 18th-century composers, writers, philosophers and painters themselves had never even imagined, and when the same creative spirit eventually re-emerged outside of the German-speaking nations, it was in the wake of the French Revolution, and was aligned not just with individual works, but with an entire social movement whose influence still prevails today.

BRETT DEAN © Robert Piccoli

CONDUCTOR & COMPOSER Brett Dean studied in Brisbane before moving to Germany in 1984 where he was a permanent member of the Berlin Philharmonic Orchestra for fourteen years. He began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. Dean’s reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel´s Music (1995) and Carlo (1997) for strings, sampler and tape that he gained strong international recognition. In 2000 Dean returned to his native Australia to concentrate on his composition, and he now shares his time between homes in Melbourne and Berlin.

“A voice of fertile imagination, originality and expressive subtlety.” CHICAGO TRIBUNE

Select Discography As composer:

Brett Dean: “Water Music (BIS 1576) which includes Carlo, Pastoral Symphony and Water Music. Performed by the Swedish Chamber Orchestra with conductor H.K Gruber. As soloist and composer:

Brett Dean - Sydney Symphony Live (300817) includes the viola concerto, Twelve Angry Men, and Komarov’s Fall performed with the Sydney Symphony conducted by Simone Young and Hugh Wolff.

Now one of the most internationally performed composers of his generation, much of Dean’s work draws from literary, political, environmental or visual stimuli, including a number of compositions inspired by paintings by his wife Heather Betts. His music is championed by many leading conductors and orchestras worldwide, including Sir Simon Rattle, Andris Nelsons, Marin Alsop, David Robertson and Simone Young. In the 2012/13 season, Dean will be the focus of a ‘Composer Portrait’ by the Munich Philharmonic Orchestra, and will be Composer in Residence at the Grafenegg Festival. In 2009, Dean won the Grawemeyer Award for music composition for his violin concerto The Lost Art of Letter Writing. His first opera, Bliss, was commissioned and given its premiere in 2010 by Opera Australia in Melbourne, and has since received further performances in Sydney, Hamburg and at the Edinburgh International Festival. Forthcoming commissions include a large-scale choral-orchestral work for the Berlin Rundfunkchor, Melbourne Symphony and Los Angeles Philharmonic Orchestras, and a new Trumpet Concerto for Håkan Hardenberger commissioned by Grafenegg Festival, Leipzig Gewandhaus Orchestra, the Danish National Symphony and the City of Birmingham Symphony Orchestras. Alongside his composing, Dean enjoys a busy career as a viola player, and since 2005 has been performing his own Viola Concerto with many of the top orchestras worldwide. Dean is also enjoying a blossoming conducting career, including recent conducting engagements with the Los Angeles Philharmonic, Concertgebouw Orchestra, BBC Philharmonic, and SWR Symphonieorchester Stuttgart as part of a season Artistic Residency. Brett Dean’s music has been recorded for BIS and ABC Classics, the most recent release being a collection of his works on BIS including Water Music, Carlo and the Pastoral Symphony, performed by the Swedish Chamber Orchestra under the batons of Dean and HK Gruber. AUSTRALIAN CHAMBER ORCHESTRA 17

RICHARD TOGNETTI AO © Paul Henderson-Kelly

ARTISTIC DIRECTOR 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 Festival Maribor in Slovenia.

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.”

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.

Select Discography

Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Jonny Greenwood, Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank.

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: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from

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. 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 ACO MUSICIANS Richard Tognetti Artistic Director and Lead Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Madeleine Boud Violin Rebecca Chan Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal 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

