Barry Humphries' with Meow Meow by Australian Chamber Orchestra

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The romance is back

Proud Principal Partner of the Australian Chamber Orchestra.

INTIMATE YARRA VALLEY FESTIVAL Richard Tognetti presents a weekend of music in the stunning TarraWarra Museum of Art, for just 200 guests. An hour from Melbourne, the TarraWarra Festival features: CONCERTS Sat 18 May

GALA DINNER - Sold out 12.30pm – French music by Rameau, Leclair and Ravel

3-course dinner with ACO musicians.

6pm – Virtuosic music by Sibelius, Vivaldi and Mozart

EXHIBITION Guided tours of the Museum’s exhibition.

Sun 19 May 11am – Masterclass led by Principal Cello Timo-Veikko Valve

EVENT PARTNER

3.30pm – Music by Sculthorpe, Meale, Prokoﬁev and Bach

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NATIONAL TOUR PARTNER

On behalf of BNP Paribas, I’m delighted to present you with Barry Humphries’ Weimar Cabaret by the Australian Chamber Orchestra. At BNP Paribas, we have a long history of supporting culture and performing arts around the world and encouraging those, such as the ACO, who embody our core values of creativity, ambition and commitment. BNP Paribas is a responsible bank, partnering with our clients and their communities to help them ‘strive for their success’. We are proud to mark our 7th year of partnership with the ACO, as a National Tour Partner, and are continually amazed by their dynamic, bold and emotive repertoire. Barry Humphries has recently been hailed as the greatest performer in Australian history by The Spectator Australia and we welcome him back warmly to his home ground. We trust that you will enjoy a world-class performance by Barry Humphries and the magniﬁcent ACO as they share with us the most amusing and remarkable music from the Weimar Republic.

NATIONAL TOUR PARTNER

DIDIER MAHOUT CEO BNP PARIBAS AUSTRALIA & NEW ZEALAND AUSTRALIAN CHAMBER ORCHESTRA 1

TOUR THREE BARRY HUMPHRIES WITH MEOW MEOW RICHARD TOGNETTI Artistic Director & Violin BARRY HUMPHRIES Conférencier & Voice MEOW MEOW Special Guest Artist RODNEY FISHER Director The program order will be introduced from the stage by Barry Humphries: HINDEMITH Kammermusik No. 1, Op. 24 KRENEK (arr. Grandage) Selection from Jonny spielt auf JEŽEK Bugatti Step SPOLIANSKY (arr. Grandage) Alles Schwindel WEILL (arr. Grandage) Pirate Jenny TOCH Geographical Fugue GROSZ Jazzband SCHULHOFF (arr. Tarkmann) Suite for Chamber Orchestra: Jazz; Tango WEILL (arr. Grandage) Surabaya Johnny ABRAHAM (arr. Grandage) Mousie SCHULHOFF Sonata Erotica SPOLIANSKY (arr. Grandage) Ach, er hasst, dass ich ihn liebe BRAND (arr. Tregear) Maschinist Hopkins: Black Bottom — Jazz SPOLIANSKY (arr. Ziegler) Wenn die beste Freundin KRENEK (arr. Grandage) Selection from Potpourri, Op. 54 EISLER (arr. Grandage) An den kleinen Radioapparat WEILL (arr. Grandage) Tango-Habanera, “Youkali” HOLLÄNDER (arr. Grandage) Wenn ich mir was wünschen dürfte HOLLÄNDER (arr. Grandage) The Ruins of Berlin Presented by BNP Paribas Supported by Warwick & Ann Johnson The concert will last approximately 2 hours and 15 minutes, including a 20-minute interval.

ADELAIDE

MELBOURNE

SYDNEY

Town Hall Tue 7 May, 8pm

Arts Centre Sun 5 May, 2.30pm Mon 6 May, 8pm

City Recital Hall Angel Place Tue 23 Apr, 8pm Wed 24 Apr, 7pm Fri 26 Apr, 1.30pm Sat 27 Apr, 7pm

Opera House Fri 3 May, 8pm

BRISBANE QPAC Wed 1 May, 8pm

PERTH Concert Hall Wed 8 May, 7.30pm

The Perth concert is included in the 40th anniversary celebrations of Perth Concert Hall. The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. AUSTRALIAN CHAMBER ORCHESTRA 3

MESSAGE FROM THE GENERAL MANAGER ACO.COM.AU VISIT THE WEBSITE TO: Prepare in advance A PDF and e-reader version of the program are available at aco.com.au one week before each tour begins, together with music clips and videos.

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PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue.

In March, the ACO gave a series of performances at the Hong Kong Arts Festival, including two sold-out performances of The Reef. There was something quite surreal about walking out of the Hong Kong City Hall into the steamy night air after watching Richard Tognetti’s uniquely Australian fusion of surﬁng movie and eclectic live music, and looking up at the blinking neon signs of Asia’s most dynamic commercial capital. But for Hong Kong audiences it had been a captivating couple of hours in the hall, followed by a roar of approval when the lights came up. There was a certain sense that the next day would see a rush of traﬃc from the grand residences of the Peak to the ocean beach of Big Wave Bay, perhaps via one of the island’s glamorous shopping malls to pick up some designer board shorts. While the orchestra was on tour in Hong Kong and California, Barry Humphries and Meow Meow were in the ACO Studio rehearsing a Charleston and preparing a program of familiar and bizarre music from the years of Germany’s Weimar Republic. Working on this project has been a joy from the outset, with Barry’s profound knowledge of the music and art of this period sending us in search of forgotten scores and lost lyrics, while Meow Meow’s expertise and fearless theatricality adds a tingling danger to the whole production. BNP Paribas has supported national tours by the ACO for six years, but for this, their seventh year, they have come on board for a project which extends the capabilities of the ACO and takes us into new directions. We are hugely grateful to Didier Mahout and his colleagues at BNP Paribas for sharing our vision and for enabling this remarkable program to reach audiences all over the country. We are also very grateful to Warwick and Ann Johnson for their generous support of this project.

TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA 5

ABOUT THE MUSIC By Barry Humphries Trawling through the second-hand bookstores of Melbourne in the late 1940s I came across a stack of sheet music published by the famous Universal company in Vienna in the 1920s. None of the composers were familiar, and yet a distinguished music house in central Europe had deemed them important enough to warrant publication. The bookseller, Mr Evans of Swanston Street, was asking next to nothing for this obscure collection so I bought them all and went home with Ernst Krenek, Erich Korngold, Kurt Weill, Franz Schreker and their colleagues in my weighty Gladstone bag.

Unknown cabaret artist of the 1920s by Emil Orlik (1870-1932). From Barry Humphries’ private collection.

In the school library after school hours, I was soon busy researching my haul. The library has since become a Research Centre purging itself of the dusty, germ-laden stigma of a book room. My mother, who belonged to the age of Laminex, would certainly have approved the banishment of old books. “Barry,” she would admonish me if she caught me reading a secondhand volume, “you don’t know where that’s been.” In that far epoch the school library contained a fairly decent music section and I tried to ﬁnd references to the forgotten composers I had unearthed in Mr Evans’ shop. I certainly didn’t know where any of them had been and that made my excavations all the more exciting. The sheet music I had rescued bore a single stamped name Richard Edmund Beyer and I wondered who he was and why would he put all this stuﬀ in a suitcase and schlep it out to Australia.

Barry Humphries by Annie Leibovitz, courtesy of the artist.

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I once attended a re-creation in Los Angeles of Hitler’s infamous exhibition of ‘degenerate art’. My companion was the painter David Hockney and I asked him why he thought so many pictures from this period had survived the Holocaust. “Because somebody loved them” was his simple reply. Herr Beyer must have loved all this strange music to bring it so far to safety. I later met an old lady living in Brighton who was the widow of a distinguished Berlin publisher. When she fled the Nazis her packing was supervised by two Gestapo officers who allowed her to fill her suitcases with prints – no paintings. Thus I was able to see, spread across the carpet in her Melbourne sitting room, a priceless assembly of the best German expressionists, in mint condition.

Barry Humphries with Mischa Spoliansky

When I ﬁrst went to Vienna in the early 1960s I asked in the best classical record shop if they had any recordings by the composers I had discovered. Not only did they not have recordings but they had never heard of the composers I mentioned! Hitler, it seemed, had done a very good job in suppressing a whole generation of music makers whose exciting work is still in the category of unfamiliar repertoire. Tonight the Australian Chamber Orchestra will give you a taste of this wonderful music, so full of energy, excitement and optimism and yet reﬂecting at times a premonitory hint of the cataclysm that would soon follow.  BARRY HUMPHRIES

Female portrait by Erna SchmidtCaroll (1896-1964). Pencil and colour crayon on stiff vellum from Barry Humphries’ private collection. A striking portrait by Schmidt-Caroll from her pre-war period c.1925, created while living and working in Berlin. Schmidt-Carroll studied in Breslau and Berlin with Emil Orlik, and exhibited at the Berliner Sezession, among artists like Feininger, Nolde and Pechstein. The main part of her archive was destroyed during World War II. Shortly before her death she received some of her early works from Berlin, which were thought to have been lost.

