2013 CONCERT SEASON BRAHMS PIANO QUINTET
SATU VÄNSKÄ © JAMIE WILLIAMS
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TOUR SIX BRAHMS PIANO QUINTET RICHARD TOGNETTI Director & Violin SATU VÄNSKÄ Violin CHRISTOPHER MOORE Viola TIMO-VEIKKO VALVE Cello JEREMY DENK Piano BACH (arr. Tognetti)
Canons on a Goldberg Ground, BWV1087
Etudes No.7, No.10, No.11 and No.13
Scherzo, “Holding your Own!”
Piano Sonata No.2, “Concord”: The Alcotts
Keyboard Concerto in F minor, BWV1056
I N T E R VA L
Approximate durations (minutes): 8 – 12 – 2 – 7 – 10– INTERVAL – 38 The concert will last approximately one hour and forty-ﬁve minutes including a 20-minute interval.
Town Hall Tue 13 Aug, 8pm
City Hall Mon 12 Aug, 7.30pm
Recital Centre Mon 26 Aug, 8pm
Concert Hall Wed 14 Aug, 7.30pm
City Recital Hall Angel Place Sat 17 Aug, 7pm Tue 20 Aug, 8pm Wed 21 Aug, 7pm Fri 23 Aug, 1.30pm
WOLLONGONG Town Hall Sat 24 Aug, 7.30pm
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
AUSTRALIAN CHAMBER ORCHESTRA 1
ABOUT THE MUSIC Concord, Massachusetts, is one of America’s sacred sites, or as Henry James put it, ‘the biggest little place in America’. It was home of philosopher and cabin-builder Henry David Thoreau, author Louisa May Alcott and essayist Ralph Waldo Emerson. The American Revolution caught ﬁre here in 1775 with the ‘shot heard round the world’. In its way, it is the capital city of this concert, not just because of the presence of Charles Ives’ nostalgic evocation of Concord’s intellectual life, but also in its celebration of the individual, the wayward, the Romantic and the transcendent. First, the cosmic mathematics of Bach’s keyboard concerto and Goldberg canons, with their intimations of eternity, then György Ligeti’s Etudes, which test a pianist’s technique and sanity. Charles Ives’ portrait of the Alcotts is the lyrical heart of his Concord Sonata and celebrates the everyday poetry of existence while his terse and tumultuous Scherzo requires a quartet of rugged individualists to ‘hold their own’. A portrait of Johannes Brahms hung on the back of Ives’ upright piano, one of the few European composers who had Ives’ unreserved approval, perhaps because of the gritty honesty and rigor of works like the Piano Quintet, a masterpiece perfectly suited to the abilities of pianist Jeremy Denk and the ACO principals.
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ACO ON THE RADIO ABC CLASSIC FM: Brahms Piano Quintet Wed 21 August, 7pm
UPCOMING TOURS Scholl Sings Vivaldi 3—9 October The Crowd 11—13 October Brahms 4 & Steven Isserlis 19—29 October
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When Richard Tognetti and Jeremy Denk met for the ﬁrst time in New York last year, it was clear that a meeting of musical minds was taking place. Jeremy’s big-hearted and broad-minded approach to repertoire leads to some fascinating collisions and the resulting program is an ideal collaboration between the ACO and a new musical partner. Last month, during the winter school holidays, we hosted the second ACO Academy in our studios in Sydney. This project involves the formation of a youth string orchestra which in ACO fashion is directed from the violin and plays rich and exhilarating string repertoire from the Baroque period up to today. Aiko Goto led the ACO Academy, which comprised 23 string players aged 9–17, and she was impressively backed up by Rebecca Chan, Ilya Isakovich, Mark Ingwersen, Nicole Divall, Julian Thompson and Maxime Bibeau. Over the course of an intensive week of rehearsals, sectionals, lessons and chamber music workshops, the participants were transformed into a chamber orchestra which proudly strode onstage at the City Recital Hall Angel Place, and performed Handel, Vivaldi and Josef Suk to a loudly enthusiastic audience of nearly 800. Plans are in place to take the ACO Academy to Melbourne in 2014. Our newest music education initiative ACO VIRTUAL is a fully immersive, interactive, digital installation of the ACO in which you can stand inside the Orchestra and experience a performance from within, completely encircled by the projected images of the musicians and in completely true surround sound. From a touch-pad controller in the centre, you can highlight any individual musician and hear and see that musician’s performance in isolation, with everyone else in shadow, both visually and aurally. If you’re a violin student in Bathurst or Albany, you can come into the installation to learn the ﬁrst violin part of Bach’s Brandenburg Concerto No.3 from Richard Tognetti’s performance of it, with Richard’s score rolling across the screen. Once you’ve mastered it, you can switch Richard oﬀ, bring up the rest of the musicians and you can lead the ACO in the performance – and it’s in 3D too! We’ve nicknamed it Play With The Band. ACO VIRTUAL has appeared so far at the Gold Coast and in Swan Hill, Victoria, and we will be installing it in regional and metropolitan centres across Australia later this year.
