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The romance is back

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SUPPORT THE FUTURE Help us to inspire the next generation of musicians. I am so proud that A CO2 are joining me on their first ever national subscription tour. It’s thanks to the generous support of our donors that these young musicians are able to take centre stage in concert halls across the country. By supporting our National Education Programs you will help us engage with students at every level of the education system from our Emerging Artists Program and ACO2 down to primary school students. Together we can inspire the next generation of musicians.

Richard Tognetti AO Artistic Director

AC O 2 at the Four Winds Festival in 2012 Photo © Ben Marden

To donate please visit For more information please phone Ali Brosnan on (02) 8274 3830 or email



The Fiddlers


Concerto for two cellos in G minor, RV531


Concerto in D major


Cello Concerto in G major, RV413



Concerto grosso No.11 in A major

BLOCH (arr. Palmer) From Jewish Life BARTÓK


Durations (minutes): 7 –10 – 12 – 10 – INTERVAL – 18 – 11 – 24 The concert will last approximately two hours including a 20-minute interval.

ADELAIDE Town Hall Tue 18 Jun 8pm BRISBANE QPAC Mon 17 Jun 8pm CANBERRA Llewellyn Hall Sat 15 Jun 8pm

MELBOURNE Arts Centre Sun 23 Jun 2.30pm Mon 24 Jun 8pm NEWCASTLE City Hall Thu 13 Jun 7.30pm

SYDNEY Opera House Sun 16 Jun 2pm City Recital Hall Angel Place Fri 21 Jun 1.30pm Sat 22 Jun 7pm Tue 25 Jun 8pm Wed 26 Jun 7pm

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


ABOUT THE PROGRAM By Helena Rathbone

Helena Rathbone ACO2 Director

We are very proud to present our second orchestra, ACO2, for the very first time in a national subscription tour. ACO2 was formed in 2005, when Richard Tognetti’s longterm dream of building an education initiative came to life. It was a program that aimed to draw upon the strengths of the ACO’s performers and performance practice, and share these skills with burgeoning professional musicians. ACO2 is an essential part of our Emerging Artists Program and being part of this ensemble means that top level tertiary string students have direct access to our rehearsals, to us, and to our work ethic. The Emerging Artists receive individual lessons, perform both chamber music and orchestral programs with ACO members and sometimes play as part of the ACO itself. Part of the program aims to bridge the gap between student and professional life. We offer them the opportunity to learn from and experience first-hand, the mixture of energy, freshness, vibrancy, attention to detail, and passion that goes into creating the unique ACO ‘string sound’. 2 AUSTRALIAN CHAMBER ORCHESTRA

It is important for us to nurture and support young musical talent around Australia. We are aware that young string players can be a bit daunted by the prospect of life as a professional musician and may feel a little intimidated by the ACO musicians, who they perhaps put on something of a pedestal. We want our Emerging Artists to know that, at some point in our lives, we have all been students and that ACO musicians are willing to advise and help them. As a performing and touring group, ACO2 also offers an opportunity to discover some of the great works of the string repertoire that we have at our fingertips. The experience a string player has when preparing say, the Dvořák or Tchaikovsky Serenade and performing it as part of a highly meticulous ensemble (sometimes for the first time) is a very special moment that stays with them for life. I personally can remember very clearly, the joy of playing the Dvořák Serenade for the first time and it is always very special as a mentor to see that joy of discovery amongst young players. This particular program is a showcase of wonderful works for strings and a celebration of our talented Emerging Artists. It explores the concerto and concerto grosso form, folk music and the rhythmic vitality of the music of Rautavaara, Stravinsky and Bartók. It continues to be an absolute pleasure performing with this group of young musicians. They put all of themselves into making music and are keenly and continually learning and understanding more. I think it is an inspirational thing for us as ACO musicians and a reminder of how fortunate we are, why we love doing what we do, and how special it is to share our knowledge with the next generation of string players.


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ACO ON THE RADIO ABC CLASSIC FM: Tognetti Presents ACO2 Tue 18 June, 8pm ACO2 with James Crabb Thu 18 July, 1.05pm ACO Barefoot Fiddler concert with Patricia Kopatchinskaja Fri 24 July, 1.05pm

NEXT TOUR Barefoot Fiddler 20 Jul — 3 Aug

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Since its formation in 2005, ACO2 has very quickly evolved into an impressive ensemble in its own right. Modelled on the ACO as an un-conducted string chamber orchestra, ACO2 has worked under the direction of many ACO core musicians and guest leaders including Helena Rathbone, Aiko Goto, Zoë Black, Dale Barltrop (Australian violinist and concertmaster of the Vancouver Symphony), Thomas Gould (leader of the Britten Sinfonia), Canadian violinist Lara St. John and Scottish accordionist James Crabb. The finest young string players in the country compete for a place in the ACO’s Emerging Artists Program, which is a gateway to joining ACO2. This intensive chamber music project gives ACO core musicians the opportunity to work closely with these aspiring young professionals, schooling them in the ACO style and preparing them for the rigours of life as a touring ACO musician. On joining ACO2 they perform programs of exciting repertoire and take their music to regional centres all over Australia. To date, ACO2 has performed 107 concerts in 58 regional centres in New South Wales, the Northern Territory, Queensland, South Australia, Tasmania, Victoria and Western Australia. Over the past five years, most of Australia’s best young string players have graduated through the ACO’s Emerging Artists Program, taking part in ACO2 projects. Many have gone on to secure permanent positions with major Australian and international orchestras and two former Emerging Artists (Madeleine Boud and Rebecca Chan) auditioned successfully to join the ACO itself. We are immensely proud of the achievements of ACO2 and, to celebrate its coming of age, Richard Tognetti is leading the Orchestra on this national tour, playing on the country’s main stages. Comprising 11 concerts in six cities and at seven different venues, this national tour gives these young musicians a real taste of life in the ACO, while simultaneously offering audiences around the country a reassuring glimpse of the future of string playing in Australia.


Free talks about the concert take place 45 minutes before the start of every concert at the venue. AUSTRALIAN CHAMBER ORCHESTRA 5

ABOUT THE MUSIC RAUTAVAARA The Fiddlers (Composed 1952)

I. II. III. IV. V.

Narbolaisten Braa Speli Kopsin Jonas Klockar Samuel Dikstrom Pirun Polska Hypyt

Orchestrated for strings 1972

Einojuhani RAUTAVAARA (b. Helsinki, 1928) Rautavaara is widely considered the leading Finnish composer of his generation, and his works are regularly performed around the globe. His later style is characterised by modernism mixed with mystical romanticism, and a significant amount of his orchestral works are inspired by metaphysical and religious subjects. He studied at the University of Helsinki, and the Sibelius Academy, and served that institution as a lecturer, artist professor, and professor of composition. Sibelius himself recommended Rautavaara for a Koussevitzky Foundation scholarship in the 1950s, after which he subsequently studied in New York and Tanglewood with Aaron Copland, in Ascona with Wladimir Vogel and Cologne with Rudolf Petzold.