AUSTRALIAN CHAMBER ORCHESTRA 7

WEIMAR REPUBLIC BERLIN: A SILENCED WITNESS Why is it that certain places at certain times come to gain such a hold on our collective consciousness? In the case of Weimar Republic Berlin (1919–1933), the answer is simple. Here, for a brief, fragile moment this city was at the centre of culture that generated not only epochal advances in science and technology, but also an outpouring of literature, philosophy and art of profound originality. The history of Berlin at this time is made only the more compelling when we also reﬂect upon just how quickly all that intellectual and creative capital was destroyed by the Nazi seizure of power. Our knowledge of this time is uneven. Whereas Weimarera novels, poetry, cinema, sculpture, art, and craft is routinely revived and celebrated, the music of this time is largely neglected. Certainly until very recently very few musicians had heard of (let alone heard) the operas of Franz Schreker, Ernst Krenek, Viktor Ullmann, Paul Hindemith or Max Brand, or the instrumental music of Erwin Schulhoﬀ, Hans Gal, or Gideon Klein, to name just a few. And yet the loss is not just Germany’s, it is also ours. Here, arguably, was the last great cultural laboratory wherein the realms of so-called ‘popular’ and ‘classical’ music routinely informed and inspired one another. Since then, however, we have been saddled with an attitude of mutual incomprehension and exclusion, one that is perhaps only now beginning to dissipate. In stark contrast to the historical disinterest and neglect of Weimar-era music, Barry Humphries’ advocacy of this repertoire has been steadfast and passionate. Only in the last couple of decades has more and more of this music been rediscovered, recorded and returned to our attention.

The reason for our neglect of Weimar musical culture is as straightforward as it is grim. Whereas images, words and things are able to be returned to our attention with ease, a score still requires someone – a conductor, a performer, a producer, a festival director – prepared to bring it back to life. We, however, lost such advocates after 1933, the custodians of that culture were either sent to their death, or escaped to countries such as the UK, USA or Australia, where their music most commonly met with disinterest. All the same, despite being forced into exile in 1938, at ﬁrst glance, Paul Hindemith (1895–1963) may not seem to be a neglected composer. A few works of his remain on the fringes of the standard orchestral repertoire, and many musicians are familiar with the large corpus of well-crafted chamber music that is often bundled together under the label Gebrauchsmusik [music for use]. In the heady days of

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the Weimar Republic, however, he was better known as an iconoclast and humorist, and his music was anything but a paean to the idea of composition-as-craft, rather it delighted in parody and play. It is no surprise, then, that echoes of the Shrovetide Fair from Igor Stravinksy’s ballet Petrushka (1911) can be heard in his Kammermusik No.1, Op.24 (1922), though the grotesque fairground spirit it evokes is not that of an exotic folk culture but that of Germany itself, mired in the political and economic chaos of the post-war years.

Amerikanismus: Associated with the Dawes Plan and the short-lived rush of American capital into Germany that accompanied it, was the rise in Germany of what was known as Amerikanismus — a popular fascination with all things American.

The close association we have between cabaret and Weimar Berlin was reinforced by the global success of Bob Fosse’s ﬁlm Cabaret (1972). This in turn had its origins in Christopher Isherwood’s novel Goodbye to Berlin (1945).

Infamously, that chaos lead to a period of hyperinflation that by 1924 threatened to annihilate the German economy. In response, the American government sponsored the so-called ‘Dawes Plan’, a new payment regime to manage Germany’s post-war reparations. Nothing came to symbolise the emerging American cultural and economic hegemony more than jazz, which, as one critic put it, came to stand as a cipher for the post-war age itself, a ‘reflection of the times: chaos, machines, noise, the highest peak of intensity…the triumph of irony, of frivolity, the wrath of those who want to preserve good times’. Jazz and Amerikanismus even inspired an opera. The premiere in Leipzig on 10 February 1927 of Jonny spielt auf [Jonny leads the band] (1925) by Austrian-born, but Berlinresident Ernst Krenek (1900–1991) caused a sensation. It went on to make theatrical history by attracting some forty-five separate productions in its first year alone (it still, however, awaits an Australian premiere). The short excerpt we hear is music from Part I that introduces Jonny and his jazz band as something that emerges from (or is it: ‘evolves out of’?) the sonic chaos of a modern city streetscape. Revolutionary theatre could also be found on much more intimate stages, especially those in the urban clubs and bars of the city. Cabaret may be a theatrical genre (and word) of French origin, but today it almost irresistibly evokes Berlin of this time. Berlin cabaret fell into two broad categories – one common to the larger, more ‘family friendly’ theatres which presented shows that were not unlike the English music hall revue, and one typical of the smaller clubs which targeted a more politically active class looking for content rich in social satire. Many of Weimar’s best known composers, lyricists and performers wrote for, and often performed in, these cabarets. For the politically inclined there was no shortage of material to inspire them, whether that be perennial themes of corruption in high places, or common social hypocrisy around issues of sexuality and religion. Indeed, against the broader context of Germany’s defeat in 1918, for many satire seemed now to AUSTRALIAN CHAMBER ORCHESTRA 9

be the only viable mode of public discourse. Germany, after all, was a nation forged on the hearth of Prussian militarism, but by 1918 the promises of a new generation of Generals had been revealed, at colossal human cost, to be a sham.

Die Dreigroschenoper (1928): An ingenious reworking and updating of John Gay’s The Beggar’s Opera (1728).

A generation of artists thus arose who believed their art must no longer be concerned with beauty or other transcendent values per se, but instead should serve as a vehicle for social critique. Chief among them was the author and playwright Bertolt Brecht (1898–1956) who, by the late 1920s, had established relationships with a number of prominent composers. None of those relationships were to be as successful, however, as his partnership with Kurt Weill (1900–1950). Pirate Jenny is from their best-known collaboration the Die Dreigroschenoper [The Threepenny Opera]. The political (indeed revolutionary) meaning of the song is unambiguous. When Nina Simone recorded it in 1964 the coming black frigate (i.e. pirate ship) was seen as foreshadowing the rise of the Black Power movement. Surabaya Johnny (1929) comes from another Bertolt Brecht/Kurt Weill collaboration, Happy End with text by Elisabeth Hauptmann. Its ﬁrst performances in Berlin in 1929 were not a success, in stark contrast to its reception in Broadway many years later. With its bitter and deeply felt portrayal of innocence lost, Surabaya Jonny was, however, an immediate success, becoming a favorite of Marlene Dietrich among others. Viennese born Wilhelm Grosz (1894-1939) spent six highly productive years (1927-1933) in Berlin as the artistic manager of the Ultraphone Gramophone company, but he, like Brecht and Weill (and countless others) had been forced to leave Germany soon after the Nazis came to power. While he found immediate physical safety in London, he also found little interest in the music he brought with him. Instead he put his considerable melodic gift to a new purpose, writing a corpus of popular songs (mostly with lyricist Jimmy Kennedy). A few became internationally successful and are still performed today, such as Harbour Lights, Red Sails in the Sunset, and Isle of Capri. A much earlier work, Jazzband (1923) on the other hand, is no attempt at a literal evocation of an emerging popular musical culture, despite its title. Instead, it displays an interest more in the spirit, rather than the letter, of jazz music. Here Grosz refracts the rhythms and forms of popular dance music of the day to create chamber music that is both modernist and worldly.

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Czech-born, Schulhoff had seen active service in the AustroHungarian army on the Russian front during World War I, a fact that might account for why, of all the composers heard in this concert, he was especially attracted to the post-War absurdist art movement that became known as Dada.

An interest in futurist methods and effects helped to inspire (among other things) the Art Deco and Bauhaus art and design movements and music like George Antheil’s Ballet Mécanique (1924).

In 1933 Spoliansky emigrated to London, where he became a ﬁlm composer, writing songs for Paul Robeson and Elisabeth Welch among others.

Erwin Schulhoff (1894–1942) was another composer who consciously incorporated jazz-inspired rhythms and forms into his music. While the Suite for Chamber Orchestra (1921) seems on the surface to be relatively conventional in form, he prefaced the score with his own Dadaistic text and included ‘uninhibited’ sound effects like a siren in its score. He had found particular inspiration for this suite, as he told Alban Berg in 1921, ‘out of pure enjoyment of the rhythm [of nightclub dancing] and with my subconscious filled with sensual delight…Thereby I acquire phenomenal inspiration for my work, as my conscious mind is incredibly earthly, even animal as it were.’ Schulhoff was unquestionably one of the most original creative musicians of the Weimar era; another one of his pieces anticipates John Cage’s famous work of notated silence (4΄33˝), by some thirty years. Alas, however, after the Nazi takeover he did not find safety in exile but instead was deported to the Wülzburg Concentration Camp where he died on 18 August 1942.

Other artists believed that advances in science and technology might yet help European society of the 1920s find renewed self-confidence, if not political and economic stability. Jaroslav Jez ˇek (1906–1942) composed Bugatti Step (1931) in honour of the Czech female racing driver Eliska Junkova, and her Bugatti Type 35B. The pulsation suggestive of a four-stroke engine is present throughout the composition, which is itself based in and around the interval of a fourth. The negative social consequences of the post-war economy, however, is squarely the topic of Alles Schwindel [It’s all a swindle] (1931) the title song for a revue scored in 1931 by Russian-born composer Mischa Spoliansky (1898–1985) to words by Marcellus Schiffer (18921932). Spoliansky had lived in Berlin since 1914 where he worked firstly as a café musician and then as composer and performer creating revues and other forms of cabaret theatre, the most successful of which are his collaborations with Schiffer. His music reveals an uncanny ability to put a sophisticated jazz-inflected harmonic palate to the service of a catchy rhythm or tune, a skill no doubt honed from years working in cabaret himself. Fuge aus der Geographie [The Geographical Fugue] (1930) is a work for spoken chorus by Viennese-born Ernst Toch (1887–1964) who became prominent among experimental composers in Berlin in the 1920s and is the third movement of his suite of gesprochene musik [spoken music]. At its first performance at the Berlin Festival for AUSTRALIAN CHAMBER ORCHESTRA 11

Contemporary Music in June 1930 the piece caused a sensation, though Toch himself always considered it a triﬂe. Posterity, however, has continued to disagree with him, and no less a ﬁgure than John Cage saw to it that the work was translated and promulgated to English-speaking audiences after Toch moved to Southern California in 1935. Ironically, as Susan Sontag famously explored in her essay Fascinating Fascism (1974), at the same time as Berlin became a short-lived capital of sexual freedom, the emerging Nazi Party were elsewhere perfecting a look that fetishised boots and leather and muscles and racial superiority.