We will announce our 2014 season later this month. Make sure you’re on our mailing list by emailing firstname.lastname@example.org to ensure you receive an early copy.
Free talks about the concert take place 45 minutes before the start of every concert at the venue.
GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA
AUSTRALIAN CHAMBER ORCHESTRA 3
P OW E R I S A N ACQ U I R E D TA ST E
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J.S. BACH (arr. Tognetti) (14) Canons on the ﬁrst eight fundamental notes of the Goldberg Variations, BWV1087 (Composed c.1747–48)
I. II. III.
Johann Sebastian BACH (b. Eisenach, 1685 — d. Leipzig, 1750)
IV. V. VI. VII. VIII. IX. X.
Canon simplex all’ roverscio Beede vorigen Canones zugleich, motu recto e contrario motu contrario e recto Canon duplex à 4 voci Canon simplex über besagtes Fundament à 3 voci Idem à 3 voci Canon simplex à 3, il soggetto in Alto Canon in unisono post semifusam à 3 voci Alio modo, per syncopationes et per ligaturas à 2 voci Canon duplex übers Fundament à 5 voci Canon duplex über besagte Fundamental-Noten à 5 voci Canon triplex à 6 voci Canon à 4 voci per augmentationem et diminutionem
J.S. Bach is one of the greatest, if not the single greatest, of all composers. A working musician his entire life, his composition ranges from the deeply spiritual to the ﬂamboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.
A ground bass (or basso ostinato) is a continuously repeated bass-line which forms the basis for compositions like the Goldberg Variations, or other variation forms such as the chaconne or passacaglia. In the case of the Goldbergs, the bass-line is 32 bars long and it is this — not the Aria — which is subjected to variation. The other (inescapably) famous work which uses a ground bass is Johann Pachelbel’s Canon.
In 1974, a copy of the Goldberg Variations (BWV988) that was once owned by J.S. Bach himself appeared in Strasbourg. On the inside back cover was a single sheet in the composer’s hand of 14 canons based on the ﬁrst eight notes of the Goldberg bass-line, or ‘ground’. While the exact date of composition is unknown, they seem to be late works, from 1747 or 1748, at a time when Bach was concerned with canonic experimentation (including composing canonic variations on the chorale Vom Himmel hoch and the canons of the Musical Oﬀering). Canon is the most exacting form of contrapuntal writing: a single melody must work in many guises – as bass-line, melody and harmonising voices – with the additional diﬃculty of having to be musically satisfying. In the Goldberg Variations, nine strict canons on increasingly wide intervals (from the unison to the ninth) are interspersed with free variations in an intricate structure which gives the set its satisfying ‘plot’ and unity.
XI. XII. XIII. XIV.
ABOUT THE MUSIC Late Bach sometimes gives the impression of a retirement into scholasticism – a brilliant mind working out problems with no intention of them being performed. That’s why no instrumentation is speciﬁed for the Art of Fugue or for the tiny canons of BWV1087 – they are pure thought. They are also riddles. Like the Musical Oﬀering, Bach presents the canons in a kind of shorthand – a few bars of music – with a Latin tag or visual clue to unlock the counterpoint he has hidden, in two to six parts. For example, the ﬁrst canon (I) ‘Simplex’ presents the six-bar bass-line (the ‘subject’) with a bass clef at one end and an upside-down bass clef AUSTRALIAN CHAMBER ORCHESTRA 5
at the other end, an instruction that the second part is to be played backwards (in retrograde). The heading ‘all’ roverscio’ (II) means that the subject is turned upside down (inversion) and played against its inverted retrograde. (III) ‘Motu recto e contrario’ means to play the original subject against its inversion. (IV) ‘motu contrario e recto’ means to play the inversion of the subject and the inversion of that inversion. Bach has just completed a methodical exploration of the possibilities of inversion and reversal of the subject and now starts to get complicated. The Canon Duplex à 4 Voci (V) combines the original ground and its inversion, plus a new melody and its inversion in canon. Other highlights include the Canon in unisono post semifusam à 3 Voci (IX), with the voices chasing each other at the tiny gap of the semiquaver, generating a scintillating texture.