Rautavaara is Finland’s best-known composer since the master of Järvenpää, Jean Sibelius. In 1955, Rautavaara was awarded a Koussevitsky Foundation scholarship on the recommendation of Sibelius himelf. It was an appropriate ‘passing of the torch’. Among his best-known works are 1972’s ‘concerto for birds and orchestra’, Cantus Arcticus, and a series of mystical works known as the Angel Trilogy – Angels and Visitations, Angel of Dusk and the Symphony No.7: Angel of Light. In the mid-20th century Rautavaara flirted with serialism but even then retained his natural instinct for lush orchestral sonorities. Works since the 1960s have been described as ‘new romantic’ (or better: ‘stylistic pluralism’). A few Rautavaara works – Marjatta the Lowly Maid (1975), and Canto 42: The Rape of the Sampo (1974) – are based on the Finnish national epic, Kalevala. The Fiddlers was originally written for piano solo, and the orchestrated version received its first performance by the Helsinki Chamber Orchestra, led by conductor Leif Segerstam in 1973. According to the score, the movements of Rautavaara’s The Fiddlers are free fantasies based on dances written by an 18th-century Finnish fiddler called Samuel Rinda-Nickola. Narbolaisten Braa Speli – The famous Narbo fiddlers arrive, in a procession full of colour and rustic pomp. Kopsin Jonas – In the strange light of the Nordic midsummer night, Jonas Kopsin plays for the forest, and for himself. Klockar Samuel Dikstrom – Samuel the village organist improvises at a lonely moment of inspiration: he fills a little church with reminiscenses of his daily Bach, of wedding tunes heard long ago. Pirun Polska – A melancholy devil sits on his rock, listening

to the dark, mysterious Finnish forest. Hypyt – In a stamping, jumping dance the fiddlers whirl, their broad faces are solemn as in the church, but a strange excitement lurks in their huge legs and hands. © GORDON KALTON WILLIAMS 6 AUSTRALIAN CHAMBER ORCHESTRA

VIVALDI Concerto for two cellos in G minor, RV531 I. Allegro II. Largo III. Allegro Posterity was unkind to Vivaldi for nearly a century after his death in 1741. Although he was well known as a violinist and composer during his lifetime, his music was entirely unknown for many years afterwards; and it was only the renewed interest in J.S. Bach’s music in the early 19th century that in turn allowed Vivaldi’s music to become known again, as the German master had transcribed some of Vivaldi’s greatly influential set of concertos published in 1711, his Op.3, L’estro armonico.

Antonio VIVALDI (b. Venice, 1678 — d. Vienna, 1741) The ‘red priest’ Vivaldi transformed the concerto with works such as The Four Seasons, promoting the virtuoso violinist to the forefront of his boundless musical invention.

As a musical form, the concerto was essentially born in the 18th century, and Vivaldi’s Venetian version of this form (initially introduced in his Op.3) presented a musical structure that was highly adaptable and allowed for experimentations in musical design. Informing the development of the concerto genre for the rest of the century, this ‘Venetian-style’ concerto allowed for displays of individual virtuosity and singing melodies set against a larger ensemble, and alternating between driving rhythmic motion and interludes of repose. Vivaldi’s emphasis on a three-movement, fast-slow-fast structure in this genre was a new step away from traditional sonatas and concerti grossi, and his greatest innovation was to free up the role of the single soloist within this framework. Vivaldi’s large body of work is now known to include over 500 concertos and 350 solo concertos, mostly (over 200) for violin. While it is assumed that his earliest concertos were written for the violin, surprisingly, the earliest concertos are ones written for cello.

arpeggiated figurations: An arpeggio is a musical figure in which a chord is played in sequence, note by note, rather than simultaneously.

ACO performance history

While Vivaldi wrote approximately 28 concertos for cello, the concerto for two cellos, RV531, is the only such work for this combination together (there are 25 for two violins). Inevitably, textures are very different with these lower solo instruments, there is less of a contrast of register between soloists and the accompanying basso continuo. Solo sections become a lowlying trio sonata texture, of the two cellos – sometimes working in tandem, sometimes vying for attention alongside the bass line. Vivaldi’s writing throughout sparkles with arpeggiated figurations, energetic unison passages (as in the first Allegro), dancing syncopations, and surging, repeated sets of semiquavers. © ALAN J. BENSON & MEURIG BOWEN

The ACO last played Vivaldi’s Concerto for two cellos in G minor at the Vasse Felix Festival in 2007. AUSTRALIAN CHAMBER ORCHESTRA 7

STRAVINSKY Concerto in D major (Composed 1946)

I. Vivace II. Arioso (Andantino) III. Rondo (Allegro)

Igor STRAVINSKY (b. Oranienbaum, 1882 — d. New York, 1971) Stravinsky encompasses radical fervour and reactionary austerity more than any other composer. His Rite of Spring stood the musical world on its head, before he settled into a neo-classical phase which dominated more than half of his career. With Schoenberg and Webern, though, he is essential to an understanding of 20thcentury music.

divertimento: An 18th-century form of instrumental chamber music in several movements generally light or informal in nature. concerto grosso: An orchestral form developed in the Baroque era (c.1600—c.1750) and characterised by contrasts between a small group of soloists (concertino) and the full orchestra (ripieno).

The interest so many composers showed in the string orchestra medium in the years following World War I can be explained in several ways: a new appreciation for what composers of the Baroque era had achieved; a determination to make the strings, which had formed the basis of the 19th-century orchestra, yield new sonorities and new techniques; and, hand in hand with these aesthetic concerns, the flourishing of small orchestral ensembles, including string orchestras, such as the Boyd Neel Orchestra in England and in Switzerland the Basel Chamber Orchestra formed by Paul Sacher. It was Sacher who commissioned Bartók’s Divertimento of 1939, and after World War II he included Stravinsky in the inspired patronage which had already elicited so many masterpieces. The commission was for a work to celebrate the 20th anniversary of the Basel Chamber Orchestra, and it became Stravinsky’s major project for the first half of 1946. He worked on the Concerto in D (also known as the Concerto basiliensis, or ‘Basel Concerto’) with the typical fastidiousness of the craftsman, as though he wanted to make a definitive statement about composing for strings. Paul Sacher conducted the premiere in Basel on 27 January 1947, and the Concerto has ever since been a mainstay of every string orchestra’s repertoire. Like the Concerto for 15 instruments, Dumbarton Oaks (1937–38), the Concerto in D is a cross between the Classical divertimento and the Baroque concerto grosso. Baroque features include the opposition of a small concertino group to the main body of strings. The piece is concise – lasting about 12 minutes – and predominantly light and divertimento-like in mood. The ostinato principle of repeated musical patterns dominates most of the writing in the two fast movements, as in a rather similar piece, Bach’s third Brandenburg Concerto: a rarely interrupted flow of quavers and semiquavers in various rhythms. When Stravinsky breaks the flow, with telling effect, it is usually to emphasise the thematic germ of the work, an alternation between two notes a semitone apart. This fingerprint appears immediately in the opening theme of the first movement, which also features an accompaniment containing a chord of D which is ambiguously major and minor, engendering considerable dissonance throughout the work. A slight suggestion of harshness about the first movement is mitigated by a middle section which is at once harmonically more comfortable and less regular, more tentative in rhythm.