Berlin also gained a reputation for fostering a culture of experimentation in matters rather more corporal, becoming known as a city of sexual tolerance, if not downright permissiveness. Sex and sexuality were constant themes of the art and music of the day, suggesting an openness remarkable even by today’s liberal standards. Spoliansky’s Ach, er hasst, dass ich ihn liebe [Oh, he hates that I love him] which sets words by the screenwriter Felix Joachimson (later Felix Jackson), appears gently to satirise the mess we find ourselves in when we love someone we apparently do not like. By the time the song concludes, however, it seems more likely to be describing a case of stalking, or even erotomania! It was originally recorded by singer Blandine Ebinger in 1930, who was herself married to the composer Friedrich Holländer. Mousie is a song from Viktoria und ihr Husar [Victoria and Her Hussar] (1930), an operetta by Paul Abraham (1892–1960) to a libretto by Alfred Grünwald and Fritz Löhner-Beda and based on a story by the Hungarian Emmerich Földes. In a secondary plot line, Count Ferry Hegedüs, brother to Countess Viktoria, has married the Japanese girl O Lia San (affectionately known as Mousie), here they discuss what they have got up to the night before, and what the new day may yet bring. Max Brand (1896–1980) is remembered today, if at all, as an early pioneer of electronic music who collaborated with Robert Moog, among others. In the early 1930s, however, he was the toast of Europe because of the tremendous popular success of Maschinist Hopkins (1928). A kind of operatic film noir, the work traces the downfall of two ambitious factory workers set against the backdrop of anthropomorphised machines. Its expressionist dramatic and musical character had a major influence on Alban Berg, who at the time was beginning to work on his opera Lulu, and it contains some of the best jazz pastiche of the era, as Black Bottom-Jazz demonstrates. The words were provided to Brand by the self-styled ‘Bad Boy of Music’, and aforementioned composer of Ballet Mécanique, George Antheil. The song appears as part of a night-club scene in the opera.

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Nightclubs were also the subject of Ruth Margarete Roellig’s Berlin’s Lesbische Frauen [Berlin’s Lesbian Woman], which was a guidebook to the city’s lesbian nightlife. This lesbian subculture was also celebrated in Spoliansky’s Wenn die beste Freundin [When the best girlfriend] (1928), which originated as part of a revue he wrote with Schiﬀer entitled Es liegt in der Luft [It’s in the air]. The song became something of an anthem for the lesbian community, not surprising given that it playfully suggests that wives should ditch their husbands for their ‘favourite’ girlfriend. Schulhoff’s Dada-istic work pre-dates by some seventy years the infamous scene featuring Meg Ryan in Rob Reiner’s ﬁlm When Harry met Sally (1989).

By contrast, Schulhoff ’s Sonata Erotica (1919), was explicitly Nur für Herren [for gentlemen only]. Scored for Solo-Muttertrompete (a pun on an old German medical term for the oviduct, the passageway from the ovaries to the outside of the body) this Dadaist work gleefully exploits the shock value of a simulated female orgasm in a public place. We may not register it at first today, but simply calling a work of music Potpourri also had the potential to be provocative. The word does not merely describe a pleasant-smelling perfume, it also notes that the agreeable effect is the result both of a mixing together of otherwise incongruous elements, and their decay (pourri, after all, is the French word for rotten). In this selection from Krenek’s Potpourri, Op.54 (1927), the composer deliberately mixes up a variety of musical styles in a manner that looks forward to the polystylism of later composers like Alfred Schnittke.

After escaping to the USA in 1933, Eisler moved to southern California to compose for ﬁlms such as Hangmen also Die (1943) and None but the Lonely Heart (1944). A run in with Senator McCarthy’s House Committee on Un-American Activities, however, forced him to return to Europe in 1948. He later settled in East Germany.

What none of these composers working in the 1920s could have known, of course, was how quickly this culture of experimentation would be shut down. Of those composers lucky enough to escape, very few were able to continue composing in the same way, some were not able to compose at all. One, however, who was able to maintain a relatively consistent style, if only through sheer force of political conviction, was Hanns Eisler (1898–1962). Initially a pupil of Arnold Schoenberg’s in Vienna, he later fell out with his teacher after embracing Marxism and becoming a member of the German Communist Party. This radically changed his opinion of avant-garde music, including his own up to that point, and instead he developed a very direct, functional style of composition suited to conveying a political message as clearly as possible. The song An den kleinen Radioapparat [To the little radio] was composed to lyrics by Brecht as part of a collection Eisler called the Hollywood Songbook (1942–43). In this song, spoken by a German exile during the Second World War, the singer addresses his radio, which, alas, continues to receive propaganda from Nazi Germany. AUSTRALIAN CHAMBER ORCHESTRA 13

Weill composed Tango-Habanera, “Youkali” (1934) as incidental music for the play Marie Galante by Jacques Deval (pseudonym for Jacques Bouleran, 1894-1972). Lyrics were added in 1946 by Roger Fernay and describe the longing for an idealised home across the seas as being akin to a wistful hope of happiness that can never be realised. Fernay captured in his text a quality of melancholic nostalgia that arguably was already implicit in the music. Friedrich Holländer (1896–1976) was born in London but lived in Berlin from the age of three. He became one of the best-known song-smiths of the Weimar era, not least because many of his songs were performed by Marlene Dietrich. Ich bin von Kopf bis Fuss auf Liebe eingestellt, which in its English translation by Sammy Lerner became ‘Falling in Love Again (Can’t Help It)’ helped catapult Dietrich to international stardom when she sang it in Josef von Sternberg’s ﬁlm Der Blaue Engel [The Blue Angel] (1930). Wenn ich mir was wünschen dürfte [If I could wish for something] (1931) appears in the romantic comedy Der Mann, der seinen Mörder sucht [The man who seeks his own murder] which concerned a man who, having arranged for a contract on himself in order to escape his debts, subsequently falls in love and changes his mind.

Both the words and music (with its allusion to Jewish folk melodies) of Wenn ich mir was wünschen dürfte seem now to presage the fate of exile that was soon to befall the composer himself. Holländer emigrated to the United States in 1934 where he proceeded to write music for over a hundred films. The song The Ruins of Berlin, which appears in a climactic scene towards the end of the film A Foreign Affair, has words drawn from the languages of the four occupying powers (America, Britain, France, and Russia) as well as German. The making of A Foreign Affair (1948) must have had a special poignancy for Holländer and its star Marlene Dietrich, as well as for its Director Billy Wilder, as it includes long sequences shot amidst the rubble of the city that had once been their home.

The optimism of the lines “A brand new spring is to begin / Out of the ruins of Berlin!” was not, it seems, misplaced. The post-war reconstruction of Berlin and – particularly since reuniﬁcation – its return as a world-leading creative centre are justly celebrated today. Nevertheless we would do well to remember that the freedoms that nourish such creativity are fragile and all-too-easily lost. And while the ‘phantoms of the past’ may indeed never return, we nevertheless owe it to the voices that they silenced and indeed to ourselves to let their music be heard again. PETER TREGEAR © 2013 Australian National University

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TEXTS AND TRANSLATIONS Alles Schwindel

It’s all a swindle

Papa schwindelt, Mama schwindelt, tut sie auf bloss ihren Mund! Tante Otilie, und die Familie und sogar der kleine Hund! Und besieht man’s aus der Nähe: Jedes Band und jede Ehe jeder Kup in dern Betriebe und sogar die grosse Liebe! Und die ganze heut’ge Zeit ja, sogar die Ehrlichkeit!

Papa swindles, Mama swindles, Grandmama’s a lying thief! We’re perfectly shameless, but we’re blameless after all it’s our belief! Nowadays the world is rotten, honesty has been forgotten fall in love but after kissing – check your purse to see what’s missing! Everyone swindles some, my son’s a mooch and so’s the pooch!

Alles Schwindel, alles Schwindel, überall wohin du guckst und wohin du spuckst! Alles ist heut ein Gesindel, jedes Girl und jeder Boy, ’s wird einem schlecht dabei! ’s wird ein’m schwindlig von dem Schwindel, alles, alles, alles Schwindel, unberufen toi! toi! toi!

Life’s a swindle, yes, it’s all a swindle, so get what you can from your fellow man! Girls and boys today would rather steal than play and we don’t care, we tell them get your share! Life is short and greed’s in season, all mankind has lost its reason, life is good, knock on wood, knock, knock!

Kaufmann schwindelt Käufer schwindelt, mit dem höﬂichsten Gesicht! Man schwebt in Ängsten, nichts währt am Längsten, also warum soll man nicht! Jede freundliche Verbeugung, jede feste Überzeugung, Preisabbau, solide Preise, ob zu Hause, auf der Reise! Jeder Ausblick, wo es sei, selbst für den, der schwindelfrei! Alles Schwindel, alles Schwindel, usw.