J.S. Bach by Haussman, 1746.
Further listening Among the many recordings of Bach’s Goldberg Variations,two of the best are by recent ACO guest director Richard Egarr who appends the 14 Canons to his recording of the Goldberg Variations (Harmonia Mundi) and by Baroque ensemble Café Zimmermann, who arranged the canons for a chamber group of strings and harpsichord (Alpha). 6 AUSTRALIAN CHAMBER ORCHESTRA
It’s hard to speak about the music of Johann Sebastian Bach without resorting either to mysticism or academic jargon, so powerful is the blend of heart, faith and mind that animate his works. This is true even of these tiny scraps of music. The eleventh canon was known before the 1974 discovery. It was written in a notebook owned by Johann Gottlieb Fulda with the two legends: Symbolum Christus Coronabit Crucigeros (Symbol: Christ will Crown the Cross-bearers) and Domino Possessori hisce notulis commendare se volebat J. S. Bach (J.S. Bach wanted to commend himself to the lord possessor by means of these notes). The ﬁrst refers to the ﬁve descending semitones, one for each of Christ’s wounds, the second puns on Domino as lord and Lord (God). A version of Canon XIII appears on the piece of manuscript Bach holds in the iconic 1746 portrait of him by Haussman (pictured). The fourteenth canon is unusual in this set for employing augmentation and diminution (lengthening and shortening of durations), with each of the voices using diﬀerent rhythmic proportions to generate the canon (this is called a mensuration canon). There is one last game embedded in the set, and that is the number of canons. Fourteen is perhaps not arbitrary: in the numerology of Bach’s day, the letters B-A-C-H add up to 14. If this arcane fact seems like a reach, consider that there are also 14 ‘Contrapuncti’ in the Art of Fugue. Bach didn’t specify which (if any) instruments should be employed and didn’t provide any material to connect one canon to the next. Like the riddle canons themselves there are multiple solutions to this puzzle. Richard Tognetti’s playful arrangement for strings and piano evokes the spirit of Bachians like harpsichordist Richard Egarr, pianist Jacques Loussier (whose jazzy takes on Bach have immense rhythmic vitality) and the ﬂamboyant orchestrations of Leopold Stokowski. The other important touchstone is the Hungarian modernist György Kurtág (b.1926), whose Bach transcriptions for four hands at one piano have a translucent clarity and quiet candour which is immensely moving. Tognetti hasn’t been constrained by the considerations of ‘authenticity’ and freely uses contemporary string techniques and ear-tickling sonorities to better highlight certain textures and tricks in the canons and make them more fun to play and hear.
© Peter Anderson
LIGETI Etudes No.7, No.10, No.11 and No.13 for Piano (Book II) (Composed 1988–1994)
VII. X. XI. XIII.
Galamb borong Der Zauberlehrling En suspens L’escalier du diable
György LIGETI (b. Dicso ˝szentmárton, Romania, 1923 — d. Vienna, 2006) György Ligeti is one of the 20th century’s deﬁning musical voices. After completing his musical education in Hungary, Ligeti ﬂed the Soviet-controlled state for Vienna where he lived the rest of his life. He adopted a new (and constantly evolving) style, beginning as a 12-tone composer but ending with a distinctive idiom which encompassed medieval techniques, African polyrhythms, Eastern-European folk music, non-Western and unconventional scales and tunings, fractal-like complexity, fantastic literature and visual art, electronics, minimalism, black humour and fascinating orchestral sonorities. His Lux Aeterna, Atmosphères and Aventures were used in the ﬁlm 2001: A Space Odyssey.
ACO performance history In 2003, Clemens Leske performed Etude No.10 at the Huntington Festival.
Further reading/listening An exploration of the music of Ligeti should include the orchestral Lontano and Atmosphères, the Violin Concerto, the Etudes for piano, his opera Le Grand Macabre, and the Trio for Violin, Horn and Piano.