ostinato: A short melodic or rhythmic phrase repeated throughout a piece or section. staccato: A playing style in which notes are detached from one another. spiccato: A bowing technique for string instruments in which the bow bounces lightly upon the string. ben articulato: Literally means ‘well articulated’.

In the second movement, an Arioso, Stravinsky composes an extended melody, but, lest we should indulge in it, punctuates it with chords re-stating the semitone interval, followed by new departures in surprising keys. The ostinato patterns return in the virtual perpetual motion of the last movement – it was no doubt this feature which made Jerome Robbins find the music ‘terribly driven and compelled’ when he used it for a harrowing ballet scenario, The Cage (1951). Stravinsky’s concern was obviously to make the most of the possibilities of string ensembles which had been missed by 19th-century composers. Simply, perhaps over-simply stated, this meant getting the bow off the string more often and in a greater variety of ways, making precise distinctions between staccato, spiccato and ben articulato playing. This composer was never happier than when sitting at his music desk adjusting his solutions to self-imposed problems. This craft, in the Concerto in D, produces stimulating challenges to players and diversion to listeners.


VIVALDI Concerto for cello in G major, RV413 I. Allegro II. Largo III. Allegro

A painting of Antonio Vivaldi by Francois La Cave, 1723

Antonio VIVALDI cantabile: An Italian term meaning ‘singable’ or ‘songlike’. In instrumental music, it indicates a smooth, sweet style of playing imitative of the human voice.

In contrast to Vivaldi’s Concerto for two cellos in G minor, the G major, RV 413, cello concerto is marked by dotted rhythms and semiquaver lines alternating between soloist and ensemble. In the Largo movement, a unison statement introduces the cantabile melody supported by an ostinato from the strings, with brief interjections of the tutti ensemble, which leads into the final Allegro, where the melodic material is rhythmically driven and structured around scalar passages between orchestra and soloist.


HANDEL Concerto grosso in A major Op.6 No.11 (Composed 1739)

I. II. III. IV. V.

Andante larghetto, e staccato Allegro Largo, e staccato Andante Allegro

‘Resourceful’ is the word which comes to mind with Handel.

George Frideric HANDEL (b. Halle, 1685 — d. London, 1759) Handel is one of the giants of German Baroque composition and an exact contemporary of Bach. He made his career in England where he was a central figure of London musical life in the 1700s, transforming the world of opera and oratorio.

His compositional technique was so assured that he could confidently turn his hand to whatever best seemed to suit the public mood (and therefore improve his financial situation). Thankfully, his musical skill was such that even when he composed at speed, hoping to make a quick buck, the results have usually endured as wonderful works of art. Speed was of the essence in the autumn of 1739. Handel had, in the past few years, seen his position as London’s pre-eminent opera composer fade, as his audience’s tastes moved towards more down-to-earth fare, and as he battled a rival opera house. Appealing to their better selves, he won back considerable ground with a series of oratorios; but these were chiefly associated with Lent and Easter, and public sentiment was anyway divided over the propriety of spending the holiest time of the year in a concert hall. What did the adaptable Handel do? On November 22 (St Cecilia’s Day), fittingly, he opened a concert series, including his new Ode for that patron saint of musicians. Unfortunately the series was wracked with problems. The War of Jenkin’s Ear had reluctantly been declared on the Spanish colonies, so many people didn’t feel like going out for a good time. The weather was against Handel too: the Thames had frozen over in one of the bitterest seasons on record. Despite the pleas of the theatre management at Lincoln’s Inn Fields that ‘Particular Preparations are making to keep the House warm’ and that ‘Particular care will be taken to have Guards plac’d to keep all the Passages clear from the Mob’, the audience stayed away in droves. Then the singers fell sick too. Passing not quite unnoticed in this ill-fated concert series was a collection of ‘Grand Concertos’, which were designed as interludes to rest ears wearied by the mostly vocal content of the program.

ACO performance history The ACO first performed Handel’s Concerto grosso in A major Op.6 No.11 in 1979 as part of a Musica Viva and national subscription tour.

Between September 29 and October 30 Handel wrote at unbelievable speed, producing a concerto grosso every two days or so. The result was his Op.6, containing ‘Twelve Grand Concertos, in Seven Parts, for four Violins, a Tenor [viola], a Violoncello, with a Thorough-Bass for the Harpsichord’. The set is now widely considered the pinnacle of Handel’s composition for instrumental ensemble. They were undoubtedly inspired by the concerti grossi of Arcangelo Corelli, and those of his pupil Geminiani. The English


George Shepherd, 1811: Lincoln’s Inn Fields Theatre, where most of Handel’s Concerti Grossi Op.6 were first performed in the winter of 1739–1740.

had learned to appreciate these even before Handel came on the scene. Although Handel would have known the ‘other’ Italian concerto style (similar to the three-movement form that Vivaldi made famous), he was deliberately catering to public taste. The title concerto grosso is literally ‘big concerto’, or ‘grand concerto’, as Handel more elegantly put it. Whereas these days we tend to think of a concerto in terms of a single soloist pitted competitively against an orchestra, a ‘big’ concerto used a group of soloists instead of just one. In this case (Op.6 No.11) they are a gang of three, the ‘concertante’, working alternately with and against their colleagues in the larger ‘ripieno’. While the influence of Corelli and Geminiani is obvious, musical scholarship has found that the ever-resourceful Handel borrowed from other colleagues too. George Muffat’s keyboard suites and Scarlatti’s harpsichord exercises come in for their own fair share of the sincerest form of flattery; which is how such ‘theft’ would have been comfortably perceived in the 18th century. In this particular concerto, Handel borrows chiefly from himself. He cannabalised his Organ Concerto No.2 in A major to an impressive extent. As Op.6 No.11 seems to have been the last of the set to be completed (No.12 was completed 10 days earlier), perhaps the wells of inspiration were at last beginning to run dry. The musical material transfers remarkably well. Handel left less to chance here than in the Organ Concerto – he marked the articulation more clearly, and wrote down some of the rhythms exactly rather than leave them to the performers to interpret in accordance with the current practice. Although the concert series for which the concertos were designed didn’t make him wealthy, Handel had the satisfaction of seeing published copies of Op.6 sell to subscribers for their own use. Fans included most of the royal family, London’s two biggest impresarios, and a number of the major musical societies in England and Ireland. The resourceful composer had judged his public well and triumphed once again. © K.P. KEMP AUSTRALIAN CHAMBER ORCHESTRA 11