Shops will swindle, shoppers swindle, every purchase hides a tale! The price is inﬂated, or regulated, to ensure the store will fail! Wheel and deal and pull a fast one knowing you won’t be the last one, get the goods while they are going, grab the cash while it is ﬂowing! Everyone swindles some, what the heck go bounce a check! Life’s a swindle, yes, it’s all a swindle, etc.

Bürger schwindelt, Staatsmann schwindelt, Schwindel, was die Zeitung schreibt, Moral und Sitte, rechts, links und Mitte! Ehrlich ist, was übrig bleibt! Alles sucht sich zu betrügen, na, sonst müsst’ich wirklich lügen! Bins, das kann ich glatt beteuern: Könnt’ den Schwindel man besteuern, hätt’ der Staat nicht Sorgen mehr, denn dann wär’ er Millionär! Alles Schwindel, alles Schwindel, usw.

Politicians are magicians who make swindles disappear. The bribes they are taking, the deals they are making, never reach the public’s ear! The left betrays, the right dismays, the country’s broke and guess who pays! But tax each swindle in the making proﬁts will be record breaking. Everyone swindles some, so vote for who will steal for you! Life’s a swindle, yes, it’s all a swindle, etc. English translation courtesy of the Mischa Spoliansky Trust

AUSTRALIAN CHAMBER ORCHESTRA 15

Seeräuber-Jenny

Pirate Jenny

Meine Herren, heute sehen Sie mich Gläser abwaschen Und ich mache das Bett für jeden. Und Sie geben mir einen Penny und ich bedanke mich schnell Und Sie sehen meine Lumpen und dies lumpige Hotel Und Sie wissen nicht, mit wem Sie reden. Und Sie wissen nicht, mit wem Sie reden. Aber eines Abends wird ein Geschrei sein am Hafen Und man fragt: Was ist das für ein Geschrei? Und man wird mich lächeln sehn bei meinen Gläsern Und man sagt: Was lächelt die dabei?

You people can watch while I’m scrubbing these ﬂoors And I’m scrubbin’ the ﬂoors while you’re gawking Maybe once ya tip me and it makes ya feel swell In this crummy Southern town, in this crummy old hotel But you’ll never guess to who you’re talkin’. No. You couldn’t ever guess to who you’re talkin’. Then one night there’s a scream in the night And you’ll wonder who could that have been And you see me kinda grinnin’ while I’m scrubbin’ And you say, “What’s she got to grin?” I’ll tell you.

Und ein Schiﬀ mit acht Segeln Und mit fünfzig Kanonen Wird liegen am Kai.

There’s a ship, the black freighter With a skull on its masthead Will be coming in.

Man sagt: Geh, wisch deine Gläser, mein Kind Und man reicht mir den Penny hin. Und der Penny wird genommen, und das Bett wird gemacht! (Es wird keiner mehr drin schlafen in dieser Nacht.) Und sie wissen immer noch nicht, wer ich bin. Und sie wissen immer noch nicht, wer ich bin. Aber eines Abends wird ein Getös sein am Hafen Und man fragt: Was ist das für ein Getös? Und man wird mich stehen sehen hinterm Fenster Und man sagt: Was lächelt die so bös?

You gentlemen can say, “Hey gal, ﬁnish them ﬂoors! Get upstairs! What’s wrong with you! Earn your keep here!” You toss me your tips and look out to the ships But I’m counting your heads as I’m making the beds Cuz there’s nobody gonna sleep here, honey Nobody! Nobody! Then one night there’s a scream in the night And you say, “Who’s that kicking up a row?” And ya see me kinda starin’ out the winda And you say, “What’s she got to stare at now?” I’ll tell ya.

Und das Schiﬀ mit acht Segeln Und mit fünfzig Kanonen Wird beschiessen die Stadt.

There’s a ship, the black freighter Turns around in the harbour Shootin’ guns from her bow.

Meine Herren, da wird ihr Lachen aufhören Denn die Mauern werden fallen hin Und die Stadt wird gemacht dem Erdboden gleich. Nur ein lumpiges Hotel wird verschont von dem Streich Und man fragt: Wer wohnt Besonderer darin? Und man fragt: Wer wohnt Besonderer darin? Und in dieser Nacht wird ein Geschrei um das Hotel sein Und man fragt: Warum wird das Hotel verschont? Und man wird mich sehen treten aus der Tür am Morgen Und man sagt: Die hat darin gewohnt?

Now you gentlemen can wipe that smile oﬀ your face ’Cause every building in town is a ﬂat one This whole frickin’ place will be down to the ground Only this cheap hotel standing up safe and sound And you yell, “Why do they spare that one?” Yes, that’s what you say. “Why do they spare that one?” All the night through, through the noise and to-do You wonder “Who is that person that lives up there?” And you see me stepping out in the morning Looking nice with a ribbon in my hair.

Und das Schiﬀ mit acht Segeln Und mit fünfzig Kanonen Wird beﬂaggen den Mast.

And the ship, the black freighter Runs a ﬂag up its masthead And a cheer rings the air.

Und es werden kommen hundert gen Mittag an Land Und werden in den Schatten treten Und fangen einen jeglichen aus jeglicher Tür Und legen ihn in Ketten und bringen vor mir Und fragen: Welchen sollen wir töten? Und an diesem Mittag wird es still sein am Hafen Wenn man fragt, wer wohl sterben muss. Und dann werden Sie mich sagen hören: Alle! Und wenn dann der Kopf fällt, sag ich: Hoppla!

By noontime the dock is a-swarmin’ with men Comin’ out from the ghostly freighter They move in the shadows where no one can see And they’re chainin’ up people and they’re bringin’ em to me. Askin’ me, “Kill them now, or later?” Noon by the clock and so still by the dock You can hear a foghorn miles away And in that quiet of death I’ll say, “Right now. Right now!” Then they’ll pile up the bodies And I’ll say, “That’ll learn ya!”

16 AUSTRALIAN CHAMBER ORCHESTRA

Und das Schiﬀ mit acht Segeln Und mit fünfzig Kanonen Wird entschwinden mit mir.

And the ship, the black freighter Disappears out to sea And on it is me. English translation by Marc Blitzstein

Geographical Fugue Trinidad! And the big Mississippi and the town Honolulu and the lake Titicaca, the Popocatepetl is not in Canada rather in Mexico, Mexico, Mexico! Canada, Málaga, Rimini, Brindisi, Canada, Málaga, Rimini, Brindisi. Yes, Tibet, Tibet, Tibet, Tibet, Nagasaki! Yokohama! Nagasaki! Yokohama!

Das Lied vom Surabaya Johnny

Surabaya Johnny

Ich war jung, Gott, erst sechzehn Jahre Du kamest von Birma herauf Du sagtest, ich solle mit dir gehen Du kämest für alles auf Ich fragte nach deiner Stellung Du sagtest, so wahr ich hier steh Du hättest zu tun mit der Eisenbahn Und nichts zu tun mit der See.

I had just turned sixteen that season When you came up from Burma to stay. And you told me I ought to travel with you, You were sure it would be OK. When I asked how you earned your living, I can still hear what you said to me: You had some kind of job on the railway And absolutely nothing to do with the sea.

Du sagtest viel, Johnny Kein Wort war wahr, Johnny Du hast mich betrogen, Johnny, zur der ersten Stund Ich hasse dich so, Johnny Wie du da stehst und grinst, Johnny. Nim die Pfeifer, aus dem Maul, du Hund.

You said a lot, Johnny, All one big lie, Johnny. You cheated me blind, Johnny, From the minute we met. I hate you so, Johnny, When you stand there grinning, Johnny. Take that damn pipe out of your mouth, you rat.

Surabaya-Johnny, warum bist du so roh? Surabaya-Johnny, mein Gott, ich liebe dich so. Surabaya-Johnny, warum bin ich nicht froh? Du hast kein Herz, Johnny, und ich liebe dich so.

Surabaya Johnny, No one’s meaner than you. Surabaya Johnny, My God and I still love you. Surabaya Johnny, I yearn for your touch, You have no heart, Johnny, And I still love you so much.

Zuerst war es immer Sonntag Das war, bis ich mitging, mit dir Aber dann schon nach zwei Wochen War dir nichts mehr recht an mir Hinauf und hinab durch den Pandschab Den Fluss entlang bis zur See. Ich sehe schon aus im Spiegel Wie eine Vierzigjährige.

At the start, every day was Sunday, Till we went on our way one ﬁne night. And before two more weeks were over, You said nothing I did was right. So we trekked up and down through the Punjab, From the source of the river to the sea. When I look at my face in the mirror, There’s an old woman staring back at me.

Du wolltest nicht Liebe, Johnny Du wolltest Geld, Johnny Ich aber sah, Johnny, nur auf deinen Mund

You didn’t want love, Johnny, You wanted cash, Johnny. But I saw your lips, Johnny, And that was that. AUSTRALIAN CHAMBER ORCHESTRA 17

Du verlangtest alles, Johnny, Ich gab dir mehr, Johnny. Nimm doch die Pfeife aus dem Maul, du Hund!

You wanted it all, Johnny, I gave you more, Johnny. Take that damn pipe out of your mouth, you rat.

Surabaya-Johnny, warum bist du so roh? Surabaya-Johnny, mein Gott, und ich liebe dich so. Surabaya-Johnny, warum bin ich nicht froh? Du hast kein Herz, Johnny, und ich liebe dich so.