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

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

One of the world’s most lauded chamber ensembles, the Australian Chamber Orchestra is renowned for its inspired programming and unrivalled virtuosity, energy and individuality. Its unique programming extends across six centuries, spanning popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble. Founded in 1975, this string orchestra comprises leading Australian and international musicians and a growing company of dedicated young players. 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, Dawn Upshaw, and Joseph Tawadros; singers Katie Noonan, Paul Capsis, Teddy Tahu Rhodes and Barry Humphries; and visual artists Jon Frank, Shaun Tan, Bill Henson and Michael Leunig. Australian violinist Richard Tognetti has been at the helm as Artistic Director since 1989, expanding the Orchestra’s national program, spearheading vast and regular international tours, injecting unprecedented creativity and unique artistic style into the programming and transforming the group into the energetic standing (except for the cellists) ensemble for which it is now internationally recognised. Through the ACO’s extensive commissioning program, more than 60 works have been added to the chamber orchestra repertoire, including pieces by Brett Dean, Jonny Greenwood and Carl Vine. Several of the ACO’s players perform on remarkable string instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Principal Violin Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Principal Violin Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund and Principal Cello TimoVeikko Valve plays a 1729 Giuseppe Guarneri filius Andraea cello on loan from Peter Weiss AM HonDLitt. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include three-time ARIA Award-winning Bach recordings, multi-award-winning documentary film Musica Surfica and the complete set of Mozart Violin Concertos. A full list of ACO recordings can be found at As Australia’s only national orchestra the ACO presents worldclass performances to over 9,000 subscribers across Australia, reaching regional audiences in every state and territory. Internationally, the ACO 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. These specially selected stars of the future join ACO core players to form the Orchestra’s little sister orchestra ACO2, performing bold programs in concerts and education workshops for regional audiences throughout Australia. AUSTRALIAN CHAMBER ORCHESTRA 19


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

Principal Violin Chair sponsored by Hunter Hall Investment Management Limited

Photos: Paul Henderson-Kelly, Helen White



Lead Violin Chair sponsored by Robert & Kay Bryan

Violin Chair sponsored by Terry Campbell AO & Christine Campbell





Violin Chair sponsored by Ian Wallace & Kay Freedman

Violin Chair sponsored by Andrew & Hiroko Gwinnett


Violin Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund






Principal Viola Chair sponsored by Tony Shepherd

Viola Chair sponsored by Ian Lansdown

Principal Cello Chair sponsored by Mr Peter Weiss AM HonDLitt








Cello Chair sponsored by the Clayton Family






Principal Bass Chair sponsored by John Taberner & Grant Lang

Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group

≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund + Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andræ cello kindly on loan from Peter Weiss AM HonDLitt # Julian Thompson plays a 1721 Giuseppe Guarneri filius Andræ cello kindly on loan from the Australia Council


BEN JACKS1 RACHEL SILVER 2 MICHAEL GAST3 JENNY MCLEODSNEYD 3 Courtesy; 1 Sydney Symphony 2 Melbourne Symphony Orchestra 3 Minnesota Orchestra Players dressed by


ACO BEHIND THE SCENES BOARD Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman Bill Best John Borghetti Liz Cacciottolo

Chris Froggatt Janet Holmes à Court AC Heather Ridout

Andrew Stevens John Taberner Peter Yates AM

Richard Tognetti AO Artistic Director

ADMINISTRATION STAFF 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 ARTISTIC & OPERATIONS Luke Shaw Head of Operations and Artistic Planning Alan J. Benson Artistic Administrator Lisa Mullineux Assistant Tour Manager Elissa Seed Travel Coordinator Jennifer Powell Librarian/Music Technology Assistant EDUCATION Vicki Norton Education and Emerging Artists Manager Sarah Conolan Education Assistant

MARKETING Rosie Rothery Marketing Manager Amy Goodhew Marketing Coordinator Clare Morgan National Publicist Hazel Savage Publicity Coordinator and Videographer Chris Griffith Box Office Manager Dean Watson Customer Relations Manager David Sheridan Office Administrator and Marketing Assistant

FINANCE Cathy Davey Chief Financial Officer Steve Davidson Corporate Services Manager Shyleja Paul Assistant Accountant DEVELOPMENT Alexandra Cameron-Fraser Corporate Relations and Public Affairs Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Lillian Armitage Philanthropy Manager Ali Bronson Patrons and Foundations Executive Stephanie Ings Investor Relations Manager Julia Glass Development Coordinator


INFORMATION SYSTEMS Ken McSwain Systems and 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:



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

PO Box 7585 Arts Centre Melbourne PO Box 7585 St Kilda Road, Melbourne VIC 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: VICTORIAN ARTS CENTRE TRUST Ms Janet Whiting (President) Ms Deborah Beale, Ms Terry Bracks, Mr Julian Clarke, Ms Catherine McClements, Mr Graham Smorgon, Prof Leon van Schaik ao, Mr David Vigo EXECUTIVE GROUP Chief Executive Ms Judith Isherwood Corporate Services Ms Jodie Bennett Performing Arts Mr Tim Brinkman Facilities & Asset Management Mr Michael Burns General Manager – Development, Corporate Communications & Special Events Ms Louise Georgeson Customer Enterprises Mr Kyle Johnstone Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

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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. Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue. In the interests of public health, Arts Centre Melbourne is a smoke-free area.


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 Jack Frost General Manager

PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444

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

Chair Henry Smerdon am Deputy Chair Rachel Hunter TRUSTEES Simon Gallaher, Helene George, Bill Grant, 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 – Development Jacquelyn Malouf 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 The Honourable Rachel Nolan mp Minister for Finance, Natural Resouyrces and The Arts Director-General, Department of the Premier and Cabinet John Bradley Deputy Director-General, Arts Queensland Leigh Tabrett PSM 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 TRUST Mr Kim Williams am (Chair) Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch, Ms Renata Kaldor ao, Mr Robert Leece am rfd, Mr Peter Mason am, Dr Thomas Parry am, Mr Leo Schofield am, Mr John Symond am EXECUTIVE MANAGEMENT Chief Executive Officer Louise Herron Executive Producer SOH Presents Jonathan Bielski Director, Theatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia Pucci Chief Financial Officer Claire Spencer 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:

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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.



Helena Rathbone

Satu Vänskä

Lead Violin

Principal Violin

Principal Violin

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 AO

Peter Weiss AM HonDLitt

John Taberner & Grant Lang

Aiko Goto

Madeleine Boud



Viola Chair Philip Bacon AM

Andrew & Hiroko Gwinnett

Terry Campbell AO & Christine Campbell

Melissa Barnard


Mark Ingwersen Violin

Ilya Isakovich Violin

Australian Communities Foundation – Connie & Craig Kimberley Fund


Rebecca Chan Violin

The Bruce & Joy Reid Foundation

Ian Wallace & Kay Freedman

Julian Thompson Cello

Nicole Divall

The Clayton Family


Ian Lansdown



Brian Nixon

Mr R. Bruce Corlett AM & Mrs Ann Corlett

Principal Timpani

Mr Robert Albert AO & Mrs Libby Albert 24 AUSTRALIAN CHAMBER ORCHESTRA

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 OAM John Taberner


LEADER $500,000–$999,999

ENSEMBLE $10,000$24,999 Leslie & Ginny Green

CONCERTO $200,000–$499,000 Naomi Milgrom AO

SOLO $5,000  $9,999 Amanda Stafford

OCTET $100,000–$199,000 Amina Belgiorno-Nettis

QUARTET $50,000–$99,000 John Leece OAM & Anne Leece

SONATA $25,000–$49,999

PATRONS $500  $4,999 June & Jim Armitage John Landers & Linda Sweeny Alison Reeve Angela Roberts Anonymous (1)

FOUNDING INVESTORS Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Steven Duchen Brendan Hopkins John Taberner Ian Wallace & Kay Freedman


NISEKO SUPPORTERS The ACO would like to pay tribute to the following donors who are supporting our continued involvement with the Niseko Winter Music Festival.

NISEKO PATRONS Ann Gamble Myer Louise & Martyn Myer Foundation Peter Yates AM & Susan Yates

NISEKO SUPPORTERS Linda Keyte Richard & Lizzie Leder Naomi Milgrom Clarke & Leanne Morgan Kerry Gardner & Andrew Myer James & Catriona Pettit Jill Reichstein Schiavello Peter Scott John & Nicky Stokes Dr Mark & Mrs Anna Yates Oliver Yates



A J Abercrombie Warwick Anderson Breeze Family Tim Burke Simone Carson Suzy Crittenden Kathryn & Andrew Darbyshire AM Phil & Rosie Harkness Louise Hearman & Bill Henson Simon & Katrina Holmes Ă Court Family Trust Lorna Inman Robert Johanson & Anne Swann

INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities. International Tour Patrons Catherine Holmes à

Court-Mather International Tour Supporters Jenny & Stephen Charles

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.