BLOCH From Jewish Life (Composed 1924) Arranged for cello and strings by Christopher Palmer

I. Jewish Song (Moderato) II. Supplication (Allegro non troppo) III. Prayer (Andante moderato)

Ernest BLOCH (b. Geneva, 1880 — d. Portland, US, 1959) Swiss-born Bloch received early musical training from eminent figures including the pedagogue Jaques-Dalcroze, as well as violinist Eugène Ysaÿe, and became a major figure in the continuum of professional music education in the United States. In his mid-30s he emigrated to the US where he accepted a composition position at the newly formed Mannes College of Music in Manhattan, subsequently serving as the first director of the Cleveland Institute of Music, director of the San Francisco Conservatory of Music, and after a period in Switzerland, returning to the States in 1940 as a professor at the University of CaliforniaBerkeley until his retirement. As a teacher he was known for his holistic approach, encouraging his students to develop and create according to their individual temperaments and talents. As a composer, his best known works contain an expression of his firm faith in the spirituality of mankind.

Ernest Bloch’s upbringing was not particularly musical, unless you count the cuckoo clocks and cowbells in his parents’ Swiss souvenir shop. His older sister Loulette played the piano, and her renderings of popular arrangements and salon songs of the day made an impression on him. We have to look a little further to find that his father hummed the melodies sung by his father, a Jewish cantor, and that somewhere along the line these seem to have sunk into the consciousness of Ernest. Both children were taught Hebrew, although the family were not considered especially religious. Young Bloch also progressed from toy flute to violin with alacrity. ‘I don’t believe that I was more than nine or 10 when I made up my mind what I would do. Certain professions were closed to me; neither of my parents were musical. Yet music it was to be. I would compose music that would bring peace and happiness to mankind.’ According to the most flowery of his biographies, at this point Ernest wrote his commitment down as a vow, constructed a little stone altar and burned the piece of paper in a solemn ceremony. Thanks to the support and encouragement of local well-wishers, Bloch was taken on as a student of the eminent violinist Emile Jaques-Dalcroze, and Louis Etienne Reyer, at the Geneva Conservatory. Apart from their fine performance skills, both were quite individualistic composers and encouraged him to find his own, original voice. It was a pattern of teaching which he pursued across Europe. First, in Brussels, he was nominally under the care of Eugène Ysaÿe; but while this extraordinary man played a wonderful part in exposing Bloch to all sorts of music and musicians in his salons, it was the quieter encouragement of Franz Schörg that was more appreciated. Then, seeking further development as a composer rather than as a violinist, Bloch moved to Germany for several years; and from there he went to Paris, where as a protege of Ysaÿe he was able to strike up a useful acquaintance with Debussy. Paris was a turning point. He wrote an opera on Macbeth, with a libretto by a young writer called Edmond Fleg. Had Macbeth received a warmer welcome from the French administrators, much might have been different. But after a popular success was stopped in its tracks through lack of management support, Bloch was ripe for something new, and Fleg showed him the way: through his hitherto untapped Jewish heritage. Inspired by his discussions and correspondence with Fleg, Bloch


wrote seven significant works between 1912 and 1916, which he himself was later to describe as his ‘Jewish Cycle’. In one letter to his friend he wrote: ‘I note here and there themes that are, without my willing it, for the greater part Jewish…and which begin to indicate the instinctive and also conscious direction in which I am going…’ World War I made Bloch (as so many others) very pessimistic – in a notably dark moment he composed his famous Schelomo – Hebrew Rhapsody for Cello and Orchestra. With the cellist undertaking the despairing ‘voice’ of Solomon, it became a prototype for a number of works in which Bloch turned to the cello to express some of his richest and most eloquent music. The War also pushed Bloch into the next phase of his life. A need to earn some money led him to get a job as a conductor and orchestra fixer for the ‘interpretive dancer’ Maud Allen during her tour of the United States in 1916. No sooner had his ship docked safely at New York than the composer immediately began to dream of writing music ‘celebrating America’ – and indeed, to one who had come from war-isolated Switzerland and the grim clouds of Europe, it must have seemed a welcoming place. His rather undistinguished arrival held no clue as to the transformation his reputation was about to undergo. In a stunningly short period of time, he had become Head of Theory at a respected music college, and heard his music performed at Carnegie Hall, and by the Boston Symphony. His other New York experiences included hearing traditional singing at a lower East Side synagogue, and to this is often attributed the inspiration for later works such as Baal Shem, Méditation Hebraïque and From Jewish Life. In 1920 he received the flattering and intriguing offer to become inaugural Director of the Cleveland Institute of Music, a post which he held for five years. Perhaps it would have been longer, but though he was regarded as inspirational and artistically successful, he couldn’t manage the board politics, which became unbearable. Towards the unhappy end of this period, during which Bloch composed some of his best music, he created a small triptych of works for piano and cello. From Jewish Life is dedicated to the Dutch-American cellist Hans Kindler, who gave the first performance of Schelomo in Carnegie Hall in 1917. Its rather sombre character is usually associated with life in a ghetto. There are a number of recognisable modes or note patterns throughout the work. Other elements regarded as showing a Yiddish influence include the ‘bending’ of notes by a quarter-tone, lending poignancy and colour in a way that might now be more familiar to audiences from blues singers. This arrangement of From Jewish Life was commissioned by Steven Isserlis from Christopher Palmer in 1990. © K.P. KEMP


BARTÓK Divertimento (Composed 1939)

I. Allegro non troppo II. Molto Adagio III. Allegro assai The Swiss conductor Paul Sacher was responsible for commissioning many important string-based works in the middle decades of the 20th century – among others, by Honegger, Hindemith, Stravinsky, Martin, Britten, Tippett and Veress. From Bartók, Sacher’s patronage extracted three of his greatest pieces: Music for Percussion, Strings and Celeste (1936–7), the Sonata for two pianos and percussion (1937) and the Divertimento (1939). Sacher premiered this with his Basel Chamber Orchestra on 11 June 1940.

Béla BARTÓK (b. Nagyszentmiklos, 1881 — d. New York, 1945) Bartok was a Hungarian composer, pianist, and ethnomusicologist whose collecting and analysis of Hungarian, Romanian and Slovakian folk music provided a significant amount of creative fodder for his compositional output. He is considered the greatest Hungarian composer (along with Liszt) and one of the most important composers of the 20th century.