Surabaya Johnny. No one’s meaner than you. Surabaya Johnny. My God and I still love you so. Surabaya Johnny, Why am I feeling so blue? You have no heart, Johnny. And I still love you so.

Ich habe es nicht beachtet Warum du den Namen hast Doch an der ganzen langen Küste Warst du ein bekannter Gast Eines morgens in einem Sixpencebett Werd ich donnern hören die See Und du gehst, ohne etwas zu sagen Und dein Schiﬀ liegt unten am Kai.

I would never have thought of asking Where you got that peculiar name, But from one end of the coast to the other You were known everywhere we came. And one day in a two-bit ﬂophouse I’ll wake up to the roar of the sea, And you’ll leave without one word of warning On a ship waiting down at the quay.

Du hast kein Herz, Johnny Du bist ein Schuft, Johnny Du gehst jetzt weg, Johnny, sag mir den Grund Ich liebe dich doch, Johnny Wie am ersten Tag, Johnny Nimm doch die Pfeife aus dem Maul, du Hund.

You have no heart, Johnny! You’re just a louse, Johnny! How can you go, Johnny, And leave me ﬂat? You’re still my love, Johnny, Like the day we met, Johnny. Take that damn pipe out of your mouth, you rat.

Surabaya-Johnny, warum bist du so roh? Surabaya-Johnny, mein Gott, und ich liebe dich so. Surabaya-Johnny, warum bin ich nicht froh? Du hast kein Herz, Johnny, und ich liebe dich so.

Surabaya Johnny. No one’s meaner than you. Surabaya Johnny, My God and I still love you so. Surabaya Johnny, Why am I feeling so blue ? You have no heart, Johnny. And I still love you so.

Mousie Though we know that love’s inspiring Mousie, Honeymoons are rather tiring Mousie! I shall never tire of you, my dear We’ve so much that’s new to do when we’re together! Mousie! What did we do last night? (In the night! In the night!) It seem’d alright! (It was right! Very right!) But was it right? Do-do-do Mousie! What can we do all day? (Do today? All today?) I feel so gay! (Very gay! So you may!) I can’t help laughing! There are some things we still might do! I’ve thought of quite a few! Which I’ll whisper to you! Mousie You haven’t told me half! (Not a half! Not a half!) You make me laugh! Marriage is a grand invention, Mousie! But it needs one’s whole attention Mousie! 18 AUSTRALIAN CHAMBER ORCHESTRA

It’s a whole time job, I know, but I’m Sure we shan’t mind working overtime together! English translation by Harry Graham

Ach, er hasst, dass ich ihn liebe!

Oh, he hates it that I love him!

Ach, er hasst, dass ich ihn liebe, Weil er hasst, dass ich ihn liebe, Darum kann ich ihn mich lieben, Weil er das so hasst.

Oh, he hates it that I love him, For he hates it that I love him, So that I can get him to love me, Because that is what he hates.

Ach, er liebt, dass ich ihn hasse, Weil er liebt, dass ich ihn hasse, Darum muss ich ihn jetzt hassen, Weil er das so liebt.

Oh, he loves it that I hate him, Because he loves it that I hate him, Therefore I must hate him now, Because that is what he loves.

Weil er das so liebt, ta ta ta-ra-ta, Weil er das so liebt, ta ta ta-ra-ta. Tu ich das und das, tu ich das und das, Tu ich das und das, tu-tu-tu-tu Tu-u-tu tu-tu-tu ich das und das für ihn.

Because that is what he loves, ta ta ta-ra-ta, Because that is what he loves, ta ta ta-ra-ta. I do this and that, I do this and that, I do this and that, do-do do-do Do-o-do do-do-do this and that for him.

Ta ta ta da, ta ta ta da, etc. Weil er das so liebt, weil er das so liebt, Weil er das so liebt, ta ta ta ra ta, Weil er das so liebt, ta ta ta ra ta, Tu ich das und das, tu ich das und das, Tu ich das und das, und das, und das, und das, Und das, und das, und das, und das, Tu ich das und das für ihn.

Ta ta ta da, ta ta ta da, etc. Since that is what he loves, since that is what he loves, Since that is what he loves, ta ta ta ra ta, Since that is what he loves, ta ta ta ra ta, I do this and that, and that, and that, and that, I do this and that and this and that And that, and that, and that, and that, I do this and that for him.

Ach, er hasst, dass ich in liebe, Weil er hasst, dass ich ihn liebe, Darum kenn ich ihn nicht lieben, Weil er das so hasst.

Oh, he hates it that I love him, For he hates it that I love him, So I know not to love him, Because that is what he hates. English translation by Peter Tregear

Black Bottom-Jazz from Maschinist Hopkins Mabramhobhan, the mighty Sultan He ran for the beauty prize In the mighty province of Turkestan. He ran alone; no one else dared. For in America, there is Miss Germany, Miss France, Spain and Italy. Oh! What a good girl’s friend he will make for some of those girls! Years of practice and tears That made him a virtuoso! He just knew they couldn’t be any diﬀ ’rent and when they discovered he wasn’t a ﬂapper. Oh, my then! Whow! What a good friend, he’ll make for all those girlfriends. AUSTRALIAN CHAMBER ORCHESTRA 19

Wenn die beste Freundin

When the best girlfriend

Wenn die beste Freundin mit der besten Freundin, um was einzukaufen, um was einzukaufen, um sich auszulaufen, durch die Strassen latschen, um sich auszuquatschen, spricht die beste Freundin zu der besten Freundin. Meine beste Freundin. o meine beste Freundin, o meine schöne Freundin, o meine treue Freundin, o meine süsse Freundin! Geht die beste Freundin mit der besten Freundin, spricht die beste Freundin zu der besten Freundin: Meine beste, meine beste Freundin.

When the best girlfriend with the best girlfriend, for shopping, for shopping, going for a walk, tramping the streets, blabbing about everything, says the best girlfriend to the best girlfriend. My best girlfriend. O my best girlfriend, o my pretty girlfriend, o my faithful girlfriend, o my sweet girlfriend! Walks the best girlfriend with the best girlfriend, says the best girlfriend to the best girlfriend: My best, my best girlfriend.

–Ja, was sagt denn da die beste Freundin? Sag mir doch mal, was dir so gerade einfällt! –Also, ich kann dir nur eins sagen, wenn ich dich nicht hätte, wir vertragen uns beide so gut… –Ja, wir vertragen uns so furchtbar gut. –Wie wir uns beide gut zusammen vertragen! –Es ist kaum noch auszuhalten, wie gut wir beide uns vertragen, nur mit einem vertrage ich mich noch so gut mit meinem süssen kleinen Mann. –Ja, mit deinem süssen kleinen Mann

–Yes, what does the best girlfriend say? Tell me what crosses your mind! –Also, I can only tell you one thing, if I didn’t have you, we get along so well… –Yes, we get along terribly well. –How good we get along! –We can hardly bear how great we get along, there is just one person I get along with equally well, and that is my little cute husband. –Yes, with your little cute husband.

Ja, mein Mann ist ein Mann! So ein Mann, wie mein Mann! Wie der Mann von der Frau, wie der Mann von der Frau! Früher gab`s noch Hausfreund, doch das schwand dahin! Heute statt des Hausfreunds gibt’s die Hausfreundin!

Yes, my husband is a man! What a man, like my husband! Like the husband of the wife, like the husband of the wife! We used to have paramours, but they exist no longer! Today instead of paramours, we have girlfriends!

–Dein kleiner Mann ist aber aufdringlich! –So? –Ja. –Warum? –Na, ich finde –Na, wieso? –Warum ich finde…? –Wieso findest du? –Er macht solche Sachen… –Das passt mir aber gar nicht! –Nanu…Na gut, vertragen wir uns! (Küsse) –Na gut, vertragen wir uns! (Küsse)

–Your little man is a bit pushy! –So? –Yes. –Why? –Well, I find –Well, why? –Why I find …? –Why you find? –He does those things… –I don’t like that! –Hmm. Okay. Let’s make up! (Kisses) –Okay, we make up! (Kisses) English translation from www.cabaret-berlin.com

20 AUSTRALIAN CHAMBER ORCHESTRA

An den kleinen Radioapparat

To the little radio

Du kleiner Kasten, den ich flüchtend trug Dass seine Lampen mir auch nicht zerbrächen Besorgt vom Haus zum Schiff, vom Schiff zum Zug Dass meine Feinde weiter zu mir sprächen.

O little box I carried in my ﬂight So as not to break the radio tubes inside me From house to boat, from boat to train held tight, So that my enemies could still address me.

An meinem Lager und zu meine Pein Der letzten nachts, der ersten in der Früh Von ihren Siegen und von meiner Müh: Versprich mir, nicht auf einmal stumm zu sein!

Right where I slept and much to my dismay Last thing each night and ﬁrst thing ev’ry day About their victories (defeats for me); O please do not fall silent suddenly! Translation by Eric Bentley

Wenn ich mir was wünschen dürfte

If I could wish for something

Man hat uns nicht gefragt als wir noch kein Gesicht, ob wir leben wollten oder besser nicht.

We were not asked when we as yet had no face, whether we wanted to live or we’d rather not.

Jetzt gehe ich allein durch eine grosse Stadt und ich weiss nicht, ob sie mich lieb hat.

Now I walk alone through a great city and I do not know if she loves me.

Ich schaue durch die Fenster, durch Tür– und Fensterglas und ich warte, und ich warte auf etwas.

I look through the window, through door and window pains and I wait, and I wait for something.