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.



Tony & Michelle Grist

Wendy Edwards Euroz Charitable Foundation

Don & Marie Forrest Tony & Rose Packer Nick & Claire Poll

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

Gavin & Kate Ryan Jon & Caro Stewart Simon & Jenny Yeo

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)

SPECIAL COMMISSIONS PATRONS Mirek Generowicz Peter & Valerie Gerrand V Graham Margot Woods & Arn Sprogis Anonymous (1)


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


EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin Carapiet Foundation Mark Carnegie Darin Cooper Family John B Fairfax AO Chris & Tony Froggatt Belinda Hutchinson AM Angus & Sarah James PJ Jopling QC Miss Nancy Kimpton Paula Kinnane Mr Bruce & Mrs Jennifer Lane Prudence MacLeod Alf Moufarrige Alex & Pam Reisner Mr John Singleton AM Beverley Smith John Taberner & Grant Lang Alden Toevs & Judi Wolf The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO Peter Weiss AM HonDLitt E Xipell Anonymous (1)

DIRETTORE $5,000$9,999 The Abercrombie Family Foundation Geoff Alder The Belalberi Foundation Jenny & Stephen Charles Leith & Darrel Conybeare Peter & Tracey Cooper Bridget Faye AM Ian & Caroline Frazer Edward C Gray Maurice Green AM & Christina Green Annie Hawker Rosemary Holden Warwick & Ann Johnson Julie Kantor Keith Kerridge Lorraine Logan Peter Lovell David Maloney & Erin Flaherty Julianne Maxwell Louise & Martyn Myer Foundation Marianna & Tony O’Sullivan Sandra & Michael Paul Endowment John Rickard The Roberts Family Mark & Anne Robertson Paul Salteri Paul Schoff Seleco Foundation Ltd


Kerry Stokes AC & Christine Simpson Ian Wallace & Kay Freedman Ian Wilcox & Mary Kostakidis Cameron Williams Anonymous (2)

MAESTRO $2,500$4,999 Jane Allen Tiffany Andrews Will & Dorothy Bailey Bequest Doug & Alison Battersby Berg Family Foundation Virginia Berger Bill & Marissa Best Patricia Blau Dr David & Mrs Anne Bolzonello Cam & Helen Carter Jenny Charles Caroline & Robert Clemente Dr Peter Clifton Judy Crawford John & Gloria Darroch Kate Dixon Leigh Emmett Michael Fitzpatrick Ann Gamble Myer Rhyll Gardner Liangrove Foundation Warren Green Nereda Hanlon & Michael Hanlon AM Liz Harbison

ACO DONATIONS PROGRAM Angela James & Phil McMaster Vanessa Jenkins Macquarie Group Foundation The Marshall Family The Michael Family P J Miller Donald & Jane Morley Patricia H Reid Endowment Pty Ltd Ruth Ritchie D N Sanders Cheryl Savage Brian Schwartz Greg Shalit & Miriam Faine Ms Petrina Slaytor Amanda Stafford Philippa Stone Dr & Mrs R Tinning Ralph Ward-Ambler AM & Barbara Ward-Ambler Anonymous (2)

VIRTUOSO $1,000$2,499 Annette Adair Mr L H & Mrs M C Ainsworth Antoinette Albert David & Rae Allen Andrew Andersons David Arnott Sibilla Baer The Beeren Foundation Linda & Graeme Beveridge Jessica Block Kathy Borrud Ben & Debbie Brady Vicki Brooke Sally Bufé Neil Burley & Jane Munro Michael Cameron Cannings Communication Bella Carnegie Sandra Cassell Julia Champtaloup & Andrew Rothery Georg & Monika Chmiel Angela & John Compton Bernadette Cooper Anne & David Craig Judy Croll Marie Dalziel Lindee & Hamish Dalziell Mrs June Danks Michael & Wendy Davis Martin Dolan Anne & Thomas Dowling Jennifer Dowling