In a broadcast tribute to Bartók after his death in 1945, Sacher gave this lucid description of the composer: ‘Whoever met Bartók, thinking of the rhythmic strength of his work, was surprised by his slight, delicate figure. He had the outward appearance of a fine-nerved scholar. Possessed of a fanatical will and pitiless severity, and propelled by an ardent spirit, he affected inaccessibility and was reservedly polite. His being breathed light and brightness; his eyes burned with a noble fire.’ In late June 1939, Bartók began an extended stay in Sacher’s Alpine chalet, at Saanen in the massif of Gruyère. With the political situation in Europe steadily worsening, the composer thoroughly engrossed himself there for 15 days, between 2–17 August, with the composition of his Divertimento for string orchestra. Perhaps the title referred in part to a personal diversion from the pervasive gloom of pre-war Europe. But its late-18th century connotations, of lightweight, occasional music, are present in a certain carefree ebullience in the outer movements. And with the exchange of solo and tutti textures, again mostly in these movements, links are made with the earlier Baroque concerto grosso. The folksy, energetic openings of the two Allegros are not entirely representative however, for they each lead into darker, more astringent territory. In the first, wide leaps and stark dynamic contrasts in secondary material give the music typical Bartókian edge, and in the finale, a succession of contrasting episodes – some verging on parody – distract fully from the opening tavern-dance feel. First, there is a spiky fugato passage, followed swiftly by a quasi cadenza lament for solo violin. Later, fiercely scurrying triplets drive the folk tune onto a brief, sarcastic take on a café-polka. But whatever the underlying tone, a high energy level makes this movement a captivating finale.

ostinato: A short melodic or rhythmic phrase repeated throughout a piece or section.

The middle movement is unremittingly tense and sinister – a classic piece of Bartók ‘night-music’. Spidery, chromatic writing and a jagged, dotted motif characterise the outer parts. And centrally comes a passage of terrifying, cumulative intensity; wild open-fifths trills in the first violins built upon an insistent, dirgelike ostinato in the lower strings… all a grim prelude to a war which was set to break out the following month. © MEURIG BOWEN


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: MOZART Violin Concertos BIS SACD 1754/5 ˇÁK Violin Concerto DVOR BIS CD 1708 BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surfica (DVD) Best Feature, New York Surf Film Festival As director: GRIEG Music for String Orchestra BIS SACD 1877 Pipe Dreams Sharon Bezaly, Flute BIS CD 1789 THE REEF (DVD) ABC 763959

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.

All available from


DANIEL MÜLLERSCHOTT © Christine Schneider

CELLO Daniel Müller-Schott has been an established force on the world’s concert podiums since he took first prize at the 1992 Moscow International Tchaikovsky Competition for Young Musicians, aged 15. Daniel Müller-Schott has performed with the world’s major orchestras including Leipzig Gewandhaus Orchestra, Munich Philharmonic, the Orchestre National de Radio France, Philharmonia Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, the New York Philharmonic, Cleveland Orchestra, San Francisco Symphony, Seoul Philharmonic and Tokyo’s Nippon Hoso Kyokai Symphony. He collaborates regularly with Christoph Eschenbach, Kurt Masur, Andris Nelsons, Vasily Petrenko, André Previn, Michael Sanderling and Krystof Urbanski as well as Iván Fischer, Alan Gilbert, Dmitrij Kitajenko, Sir Neville Marriner, Jun Märkl and Gianandrea Noseda. Born in Munich in 1976, Daniel Müller-Schott studied under Walter Nothas, Heinrich Schiff and Steven Isserlis and was a scholar recipient of Anne-Sophie Mutter’s Foundation. His instrument, the ‘Ex Shapiro’ Matteo Goffriller was made in Venice in 1727. Besides performing much of the major cello repertoire, Daniel Müller-Schott has premiered concertos dedicated to him by Sir André Previn and Peter Ruzicka. He enjoys performing chamber music and has toured Europe with Renaud Capuçon and Nicholas Angelich. With a prolific discography exclusively for Orfeo, in 2012 Daniel Müller-Schott released the Britten Cello Symphony and Prokofiev’s Sinfonia Concertante with the radio orchestra of Westdeutscher Rundfunk (WDR) under Music Director, JukkaPekka Saraste.


TIMOVEIKKO VALVE © Jamie Williams

CELLO Timo-Veikko ‘Tipi’ Valve performs as a soloist, chamber musician and as orchestral leader on both modern and period instruments. Valve studied at the Sibelius Academy in his home town of Helsinki, Finland and at the Edsberg Music Institute in Stockholm, Sweden, focusing in solo performance and chamber music at both institutions. Tipi has performed as a soloist with all major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the cello. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko. In 2006 Valve was appointed Principal Cello of the Australian Chamber Orchestra with whom he frequently appears as soloist. He also curates the ACO’s chamber music series at Pier 2/3 in Walsh Bay, Sydney and is a founding member of Jousia Ensemble and Jousia Quartet. Tipi plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù. The cello was acquired for Tipi’s use in 2007 by Peter William Weiss AO, Patron of the ACO Instrument Fund.



“This trans-generational group of wandering minstrels certainly gave new life and energy to some age-old pieces of music in their robust performance. What became evident from the very first note struck was that these musicians have already emerged. The skill and finesse of the performances was awe inspiring and their presence was equally commanding.” AUSTRALIAN STAGE ONLINE

© Gary Heery


ACO2, the Australian Chamber Orchestra’s precocious little sister, delivers the ACO’s regional touring and education programs. ACO2 connects the next generation of talented young Australian musicians with the stars of the ACO, creating a combined ensemble with a fresh, energetic performance style. The young musicians have all participated in the ACO’s Emerging Artist Program and many already play in the state symphony orchestras but choose to spend time experiencing the ACO’s high-octane performance style. The best go on to tour nationally and internationally with the ACO and it is testament to the program’s success that former ACO2 members Rebecca Chan and Madeleine Boud subsequently became members of the ACO. ACO2 commenced touring in 2007 and has visited nearly 60 regional centres in Queensland, New South Wales, Victoria, South Australia, Northern Territory and Western Australia. Guest stars have included Tim Freedman from The Whitlams, oud player Joseph Tawadros, recorder player Genevieve Lacey and violinists Pekka Kuusisto (Finland), Lara St. John (USA), Thomas Gould (UK) and Dale Barltrop (Canada/Australia). ACO2 performed in the Classical Destinations II television series screened worldwide and now released on CD and DVD by Sony. In July 2012, ACO2 gave the world premiere of The Reef at the Darwin Festival before touring it along the northwest coast of the continent and to Perth Concert Hall and the Sydney Opera House. ACO2 runs workshops for school-aged students in regional and metropolitan areas. Thus the ACO’s Education Program identifies, connects and mentors three generations of Australian string players, making the future very bright indeed.


AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN ACO MUSICIANS Richard Tognetti Artistic Director and Lead Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Rebecca Chan Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous crossartform projects and pieces specially commissioned for the ensemble. Founded in 1975, this string orchestra comprises leading Australian and international musicians. The Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig. Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing (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 Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

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

The ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall. In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia. AUSTRALIAN CHAMBER ORCHESTRA 19





Artistic Director & Lead Violin

Principal Violin


Chair supported by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, Prudence MacLeod

Chair supported by Hunter Hall

Chair supported by Anthony & Sharon Lee







2009 Emerging Artist

2010 Emerging Artist

2011 Emerging Artist



Principal Viola

Violin 2012 & 2013 Emerging Artist

Chair supported by peckvonhartel architects

Violin 2012 Emerging Artist



Photos: Paul Henderson-Kelly, Helen White, Fiora Sacco, Mike Flokis, Rosie Rothery






Principal Cello

2013 Emerging Artist

2012 Emerging Artist

Chair supported by Peter William Weiss AO






Double Bass

2008 Emerging Artist

2012 Emerging Artist

2013 Emerging Artist





1 Courtesy of Adelaide Symphony Orchestra 2 Courtesy of Sydney Conservatorium of Music, University of Sydney

IKE SEE 1 Violin Players dressed by



Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. † Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. ≈ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù. The cello was acquired for Tipi’s use in 2007 by Peter William Weiss AO, Patron of the ACO Instrument Fund.


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 Phillippa Martin Acting Education and Emerging Artists Manager Sarah Conolan Education Assistant

FINANCE Cathy Davey Chief Financial Officer Steve Davidson Corporate Services Manager Rachel O’Brien Accountant 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 Retha Howard Patrons and Foundations Manager Ali Brosnan Patrons and Foundations Executive Lillian Armitage Philanthropy Consultant Stephanie Ings Investor Relations Manager Sally Crawford Development Coordinator


MARKETING Rosie Rothery Marketing Manager Amy Goodhew Marketing Coordinator Clare Morgan National Publicist Will Huxley 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

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

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




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PO Box 7585 St Kilda Road Melbourne Victoria 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Ms Deborah Beale, Mr Julian Clarke, Mr Sandy Clarke, Ms Catherine McClements, Mr Graham Smorgon AM, Mr David Vigo ARTS CENTRE MELBOURNE FOUNDATION BOARD OF GOVERNORS Mr John Haddad AO, Chairman Mr Carillo Gantner AO, Deputy Chairman Miss Betty Amsden OAM, Mr Sandy Clark, Ms Debbie Dadon, Mr John Denton, Mr Tom Harley, Ms Dana Hlavacek, Ms Mem Kirby OAM, Ms Jennifer Prescott EXECUTIVE GROUP Ms Judith Isherwood, Chief Executive Ms Jodie Bennett, Executive Corporate Services (CFO) Mr Tim Brinkman, Executive Performing Arts Ms Louise Georgeson, General Manager – Development, Corporate Communications & Special Events Ms Sarah Hunt, General Manager, Marketing & Audience Development Mr Kyle Johnston, Executive Customer Enterprises Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal. FOR YOUR INFORMATION The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.


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:

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A City of Sydney Venue Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Jack Frost General Manager

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Chair Henry Smerdon am Deputy Chair Rachel Hunter TRUSTEES Simon Gallaher, Helene George, Bill Grant, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White EXECUTIVE STAFF Chief Executive John Kotzas Director – Marketing Leisa Bacon Director – Presenter Services Ross Cunningham Director – Development Jacquelyn Malouf Director – Corporate Services Kieron Roost Director – Patron Services Tony Smith ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government The Honourable Rachel Nolan mp Minister for Finance, Natural Resouyrces and The Arts Director-General, Department of the Premier and Cabinet John Bradley Deputy Director-General, Arts Queensland Leigh Tabrett PSM Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

SYDNEY OPERA HOUSE TRUST Mr Kim Williams am (Chair) Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch, Ms Renata Kaldor ao, Mr Robert Leece am rfd, Mr Peter Mason am, Dr Thomas Parry am, Mr Leo Schofield am, Mr John Symond am EXECUTIVE MANAGEMENT Chief Executive Officer Louise Herron Executive Producer SOH Presents Jonathan Bielski Director, Theatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia Pucci Chief Financial Officer Claire Spencer SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Office: 02 9250 7777 Facsimile: 02 9250 7666 Website:

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Australian Communities Foundation helps people from all walks of life to establish charitable funds to support the causes and organisations they care about. If you would like to know more, please call us on : (03) 9412 0412 or Email: 26 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.



Helena Rathbone

Satu Vänskä

Lead Violin

Principal Violin

Principal Violin

Michael Ball AM & Daria Ball Joan Clemenger Wendy Edwards Prudence MacLeod

Robert & Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

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




The Bruce & Joy Reid Foundation

Ilya Isakovich

Ian Wallace & Kay Freedman

CORE CHAIRS Aiko Goto Violin

Melissa Barnard


Australian Communities Foundation – Connie & Craig Kimberley Fund

Julian Thompson Nicole Divall



The Clayton Family

Ian Lansdown



Brian Nixon

Mr R. Bruce Corlett AM & Mrs Ann Corlett

Principal Timpani

Mr Robert Albert AO & Mrs Libby Albert





ACO INSTRUMENT FUND The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. The ACO pays tribute to its Founding Patrons of the Fund.

BOARD MEMBERS Bill Best (Chairman) Jessica Block Janet Holmes à Court AC John Leece OAM John Taberner


LEADER $500,000–$999,999

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

CONCERTO $200,000–$499,000 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


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.