Wenn ich mir was wünschen dürfte, käme ich in Verlegenheit, was ich mir den wünschen sollte, eine gute oder schlechte Zeit.

If I could wish for something, I would become embarrassed, What should I wish for? A good or a bad time?

Wenn ich mir was wünschen dürfte, möcht ich etwas glücklich sein, denn wenn ich gar zu glücklich wäre, hätte ich Heimweh nach dem Traurigsein.

If I could wish for something, I would like to be just a little bit happy, because if I were too happy, I would be homesick for sadness. English translation by Peter Tregear

The Ruins of Berlin The Ruins of Berlin has words drawn from the languages of the four occupying powers of post-war Berlin (America, Great Britain, France, and Russia) as well as German. Amidst the ruins of Berlin Trees are in bloom as they have never been. Sometimes at night you feel in all your sorrow A perfume as soft as sweet tomorrow. That’s when you realise at last They won’t return, the phantoms of the past. A brand new spring is to begin Out of the ruins of Berlin. In den Ruinen von Berlin, Fangen die Blumen wieder anzublühn, Und in der Nacht spürst du von allen Seiten, Einen Duft als wie aus alten Zeiten.

Amidst the ruins of Berlin Trees are in bloom as they have never been. Sometimes at night you feel in all your sorrow A perfume as soft as sweet tomorrow.

Dans les ruines de Berlin Les arbes en ﬂeurs parfument ton chemin! И на развалинах Берлина Начнётся новая весна!

Amidst the ruins of Berlin Trees are in bloom as they have never been. A brand new spring is to begin Out of the ruins of Berlin. AUSTRALIAN CHAMBER ORCHESTRA 21

BARRY HUMPHRIES © Greg Gormah

CONFÉRENCIER AND VOICE Barry Humphries was educated at the University of Melbourne, where he studied law, philosophy and fine arts. After writing and performing songs and sketches in university revues, he joined the newly formed Melbourne Theatre Company. In 1956, he created the character of Mrs Everage, a Melbourne housewife who has since become the internationally celebrated megastar, Dame Edna. During the 1960s, after moving to London, Mr Humphries appeared in numerous West End productions, most notably the musicals Oliver! and Maggie May, by Lionel Bart, and stage/radio productions by his friend Spike Milligan. Mr Humphries gained particular notoriety when he first brought Mrs Everage to the British stage at the Fortune Theatre in 1969 for his one-man Just a Show. In the mid-70s, he starred at the Apollo Theatre in Housewife, Superstar! Since then Mr Humphries has been featured as Dame Edna in four more London stage offerings including A Night with Dame Edna (1979), for which he won the Society of West End Theatres Award; An Evening’s Intercourse (1982); two seasons of Back with a Vengeance (1987 and 1988); and Look at Me When I’m Talking to You (1996), culminating in Edna, The Spectacle (1998) at the Theatre Royal Haymarket. He has made theatrical tours in Germany, Scandinavia, The Netherlands, Australia, the US and in the Far and Middle East. He won a Special Tony Award for his 2000 Broadway offering Dame Edna, The Royal Tour and a Tony nomination in 2004 for Back with a Vengeance. His latest production Eat, Pray, Laugh (2012/13) has just finished a tour of Australia before going to the UK in the autumn of 2013. Dame Edna has also made numerous television appearances in Australia, the UK and the US, and these popular programs have since been repeated all over North America and Europe, winning Mr Humphries the Golden Rose of Montreux in 1991. Barry Humphries is the author of several books, novels, autobiographies and plays. His autobiography won the J.R. Ackerley Prize for Biography in 1993 and he is the subject of three critical and biographical studies: The Real Barry Humphries by Peter Coleman, Dame Edna Everage the Rise of Western Civilisation by John Lahr and One Man Show: The Stages of Barry Humphries by Anne Pender. Mr Humphries’ most recent book is Handling Edna (2009, Hachette Australia/Orion UK 2010). He is also one of Australia’s most admired landscape painters. His pictures are in many private and public collections both in his homeland and abroad. He was given the Order of Australia in 1982, was endowed with an Honorary Doctorate of Griffith University (Australia) in 1994 and a Doctorate of Law at his Alma Mater, Melbourne University, in 2003. He was also the recent recipient of The Sydney Theatre Awards Lifetime Achievement Award (2012). In 2007 Mr Humphries was awarded the CBE for his contribution to the arts. He is married to Lizzie Spender, the daughter of British poet Sir Stephen Spender, and has two sons and two daughters.

22 AUSTRALIAN CHAMBER ORCHESTRA

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.” THE DAILY TELEGRAPH (UK)

Select Discography As soloist: BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surﬁca (DVD) Best Feature, New York Surf Film Festival As director: GRIEG Music for String Orchestra BIS SACD-1877

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Jonny Greenwood, Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank. 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.

Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop

AUSTRALIAN CHAMBER ORCHESTRA 23

MEOW MEOW © Harmony Nicholas

SPECIAL GUEST ARTIST Post-post-modern diva Meow Meow’s unique brand of ‘kamikaze cabaret’ and performance art exotica has hypnotised, inspired and terrified audiences globally. The spectacular crowd-surfing queen of song ‘drags cabaret kicking and screaming into the 21st century’ (Time Out, New York), with trail-blazing sell-out seasons from New York’s Lincoln Center and Berlin’s Bar Jeder Vernunft to London’s Apollo Theatre and the Sydney Opera House. Named ‘cabaret diva of the highest order’ (New York Post); and One of the Top Performers of the Year by The New Yorker, Meow’s work has been curated by David Bowie, Pina Bausch and Mikhail Baryshnikov amongst others, and has created original works for numerous international arts festivals and venues as well as performing everything from Schubert and Schumann with orchestra to touring with punk outfit Amanda Palmer and The Dresden Dolls. Meow starred recently on London’s West End in Kneehigh Theatre and Michel Legrand’s The Umbrellas of Cherbourg and in her own solo concerts at the legendary Apollo Theatre. She had a sensational 21-show season of the Malthouse Theatre and Sydney Festival commissioned Meow Meow’s Little Match Girl at London’s Queen Elizabeth Hall, Southbank Centre in December, and performed Cocteau’s piece for Piaf, Le Bel Indifferent, for the Greenwich Music Festival in the United States. She has won numerous Green Room Awards, Helpmann Awards, Sydney Theatre Critics, the Edinburgh International Festival Fringe Prize, and the New York Franklin Furnace Performance Art Award amongst others. Meow has just had her debut as Jenny in Brecht/Weill’s Die Dreigroschenoper with The London Philharmonic under Maestro Jurowski in Paris Théâtre des Champs-Elysées and London Royal Festival Hall, and she joins the London Philharmonic again in July for further UK performances. These ACO concerts mark a welcome return to collaboration with Rodney Fisher and Iain Grandage. Meow’s albums with long-time collaborator composer Iain Grandage, Vamp and Songs from a Little Match Girl, are available on iTunes. With Pink Martini’s Thomas M. Lauderdale she has written and recorded the album Here Kitty Kitty... The lost sessions, due for release in 2013. The two will perform their works with the Oregon Symphony in the United States in September. Meow’s accessories courtesy of Isaac Lummis. meowmeowrevolution.com

24 AUSTRALIAN CHAMBER ORCHESTRA

IAIN GRANDAGE © Pia Johnson

COMPOSER & ARRANGER Iain Grandage is both a musician and a composer for theatre, dance and the concert hall. He has been Composer-in-Residence with the West Australian Symphony Orchestra, the Youth Orchestras of Australia and Black Swan Theatre Company. He was recently honoured with the prestigious Sidney Myer Performing Arts Award, and has previously received the Ian Potter Emerging Composer Fellowship. He is currently an Honorary Research Fellow at the UWA School of Music. Iain has won Helpmann and Green Room Awards for theatre scores, which include The Blue Room, The Book of Everything, Cloudstreet, In the Next Room, Little Match Girl, and The Secret River. His scores for dance include the award-winning Lawn (Splinter Group) and Remember Me (DanceNorth). Iain’s concert works have been performed by the ACO, Brodsky String Quartet, Australian String Quartet, Australian Brass Quintet, Sara Macliver, Craig Ogden, and by choirs and orchestras around Australia. He has won APRA/AMC awards and has completed orchestral arrangements for Ben Folds, Gurrumul, Tim Minchin, Steve Pigram, Tim Rogers, Sinead O’Connor, Tiddas and The Whitlams. Iain plays cello as part of the chamber ensemble Overlander with William Barton, Claire Edwardes and Melanie Robinson, and has moonlighted with the Brodsky Quartet, Australian Art Orchestra and Topology. He regularly performs piano with cabaret überdiva Meow Meow, and was Music Director of Meow’s Wunderschön with ANAM. Iain has acted as musical supervisor and arranger for the Black Arm Band’s Hidden Republic, Dirtsong and Seven Songs presentations, and was music director and arranger for Eddie Perfect’s Songs from the Middle. He conducted all the Australian symphony orchestras as part of the 2012 Tim Minchin vs the Orchestra tour.