Dr W Downey Professor Dexter Dunphy AM Bronwyn Eslick Peter Evans Helen Elizabeth Fairfax Elizabeth Finnegan Stephen Fitzgerald Lynne Flynn Nancy & Graham Fox R Freemantle Jane & Richard Freudenstein Colonel Tim Frost Anne & Justin Gardener Jaye Gardner Daniel & Helen Gauchat Paul Gibson & Gabrielle Curtin Colin Golvan SC Richard & Jay Griffin Lyndsey Hawkins Peter Hearl Reg Hobbs & Louise Carbines Michael Horsburgh AM & Beverley Horsburgh Penelope Hughes Wendy Hughes Pam & Bill Hughes Graeme Hunt Glen Hunter & Anthony Niardone Stephanie & Michael Hutchinson Brian Jones D & I Kallinikos Len La Flamme Greg Lindsay AO & Jenny Lindsay Sydney & Airdrie Lloyd Judy Lynch Martin Family in memory of Lloyd Martin AM Kevin & Deidre McCann Brian & Helen McFadyen Ian & Pam McGaw J A McKernan G & A Nelson Nola Nettheim Anne & Christopher Page Rowland Paterson peckvonhartel architects David Penington AC Ayesha Penman Tom Pizzey Mark Renehan Dr S M Richards AM & Mrs M R Richards Warwick & Jeanette Richmond In Memory of Andrew Richmond David & Gillian Ritchie Peter J Ryan

In Memory of H. St. P. Scarlett Jeff Schwartz In memory of Elizabeth C Schweig Peter & Ofelia Scott Jennifer Senior Tony Shepherd Paul Skamvougeras Diana Snape & Brian Snape AM Maria Sola & Malcolm Douglas Ezekiel Solomon AM K W Spence Cisca Spencer Robert Stephens Geoffrey Stirton Mr Tom Story Dr Douglas Sturkey CVO AM Dr Charles Su & Dr Emily Lo Paul Tobin Anne Tonkin Ngaire Turner Loretta van Merwyk Kay Vernon Bill Watson M W Wells Janie Wanless & Nev Wittey Sir Robert Woods Nick & Jo Wormald Don & Mary Ann Yeats William Yuille Anonymous (15)

CONCERTINO $500$999 Antoinette Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Peter & Catherine Aird Elsa Atkin Ruth Bell Max Benyon Brian & Helen Blythe Dr Anthony Bookallil Brian Bothwell Denise Braggett Julie Carriol Kirsten Carriol Fred & Jody Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers John Clayton ClearFresh Water Laurence Cox AO & Julianne Cox Sam Crawford Architects Professor John Daley


ACO DONATIONS PROGRAM Ted & Christine Dauber Mari Davis Dr Christopher Dibden Mike & Pamela Downey In Memory of Raymond Dudley Anna Dunphy M T & R L Elford Suellen Enestrom Barbara Fargher Michael Fogarty Patricia Gavaghan Brian Goddard Prof Ian & Dr Ruth Gough Philip Graham Katrina Groshinski Dr Annette Gross Matthew Handbury Mr Ken Hawkings Dr Penny Herbert in memory of Dunstan Herbert Jennifer Hershon Peter & Ann Hollingworth Dr & Mrs Michael Hunter Diane Ipkendanz Philip & Sheila Jacobson Barry Johnson & Davina Johnson OAM Mrs Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Danièle Kemp Robert Leece AM Megan Lowe John Lui Bronwyn & Andrew Lumsden James MacKean Roderick & Leonie Matheson Janet Matton Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Dr Hamish & Mrs Rosemary McGlashan Colin McKeith Mrs Robyn McLay Joanna McNiven I Merrick Jan Minchin Julie Moses Helen & Gerald Moylan