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)


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


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




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

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


Somna Kumar Prue MacLeod Julianne Maxwell Julie McCourt Elizabeth McDonald Julia Pincus Sandra Royle Nicola Sinclair John Taberner Jennifer Tejada Judi Wolf

ACO DONATIONS PROGRAM The ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

PATRONS  NATIONAL EDUCATION PROGRAM Janet Holmes à Court AC Marc Besen AO & Eva Besen AO


EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Australian Communities Foundation – Ballandry Fund Daria & Michael Ball Steven Bardy Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin John & Janet Calvert-Jones Carapiet Foundation Mark Carnegie Stephen & Jenny Charles Darin Cooper Family Geoff & Dawn Dixon Chris & Tony Froggatt Daniel & Helen Gauchat John Grill & Rosie Williams Belinda Hutchinson AM Angus & Sarah James PJ Jopling QC Miss Nancy Kimpton 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 Anonymous (1)

DIRETTORE $5,000  $9,999 The Abercrombie Family Foundation Geoff Alder Brad Banducci The Belalberi Foundation Patricia Blau Marjorie Bull Jenny & Stephen Charles The Clayton Family Victor & Chrissy Comino Leith & Darrel Conybeare Peter & Tracey Cooper Bridget Faye AM Ian & Caroline Frazer Maurice Green AM & Christina Green Annie Hawker Rosemary Holden Bee Hopkins Warwick & Ann Johnson Julie Kantor Keith Kerridge Lorraine Logan Peter Lovell David Maloney & Erin Flaherty Julianne Maxwell Marianna & Tony O’Sullivan 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 Bill & Marissa Best Mr Leigh Birtles 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 Ann Gamble Myer Rhyll Gardner Liangrove Foundation Warren Green Nereda Hanlon & Michael Hanlon AM Liz Harbison


ACO DONATIONS PROGRAM Mrs Yvonne Harvey & Dr John Harvey AO Graeme Hunt Glen Hunter & Anthony Niardone Vanessa Jenkins Macquarie Group Foundation The Marshall Family The Michael Family P J Miller Louise & Martyn Myer Foundation Sandra & Michael Paul Endowment Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Ruth Ritchie D N Sanders Cheryl Savage Brian Schwartz Greg Shalit & Miriam Faine Tony Shepherd 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 Virginia Berger Linda & Graeme Beveridge Jessica Block Rosemary & Julian 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 Lyndsey Hawkins Peter Hearl Reg Hobbs & Louise Carbines Michael Horsburgh AM & Beverley Horsburgh Penelope Hughes Wendy Hughes Stephanie & Michael Hutchinson Brian Jones D & I Kallinikos Carolyn Kay & Simon Swaney Len La Flamme Mr Michael Lee Mr John Leece OAM Sydney & Airdrie Lloyd Judy Lynch Charlotte & Adrian Mackenzie Martin Family in memory of Lloyd Martin AM David Mathlin Kevin & Deidre McCann Paul & Elizabeth McClintock Brian & Helen McFadyen J A McKernan Jillian & Robert Meyers Suzanne Morgan Jane Morley Nola Nettheim Brendan Ostwald Selwyn M Owen Anne & Christopher Page Rowland Paterson peckvonhartel architects David Penington AC


Ayesha Penman Tom Pizzey Mark Renehan Dr S M Richards AM & Mrs M R Richards Warwick & Jeanette Richmond in memory of Andrew Richmond David & Gillian Ritchie Peter J Ryan In Memory of H. St. P. Scarlett Jeff Schwartz In memory of Elizabeth C Schweig Peter & Ofelia Scott Jennifer Senior Paul Skamvougeras Diana Snape & Brian Snape AM Maria Sola & Malcolm Douglas Ezekiel Solomon AM K W Spence Cisca Spencer Robert Stephens Professor Fiona Stewart Mr Tom Story Dr Douglas Sturkey CVO AM Dr Charles Su & Dr Emily Lo Kyrenia & Rob Thomas Paul Tobin Peter Tonagh Anne Tonkin Ngaire Turner Loretta van Merwyk Kay Vernon David Walsh Janie Wanless & Nev Wittey Bill Watson M W Wells Rachel Wiseman & Simon Moore Sir Robert Woods Nick & Jo Wormald Don & Mary Ann Yeats William Yuille Anonymous (20)

CONCERTINO $500  $999 Antoinette Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Peter & Catherine Aird Elsa Atkin Ruth Bell Max Benyon Tamara Best Brian & Helen Blythe Brian Bothwell Ben & Debbie Brady Denise Braggett

ACO DONATIONS PROGRAM Mrs Kay Bryan Arnaldo Buch Julie Carriol Kirsten Carriol Fred & Jody Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers John Clayton ClearFresh Water Geoff Cousins & Darleen Bungey Laurence Cox AO & Julianne Cox Professor John Daley 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 Janet Fitzwater Michael Fogarty Patricia Gavaghan Brian Goddard Prof Ian & Dr Ruth Gough Philip Graham Steven Gregg Katrina Groshinski & John Lyons Annette Gross Matthew Handbury Lesley Harland Mr Ken Hawkings Dr Penny Herbert in memory of Dunstan Herbert Jennifer Hershon Peter & Ann Hollingworth Pam & Bill Hughes Dr & Mrs Michael Hunter Diane Ipkendanz Philip & Sheila Jacobson Barry Johnson & Davina Johnson OAM Mrs Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso AO Danièle Kemp Josephine Key & Ian Breden TFW See & Lee Chartered Accountants Robert Leece AM

Greg Lindsay AO & Jenny Lindsay Megan Lowe John Lui Robin & Peter Lumley Bronwyn & Andrew Lumsden James MacKean Janet Matton Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Ian & Pam McGaw Dr Hamish & Mrs Rosemary McGlashan Colin McKeith Joanna McNiven I Merrick Jan Minchin Julie Moses Helen & Gerald Moylan Hon Dr Kemeri Murray AO Susan Negrau Dr G Nelson Jenny Nichol J Norman Graham North Josephine Paech L Parsonage Lisa Paulsen Deborah Pearson Kevin Phillips Miss F V Pidgeon AM The Hon C W Pincus QC 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 Geoffrey Stirton & Patricia Lowe Prof Robert Sutherland In memory of Dr Aubrey Sweet Matthew Toohey Sarah Jane & David Vaux G C & R Weir Gordon & Christine Windeyer Sue Wooller & Ron Wooller Lee Wright Brian Zulaikha Anonymous (19)

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 Shirley Miller 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 AUSTRALIAN CHAMBER ORCHESTRA 35

ACO PARTNERS 2013 CHAIRMAN’S COUNCIL MEMBERS The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra. Mr Guido BelgiornoNettis AM Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings Aurizon Holdings Limited Mr Philip Bacon AM Director Philip Bacon Galleries Mr David Baffsky AO

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 Chief Executive Officer FOXTEL

Ms Naomi Milgrom AO

Mr Colin Golvan SC & Dr Deborah Golvan Mr John Grill Chairman WorleyParsons

Mr Brad Banducci Director Woolworths Liquor Group Mr Andrew & Mrs Hiroko Gwinnett Mr Jeff Bond Mrs Janet Holmes à Chief Executive Officer Court AC Peter Lehmann Wines Mr John Borghetti Chief Executive Officer Virgin Australia Mr Hall Cannon Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux Mr Michael & Mrs Helen Carapiet Mr Stephen & Mrs Jenny Charles Mr Georg Chmiel Chief Executive Officer LJ Hooker Mr & Mrs Robin Crawford

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 Steven Lowy AM Lowy Family Group Mr Didier Mahout CEO Australia & NZ BNP Paribas Mr David Mathlin Senior Principal Sinclair Knight Merz Ms Julianne Maxwell