RODNEY FISHER AM DIRECTOR Rodney has worked in most major theatre companies in Australia as well as Opera Australia, Victoria State Opera, Bavarian State Opera, Royal Ballet London and Legs on the Wall. Rodney has worked in dance, ﬁlm, and has written several theatre pieces and screenplays. Highlights include: The Bastard from the Bush (Robin Ramsay one-man show); A Star is Torn (Robyn Archer); Master Class, My Fair Lady (Anthony Warlow and Suzanne Johnston) and Steaming (legendary Australian tour). Work for Sydney Theatre Company includes: The Lady in the Van, Pentecost, The Rain Dancers, The Secret Rapture and The Doll Trilogy. For MTC includes: Design for Living, Hay Fever. State Theatre Co SA: The Department and, as Artistic Director, Macbeth, The Idiot, Kafka Dances, The Rose Tattoo and Twelfth Night. Others include: The Merry Widow (Ess Gee Productions), From Here to There (Legs on the Wall), A Winter’s Tale (QTC), My Fair Lady (VSO), Maria Stuarda (AO/VSO) and Lady Bracknell’s Conﬁnement (Diana Bliss and MIF). Other work includes Hello Dolly (The Production Company), My Darling It’s Noel (ICA), Shock of the New (Sydney Symphony), La Traviata (MCO) and Don John (SSO). Recently Rodney has directed for NIDA and in 2013 he will direct Hit Productions’ national tour of The Book Club starring Amanda Muggleton. Rodney is the recipient of many awards including the Order of Australia for Services to Directing and Writing. AUSTRALIAN CHAMBER ORCHESTRA 25

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 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

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span 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. 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 (except for the cellists) ensemble for which it is now 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; 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 Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter William Weiss AO. 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 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.

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

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. aco.com.au

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

26 AUSTRALIAN CHAMBER ORCHESTRA

MUSICIANS ON STAGE

Photos: Paul Henderson-Kelly, Helen White

RICHARD TOGNETTI AO§

SATU VÄNSKÄ≈

NICOLE DIVALL

Director & Violin Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

Principal Violin & Voice Chair sponsored by Robert & Kay Bryan

Acting Principal Viola Chair sponsored by Ian Lansdown

Players dressed by

AKIRA ISOGAWA

JULIAN THOMPSON#

MAXIME BIBEAU

Acting Principal 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

≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund # Julian Thompson plays a 1721 Giuseppe Guarneri ﬁlius Andræ cello kindly on loan from the Australia Council

Flute/Piccolo

Saxophones (Alto & Tenor)

Piano

EMMA SHOLL1

JAMES NIGHTINGALE

BENJAMIN MARTIN

Oboe/Cor Anglais

Trumpet

Guitar/Banjo

SHEFALI PRYOR1

TRISTRAM WILLIAMS

STEPHEN LALOR

Clarinet/Bass Clarinet

Trombone

Accordion

MITCHELL BERICK2

CHARLES MACINNES

CATHIE TRAVERS

Bassoon

Principal Percussion

ANDREW BARNES3

BRIAN NIXON

1 2

Chair sponsored by Mr Robert Albert AO & Mrs Libby Albert

Courtesy of Sydney Symphony Courtesy of Adelaide Symphony Orchestra Courtesy of Sydney Conservatorium of Music, University of Sydney

Percussion

JESS CIAMPA

PRODUCTION CREDITS Rodney Fisher Director Iain Grandage Music Supervision and Arranger Simon Lear Audio Engineer

Stephanie Kamasz Stage Manager Sian James-Holland Lighting Design Consultant

Carmelo Pizzino Choreographer Peter Tregear Musicological Consultant Special thanks to Nick Schlieper

AUSTRALIAN CHAMBER ORCHESTRA 27

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 John Grill 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 Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti AO ARTISTIC & OPERATIONS Luke Shaw Head of Operations and Artistic Planning 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 Vicki Norton Education and Emerging Artists Manager Sarah Conolan Education Assistant FINANCE Cathy Davey Chief Financial Oﬃcer Steve Davidson Corporate Services Manager Shyleja Paul Assistant Accountant DEVELOPMENT Jill Colvin Acting Development Manager Rebecca Noonan Acting Corporate Relations and Public Aﬀairs Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Lillian Armitage Philanthropy Manager Ali Brosnan Patrons and Foundations Executive Stephanie Ings Investor Relations Manager Sally Crawford Development Coordinator

AUSTRALIAN CHAMBER ORCHESTRA

MARKETING Rosie Rothery Marketing Manager Amy Goodhew Marketing Coordinator Clare Morgan National Publicist Hazel Savage Publicity Coordinator and Videographer Chris Griffith Box Office Manager Poppy Burnett Box Office and CRM Database Assistant Dean Watson Customer Relations Manager David Sheridan Office Administrator and Marketing Assistant 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: aco@aco.com.au Website: aco.com.au

28 AUSTRALIAN CHAMBER ORCHESTRA

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

PO Box 7585 St Kilda Road Melbourne Vic 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Ms Deborah Beale Ms Terry Bracks AM Mr Julian Clarke Ms Catherine McClements Mr Graham Smorgon AM Prof Leon van Schaik AO Mr David Vigo EXECUTIVE GROUP Ms Judith Isherwood, Chief Executive Ms Jodie Bennett, Executive Corporate Services Mr Tim Brinkman, Executive Performing Arts Mr Michael Burns, Executive Facilities & Asset Management Ms Louise Georgeson, General Manager – Development, Corporate Communications & Special Events Mr Kyle Johnston, Executive Customer Enterprises 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. 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.

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: music.venues@anu.edu.au

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

AUSTRALIAN CHAMBER ORCHESTRA 29

ACKNOWLEDGEMENTS VENUE SUPPORT

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 www.cityrecitalhall.com

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: sydneyoperahouse.com

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

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

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS:

New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. 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—133 — 17049 — 1/230413

30 AUSTRALIAN CHAMBER ORCHESTRA

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

Helena Rathbone

Satu Vänskä

Lead 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

peckvonhartel architects

Peter William Weiss AO

John Taberner & Grant Lang

Viola Chair Philip Bacon AM

Anthony & Sharon Lee

Violin Chair Terry Campbell AO & Christine Campbell

Mark Ingwersen

Rebecca Chan

Cello

Violin

The Bruce & Joy Reid Foundation

Ilya Isakovich

Ian Wallace & Kay Freedman

CORE CHAIRS Aiko Goto Violin

Melissa Barnard

Violin

Australian Communities Foundation – Connie & Craig Kimberley Fund

Julian Thompson Nicole Divall

Cello

Viola

The Clayton Family

Ian Lansdown

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon

Mr R. Bruce Corlett AM & Mrs Ann Corlett

Principal Timpani

Mr Robert Albert AO & Mrs Libby Albert

AUSTRALIAN CHAMBER ORCHESTRA 31

WORLD ORCHESTRA SERIES

PERTH THEATRE TRUST PRESENTS

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PERTH CONCERT HALL THURS 21 & FRI 2 2 NOV E M B E R , 8 PM 2 0 1 3

“The world’s greatest orchestra” GRAMOPHONE MAGAZINE

BOOK NOW 1300 795 012 | visit a Venue Box ofﬁce or Ticketek agencies | ticketek.com.au

THEATRE MENUS PRIME RESTAURANT - $59 2 courses + a glass of wine

Your choice of selected dishes + a glass of wine

SUBTERRANEAN BAR & GRILL - $19.50

INTERMEZZO RISTORANTE - $59 2 courses + a glass of wine

Any small pizza + a glass of wine

POSTALES RESTAURANTE - $47 2 courses + a glass of wine

Your choice of selected dishes + a glass of wine

POSTALES TAPAS BAR - $19.50 Your choice of one tapa + a glass of wine

Your choice of burger, chips, salad + a glass of wine

GPO PIZZA BY WOOD - $19.50 GPO OYSTER BAR - $19.50 CRYSTAL BAR - $19.50

Bookings: 9229 7700 | Web: www.gposydney.com

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

FOUNDING PATRONS PETER WILLIAM WEISS AO, PATRON VISIONARY $1m+ Peter William Weiss AO

LEADER $500,000–$999,999

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

CONCERTO $200,000–$499,000 Amina Belgiorno-Nettis Naomi Milgrom AO

OCTET $100,000–$199,000 QUARTET $50,000–$99,000 John Leece OAM & Anne Leece

SONATA $25,000–$49,999

SOLO $5,000  $9,999 Amanda Staﬀord

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

AUSTRALIAN CHAMBER ORCHESTRA 33

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

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

34 AUSTRALIAN CHAMBER ORCHESTRA

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 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 CourtMather International Tour Supporters Jenny & Stephen Charles Julia Ross

AUSTRALIAN CHAMBER ORCHESTRA 35

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+ Australian Communities Foundation – Ballandry Fund Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin Carapiet Foundation Mark Carnegie Darin Cooper Family Geoﬀ & Dawn Dixon John B Fairfax AO Chris & Tony Froggatt Daniel & Helen Gauchat Belinda Hutchinson AM Angus & Sarah James PJ Jopling QC Miss Nancy Kimpton Paula Kinnane Bruce & Jenny Lane Prudence MacLeod Alf Moufarrige Jennie & Ivor Orchard Alex & Pam Reisner Mr Mark Robertson OAM & Mrs Anne Robertson Margie Seale & David Hardy Mr John Singleton AM Beverley Smith

John Taberner & Grant Lang Alden Toevs & Judi Wolf The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO Peter William Weiss AO John & Myriam Wylie E Xipell Anonymous (1)

DIRETTORE $5,000$9,999 The Abercrombie Family Foundation Geoﬀ Alder The Belalberi Foundation Jenny & Stephen Charles The Clayton Family 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 Marianna & Tony O’Sullivan

36 AUSTRALIAN CHAMBER ORCHESTRA

John Rickard The Roberts Family Paul Salteri Paul Schoﬀ & Stephanie Smee Seleco Foundation Ltd Kerry Stokes AC & Christine Simpson Ian Wallace & Kay Freedman Ian Wilcox & Mary Kostakidis Cameron Williams Karen & Geoﬀ Wilson Anonymous (2)