Hon Dr Kemeri Murray AO Susan Negrau J Norman Graham North Selwyn M Owen Josephine Paech L Parsonage Deborah Pearson Kevin Phillips Miss F V Pidgeon AM Michael Power Larry & Mickey Robertson Team Schmoopy Manfred & Linda Salamon Greg & Elizabeth Sanderson Garry Scarf & Morgie Blaxill Ken & Lucille Seale Mr Berek Segan OBE AM & Mrs Marysia Segan John Sydney Smith Dr Fiona Stewart Prof Robert Sutherland In memory of Dr Aubrey Sweet Matthew Toohey David Walsh G C & R Weir Gordon & Christine Windeyer Lee Wright Mr Hugh Wyndham Brian Zulaikha Anonymous (18)

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 Pauline Marie Johnston The late Mr Geoff Lee AM OAM Mrs Judy Lee The late Richard Ponder Ian & Joan Scott Margaret & Ron Wright Mark Young Anonymous (13)

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 HonDLitt

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 30 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

Liz Cacciottolo Senior Advisor UBS Australia

Tony O’Sullivan Head of Investment Banking Lazard Australia

Australia Peter Shorthouse Client Advisor UBS Wealth Management

Heather Ridout Director Reserve Bank of

John Taberner Consultant Freehills

Jennie Orchard

Ian Davis Managing Director Telstra Television Chris Froggatt Tony Gill

Anna Bligh

MELBOURNE DEVELOPMENT COUNCIL Peter Yates AM (Chairman) Chairman Royal Institution of Australia Director AIAA Ltd

Debbie Brady Ben Brady Stephen Charles

Paul Cochrane Investment Advisor Bell Potter Securities

Jan Minchin Director Tolarno Galleries

Colin Golvan SC




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

Margie Blok Helene Burt Liz Cacciottolo (Chair) Judy Crawford Dr Dee Debruyn Di Collins Judy Anne Edwards Chris Froggatt Elizabeth Harbison Susan Harte Bee Hopkins

Sarah Jenkins Vanessa Jenkins Charlotte Mackenzie Prue MacLeod Julianne Maxwell Marianna O’Sullivan Julia Pincus Amanda Purcell David Stewart Tom Thawley Nicky Tindill

ACO CAPITAL CHALLENGE The ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides 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

OCTET $100,000 – $249,000

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

Mr Robert Albert AO & Mrs Libby Albert Mrs Amina Belgiorno-Nettis The Thomas Foundation AUSTRALIAN CHAMBER ORCHESTRA 31

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 Belgiorno-Nettis AM Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings Aurizon Holdings Limited Mr Philip Bacon AM Director Philip Bacon Galleries

Rowena Danziger AM & Kenneth G. Coles AM Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

Mr Jeff Bond General Manager Peter Lehmann Wines Mr John Borghetti Chief Executive Officer Virgin Australia Mr Hall Cannon Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux

Mr Donald McGauchie AO Chairman Nufarm Limited

Mr John Grill Chairman WorleyParsons

Mr Jim Minto Managing Director TAL

Mrs Janet Holmes à Court AC

Mr Alf Moufarrige Chief Executive Officer Servcorp

Ms Catherine Livingstone AO Mr Michael & Mrs Helen Chairman Telstra Carapiet Mr Stephen & Mrs Jenny Mr Andrew Low Chief Executive Officer Charles RedBridge Grant Samuel Mr Georg Chmiel Mr Steven Lowy AM Chief Executive Officer Lowy Family Group LJ Hooker Mr & Mrs Robin Crawford

Mr Geoff McClellan Partner Freehills

Mr Richard Freudenstein Ms Naomi Milgrom AO Chief Executive Officer FOXTEL Ms Jan Minchin Director Mr Colin Golvan SC & Tolarno Galleries Dr Deborah Golvan