Rowena Danziger AM & Kenneth G. Coles AM

Mr Michael Maxwell


Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr Andrew Stevens Managing Director IBM Australia & New Zealand

Ms Jan Minchin Director Tolarno Galleries

Mr Paul Sumner Director Mossgreen Pty Ltd

Mr Jim Minto Managing Director TAL

Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd

Mr Alf Moufarrige Chief Executive Officer Servcorp Mr Robert Peck AM Ms Yvonne von Hartel AM peckvonhartel architects

Mr Michael Triguboff Managing Director MIR Investment Management Ltd

The Hon Malcolm Mr Scott Perkins Turnbull MP & Head of Corporate Finance Ms Lucy Turnbull AO Deutsche Bank Australia/New Zealand Ms Vanessa Wallace Director Mr Neil Perry Mr Malcolm Garrow Rockpool Director Booz & Company Mr Mike Sangster Managing Director Mr Kim Williams AM Total E&P Australia Chief Executive Officer Ms Margie Seale & News Limited Mr David Hardy Mr Geoff Wilson Mr Glen Sealey Chief Executive Officer General Manager KPMG Australia Maserati Australia & New Zealand Mr Peter Yates AM Chairman, Royal Mr Tony Shepherd AO Institution of Australia President Director, AIAA Ltd Business Council of Australia

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








Peter William Weiss AO

Daryl Dixon

Warwick & Ann Johnson


GPO Sydney

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No. 1 Martin Place



news EDUCATION NEWS ACO2’s Victorian tour with James Crabb

Visiting Benalla, Bendigo, Horsham, Melbourne, Mildura, Montrose, Sale and Warburton, ACO2 worked with local high school students by day and performed public concerts featuring the dramatic music of Astor Piazzolla and Baroque and contemporary classical pieces by night.

approachable… so easy to talk to and passionate.” Amanda, Warburton ACO2 visit regional New South Wales and Queensland in September and perform at the Vasse Felix Music Festival in Western Australia in December.

Photographs: © Sarah Conolan

A large part of ACO2’s activities include regional touring and education workshops. In April, the ensemble worked with classical accordionist and guest leader James Crabb touring regional centres across Victoria.

The tour garnered glowing reviews, not least from our wonderful workshop participants. “It was fun because I enjoy playing with other violinists. I learnt what a chamber orchestra is like because I didn’t know before today.” Kate, Bendigo

Above: Bendigo workshop — Adam Szabo with Sheridan Thomas

“So inspiring. Please come again. I found the ACO musicians really friendly and

Above: Rehearsal in Mildura

Right: Caroline Henbest and Caitlin MacGregor


BARRY HUMPHRIES AT CARNEGIE HALL (THE DARLINGHURST ONE) On Thursday 2 May, Mark Carnegie generously opened up his Darlinghurst home to us for the first of this year’s major fundraising events, Barry Humphries at Carnegie Hall (the Darlinghurst one).

The evening was a great success and raised $120,000 for our visionary education program. We would like to thank Mark Carnegie for his most generous hospitality and everyone who attended for their continued support.

Photographs: © Jamie Williams

The former church has been converted into a stunning private home and was the perfect setting for guests to be entertained by Barry Humphries, the outrageous Meow Meow and members of the ACO in a brilliant cabaret performance. Celebrated chef Damien Pignolet (Bistro Moncur) designed the menu and worked with the ACO’s longstanding partner, Katering to produce a superb feast and once again PoHo Flowers added to the style and glamour of the evening with their dramatic floral displays.

Clockwise from top: Satu Vänskä, Barry Humphries and Meow Meow; Charlotte Mackenzie, Rachel Wiseman, Walter Lewis and Liz Cacciottolo; Marianna O’Sullivan, Prue MacLeod and Tony O’Sullivan; Scott Ellice-Flint, Lee Ellice-Flint, Tracy Zietsch, Sandy Martin, Roxane Clayton and James Smith; Floral display.


NEW RECORDINGS Winter Morning Walks CD with Dawn Upshaw S Soprano Dawn Upshaw p performs new works b by composer Maria S Schneider, joining us for W Winter Morning Walks w with lyrics by former US llaureate poet Ted Kooser. “Lyrical, flowing, intimately expressive…this is music to fall in love with the first time — then immediately want to hear again.” NPR

The Reef DVD A live recording of our S Sydney Opera House p performance of The Reef, o our most recent surfing, film a music collaboration. and “ “The Reef DVD recording cap successfully captures the thrill and energy of the ACO live. Tognetti’s innovative and entrancing performance transcends the concert hall experience…” Fine Music Magazine

Mendelssohn CD with Polina Leschenko M Mendelssohn’s Octet and Concerto in D minor for violin, piano and sstrings featuring Russian pianist Polina Leschenko. “ “The ACO has just the right touch with these two works...Russian pianist P Polina Leschenko is a perfect match for Tognetti. Together they bring all tthe necessary effervescence and vitality to the score.” L Limelight Magazine

Buy a copy or explore our full list of recordings at or call 1800 444 444 (Mon-Fri, 9am-5pm).

YOUR SAY… Feedback about Barry Humphries’ Weimar Cabaret tour “Superb, sublime, sensational... Barry Humphries was in fine form and Meow Meow was just wonderful. And then there’s Satu (Vänskä) there no end to that woman’s talents? Thanks ACO.” — R. Wilson

“A fitting tribute to those wonderful composers who so deserve to be heard.” — J. Chandler

“A remarkable concert, very moving and funny, full of integrity. Feel very lucky to have been there.” — J. Ellis

“Engaging from start to finish, superbly produced, with such an array of talent and professionalism. I left feeling very uplifted and thinking I would like to be able to hear it all again at home.” — C. Parfitt

“I sincerely hope this production travels the world. It is a showcase of Australian talent.” — S. Cattell

“There surely is nothing this orchestra can’t do! The playing was extraordinary.” — M. Layden

Let us know what you thought about this concert at 40 AUSTRALIAN CHAMBER ORCHESTRA

SUPPORT THE FUTURE Help us to inspire the next generation of musicians. Our National Education Programs cultivate the musical growth of young people across Australia. We are determined to instil students with a love of music and to nurture young musical talent, ensuring the continuation of music excellence in Australia. By supporting our National Education Programs you will help us engage with students at every level of the education system from our Emerging Artists Program and AC O2 down to primary school students. Together we can inspire the next generation of musicians.

Helena Rathbone with Jack. Photo ŠFiora Sacco

Richard Tognetti AO Artistic Director

To donate please visit For more information please phone Ali Brosnan on (02) 8274 3830 or email

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Tognetti Presents ACO2  

The program for the 'Richard Tognetti presents ACO2' tour.