MAESTRO $2,500$4,999 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 Caroline & Robert Clemente Dr Peter Clifton Judy Crawford John & Gloria Darroch Kate Dixon Leigh Emmett Michael Fitzpatrick R Freemantle Mrs Yvonne Harvey & Dr John Harvey AO

ACO DONATIONS PROGRAM Ann Gamble Myer Louise & Martyn Myer Foundation Rhyll Gardner Liangrove Foundation Warren Green Nereda Hanlon & Michael Hanlon AM Graeme Hunt Vanessa Jenkins Macquarie Group Foundation The Marshall Family The Michael Family P J Miller Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Ruth Ritchie D N Sanders Cheryl Savage Brian Schwartz Greg Shalit & Miriam Faine Ms Petrina Slaytor Philippa Stone Tom Thawley 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 Vicki Brooke Sally Bufé Neil Burley & Jane Munro Michael Cameron Terry Campbell AO & Christine Campbell Cannings Communication Bella Carnegie Sandra Cassell Julia Champtaloup & Andrew Rothery Elizabeth Cheeseman 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 Jane & Richard Freudenstein Colonel Tim Frost Anne & Justin Gardener Jaye Gardner Paul Gibson & Gabrielle Curtin Colin Golvan SC Richard & Jay Griﬃn Liz Harbison Lyndsey Hawkins Peter Hearl Reg Hobbs & Louise Carbines Michael Horsburgh AM & Beverley Horsburgh Penelope Hughes Wendy Hughes Pam & Bill Hughes Glen Hunter & Anthony Niardone Stephanie & Michael Hutchinson Brian Jones D & I Kallinikos Carolyn Kay & Simon Swaney Len La Flamme Sydney & Airdrie Lloyd Judy Lynch Charlotte & Adrian MacKenzie Martin Family in memory of Lloyd Martin AM Kevin & Deidre McCann Brian & Helen McFadyen J A McKernan Jane Morley 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 Joan Rogers 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 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 David Walsh Bill Watson M W Wells Janie Wanless & Nev Wittey Rachel Wiseman & Simon Moore 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 Brian Bothwell Ben & Debbie Brady

AUSTRALIAN CHAMBER ORCHESTRA 37

ACO DONATIONS PROGRAM 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 Professor John Daley Ted & Christine Dauber Mari Davis Deﬁance Gallery 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 & John Lyons Dr Annette Gross Matthew Handbury Lesley Harland 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 Greg Lindsay AO & Jenny Lindsay Megan Lowe John Lui Bronwyn & Andrew Lumsden

James MacKean Roderick & Leonie Matheson Janet Matton Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Ian & Pam McGaw 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 Robin Oﬄer 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 Alida Stanley & Harley Wright Dr Fiona Stewart Geoﬀrey Stirton & Patricia Lowe Prof Robert Sutherland In memory of Dr Aubrey Sweet Matthew Toohey G C & R Weir Gordon & Christine Windeyer Lee Wright Mr Hugh Wyndham Brian Zulaikha Anonymous (17)

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 Estate of 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 Dr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter William Weiss AO

CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at Lillian.Armitage@aco.com.au. 38 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

Jennie Orchard Tony O’Sullivan Head of Investment Banking Lazard Australia

Ian Davis Managing Director Telstra Television

Heather Ridout Director Reserve Bank of Australia

Chris Froggatt Tony Gill

Anna Bligh

Peter Shorthouse Client Advisor UBS Wealth Management John Taberner Consultant Herbert Smith Freehills

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 Colin Golvan SC

EVENT COMMITTEES Bowral

Brisbane

Sydney

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 39

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 Mr David Baffsky AO Mr Brad Banducci Director Woolworths Liquor Group 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

Dr Bob Every Chairman Wesfarmers

Mr Geoﬀ McClellan Partner Herbert Smith Freehills

Mr Angelos Frangopoulos Chief Executive Oﬃcer Australian News Channel

Mr Donald McGauchie AO Chairman Nufarm Limited

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 John Grill Chairman WorleyParsons Mr Andrew & Mrs Hiroko Gwinnett Mrs Janet Holmes à Court AC Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Ms Catherine Livingstone AO Chairman Telstra Mr Andrew Low Chief Executive Oﬃcer RedBridge Grant Samuel

Mr Michael & Mrs Helen Mr Steven Lowy AM Carapiet Lowy Family Group Mr Stephen & Mrs Jenny Mr Didier Mahout Charles CEO Australia & NZ BNP Paribas Mr Georg Chmiel Chief Executive Oﬃcer LJ Hooker Mr & Mrs Robin Crawford Rowena Danziger AM & Kenneth G. Coles AM

Mr David Mathlin Senior Principal Sinclair Knight Merz Ms Julianne Maxwell Mr Michael Maxwell

40 AUSTRALIAN CHAMBER ORCHESTRA

Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Oﬃcer Servcorp

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 Mr Robert Peck AM & Ms Yvonne von Hartel AM MIR Investment Management Ltd peckvonhartel architects Mr Scott Perkins Head of Corporate Finance Deutsche Bank Australia/New Zealand Mr Neil Perry Rockpool Mr Mike Sangster Managing Director Total E&P Australia Ms Margie Seale & Mr David Hardy Mr Glen Sealey General Manager Maserati Australia & New Zealand Mr Tony Shepherd AO President Business Council of Australia

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

FOUNDING PARTNER

ACO VIRTUAL FOUNDING PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

REGIONAL TOURING PARTNER

CONCERT AND SERIES PARTNERS

Daryl Dixon

Peter William Weiss AO

Warwick & Ann Johnson

EVENT PARTNERS

GPO Sydney

on george

No. 1 Martin Place

AUSTRALIAN CHAMBER ORCHESTRA 41

ACO NEWS • APRIL/MAY 2013

news EDUCATION REPORT As we tour with Barry Humphries to Australian capital cities, there is also a subset of ACO musicians concurrently touring regional Victoria with renowned accordion player James Crabb. This regional touring ensemble travels under the name ACO2 and consists of ACO players and the brightest young string players from around the country. ACO2 embarks on its ﬁrst fully national tour, led by Richard Tognetti, in June.

young string player with extensive performance experience, aged between 18 and 27, please encourage them to apply. Details and application forms at aco.com.au/emerging artists.

Before their regional Victorian tour, two of the young string players from ACO2 visited Picton in Sydney’s south-west with us to work with our own local student ensemble, the Picton Strings. Applications are currently open to become part of ACO2 in 2014. If you know a talented

Working with the Picton Strings.

YOUR SAY…

The Matraville Soldiers’ Settlement School String Ensemble and choir perform with us as part of our partnership with the Australian Children’s Music Foundation’s Education Program.

Feedback about The Reef tour “Just wanted to drop ACO a line to say that The Reef (attended in Brisbane this evening) was totally brilliant. Truly genius all round. And special thanks to Julian Thompson for the Crumb.” — L. Keough “The Reef, was a brilliant metaphor inspiring a naturalistic dream-response to adventurous surﬁng and ecological discovery.” — M. T. Low

“Still in a dream after The Reef concert on Monday evening. Exquisite match of music moods and imagery. I took an expat Australian living in Austria to the ‘concert’. He said that after the stolidness of conservative Europe, this was a breath of fresh air, and could only happen in Australia!” — G. Binns

Let us know what you thought about this concert at aco@aco.com.au.

42 AUSTRALIAN CHAMBER ORCHESTRA

ACO AT THE GREAT SYNAGOGUE We hope that this will become a regular event in the ACO’s calendar. This project was made possible through the generous contributions of Major Partner TAL, Patron The Lowy Family and Associate Partner Meriton Group. © Nadine Sacks

On Tuesday 26 February, for the ﬁrst time in the Orchestra’s history, we performed in the stunning surrounds of Sydney’s Great Synagogue on Elizabeth Street. The concert began with a recital by talented string players from Moriah, Emanuel and Sydney Grammar Schools, who had worked with ACO players that same afternoon in a string workshop. What followed was a performance led by Richard which included excerpts from Bach’s Brandenburg Concerto No.3, Mozart’s Violin Concerto No.4 and Dvorˇák’s Serenade for Strings.

After rapturous applause, the program was completed with a surprise encore of Ravel’s Kaddish with Richard as soloist.

Players from Moriah, Emanuel and Sydney Grammar Schools with ACO musicians.

ACO in performance

CHAIRMAN’S COUNCIL & MAJOR PATRONS’ COCKTAIL PARTY – SYDNEY In February, The Hon Malcolm Turnbull MP and Ms Lucy Turnbull AO very generously hosted our Sydney Chairman’s Council and Major Patrons’ Cocktail Party at their beautiful waterfront home in Point Piper.

harbour: a ﬁtting way to thank and honour our most valued patrons and supporters. Our warmest thanks go to Malcolm and Lucy for their warm and generous hospitality.

A quartet led by Richard entertained guests with a program of JS Bach, Beethoven, Webern and Haydn against the backdrop of Sydney

Above: Andrew Stevens, Geoff Wilson, Angus James and Anna Bligh. Above: Christopher Moore, Amanda Love, Satu Vänskä, Lucy Turnbull and Timo-Veikko Valve.

Right: Jessica Block, The Hon Malcolm Turnbull MP and Liz Cacciottolo.

AUSTRALIAN CHAMBER ORCHESTRA 43

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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