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited

Mr Didier Mahout CEO Australia & NZ BNP Paribas


Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities

Ms Julianne Maxwell Mr Michael Maxwell

Mr David Baffsky AO Mr Brad Banducci Director Woolworths Liquor Group

Mr David Mathlin Senior Principal Sinclair Knight Merz

Mr Scott Perkins Head of Corporate Finance Deutsche Bank Australia/New Zealand Ms Margie Seale and Mr David Hardy Mr Glen Sealey General Manager Maserati Australia & New Zealand Mr Tony Shepherd AO President Business Council of Australia

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 Kim Williams AM Chief Executive Officer News Limited Mr Geoff Wilson Chief Executive Officer KPMG Australia Mr Peter Yates AM Chairman, Royal Institution of Australia Director, AIAA Ltd

ACO CORPORATE PARTNERS The ACO would like to thank its corporate partners for their generous support. PRINCIPAL PARTNER







Peter Weiss AM HonDLitt

Daryl Dixon

Warwick & Ann Johnson


GPO Sydney No. 1 Martin Place



news THE ACO’S SPRING SOIRÉE Tuesday 13 November, Melbourne as to continue all of our education work in Melbourne, reaching young musicians who would never otherwise have the opportunity. We would like to thank John and Myriam Wylie and the Melbourne Development Committee for their support. © Daniel Mahon

Our annual Melbourne gala fundraising dinner, presented by Tiffany & Co., was the perfect way to finish our 2012 season in Melbourne last November. John Wylie AM and Myriam Wylie generously hosted the dinner for the first time at their beautiful home in Elsternwick and world renowned Relais & Châteaux chef Jacques Reymond was in the kitchen preparing a beautiful French-inspired feast. Following drinks on the terrace in the early evening sunshine, we performed a program of Elgar, Rameau and Tchaikovsky for the guests who included The Hon. Paul Keating, The Hon. Rod Kemp, Martyn Myer AO and Louise Myer. After dinner, guests bid on some amazing prizes in a short live auction.

© Daniel Mahon

The evening was a great success, raising $130,000 in support of our 2013 Victorian Regional Tour. Funds raised at the event will help us to stage free concerts and schools workshops during the tour as well


ACO Chairman Guido Belgiorno-Nettis welcomes guests

EDUCATION NEWS Announcing our 2013 Education Programs with members of the orchestra to form ACO2, presenting concerts and workshops for school aged children in regional centres of Victoria, NSW and Queensland. This June we’re particularly excited to present ACO2’s main-stage national tour debut led by Richard Tognetti in a program he calls “a classic old-fashioned showcase of string orchestra repertoire” featuring German cellist Daniel Müller-Schott.

© Ben Marden

In 2013 we continue to perform, mentor, entertain and inspire children of all ages throughout Australia. We bring music to primary school children all over Sydney, combining the visual arts and music curriculums to deepen learning in both subjects, and provide secondary school students access to our musicians through workshops, open rehearsals, concerts and our week-long mentoring program, ACO Academy. Our hand-picked 2013 Emerging Artists join

ACO2 after a performance at the Four Winds Festival in Bermagui in 2012.

ACO BABY NEWS Principal Viola, Christopher Moore is very proud to present the newest member of the ACO family. Baby Dorothea Margaret Moore

was born on 21 November 2012 at RPA, Sydney. Dorothea joins older sister Isabella, four.


YOUR SAY Feedback about the 2012 Russian Visions concert tour “So much energy and passion. The whole programme was brilliant.â€? Margaret S “What a concert to ďŹ nish a wonderful 2012 season on! The ProkoďŹ ev and Shostakovich in the ďŹ rst half was nuts - a musical madhouse! Steven’s encore brought tears to the eyes. Bring on 2013!â€? Gail C

“The way the orchestra brings music to life is beautiful. Both the piano and trumpet were magical...ACO is how I love to get my classical music ďŹ x! Looking forward to next year.â€? Alison H “Steven Osborne was superb and the interaction between him and the other musicians – and the trumpeter - was exhilarating. But even without such treats as guest musicians, the ACO is simply outstanding.â€? Margaret D

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Tognetti's Mozart Concert Program  
Tognetti's Mozart Concert Program  

Tognetti's Mozart Concert Program 2013