The unlikely poetic and musical possibilities of technical study were ﬁrst realised by Frédéric Chopin (1810–1849) in the late 1820s in his sets of concert Etudes. Any piano student who has endured Carl Czerny’s (1791–1857) exercises will know that these are the opposite of music: ruthlessly designed to seek and destroy any technical weaknesses through banal scalic sequences and patterns in all possible keys joined by trite modulations to be performed with metronomic precision. These are utilitarian études for the practice-room, not the concert hall. Chopin’s Etudes are also concerned with speciﬁc technical, interpretative and musical problems but in the context of actual music. Chopin’s friend Franz Liszt (1811–1886) also contributed to the genre with his Transcendental Etudes, which he gave colourful programmatic titles like Feux Follets (Will O’ the Wisps). Claude Debussy (1862–1918) also composed 12 études in the manner of Chopin and Lizst and they are among his ﬁnest works. Ligeti’s Etudes are in this great tradition and the spirits of his antecedents hover over them. Like Lizst’s they require superhuman technique, like Chopin’s they disguise their didacticism behind poetry and like Debussy’s they are quietly radical compositions. Although he intended to compose only 12 (in two books, like Debussy’s) Ligeti eventually completed 18 (in three books) between 1985 and 2001. The ﬁrst book of Etudes won the prestigious Grawemeyer Prize in 1986. In the note accompanying his recording of the Etudes, Jeremy Denk comments on their exploitation of the ‘perversity’ of the genre: ‘Drawing inspiration from the étude’s most unpromising attributes – obsession, monotony, ad inﬁnitum repetition, mathematical dryness – he fearlessly redeems them.’
ABOUT THE MUSIC Galamb borong opens Book II with a nod to the orientalism of Debussy and Ravel, with intricate gamelan-like ﬁgurations built on the ‘exotic’ whole-tone scale and an Indonesian-sounding title (actually Hungarian and meaningless). Shimmering serenity quickly dissolves into tinkling chaos as cross-rhythms proliferate. An exquisite out-of-tuneness, so evocative of the complex overtones of a real gamelan, is created by the left and right hands playing in diﬀerent keys. The innocence of Der Zauberlehrling (The Sorcerer’s Apprentice) comes from a harmonic simplicity that only gradually becomes inﬂected by ‘wrong’ notes, as a melody is carved ‘in relief ’ by accents in the rapid swirling gestures. AUSTRALIAN CHAMBER ORCHESTRA 7
A toccata (from the Italian toccare, ‘to touch’) is a Baroque compositional technique, often for keyboard, where fast runs, arpeggios, broken chords etc. showcase virtuoso ﬁngerwork. The optical illusion MC Escher exploited in some of his drawings is known as ‘Penrose Stairs’. In music, the ‘Shepard Scale’, creates a similar illusion of a scale going ever higher or lower but somehow also staying still. This ‘pitch circularity’ is very disorientating, especially when the notes are smudged into a continuous portamento (or slide).
The sorcery is in the way the repetition creates the illusion of continuous sound. The ambiguous title of En suspens (meaning among other things ‘in suspension’ but also ‘left hanging, unﬁnished’) is perhaps better understood as being about irresolution: metrical, because the right hand plays in 6/4 time, ﬂoating over the left in a slower 4/4 suggesting a swing waltz, and harmonic, with a series of gentle, jazzy dissonances that fade away in mid-phrase… leaving us en suspens. L’Escalier du diable (The Devil’s Staircase) is the longest of all the Etudes, a frantic toccata climbing ever higher – impossibly high – in the compass of the piano. The trick is eﬀected by the staggered overlapping one rising phrase with another coupled with careful cross-fading dynamics, the aural equivalent of MC Escher’s geometric paradoxes. The piece ends like a cloud of smoke dispersing to reveal a baleful tritone (the devil’s interval) in the bass. Denk says that Ligeti’s Etudes ‘are a crowning achievement of his career and of the piano literature; though still new, they are already classics’.
IVES Scherzo: Holding Your Own! for String Quartet, from A Set of Three Short Pieces, Op.84 (Composed 1903–4)
Charles IVES (b. Connecticut, 1874 — d. New York, 1954) Charles Ives was a pioneering American composer who explored avant-garde techniques such as polymetre (music in two or more different time signatures simultaneously), polytonality (in two or more keys), piled-up quotations of popular song, and atonality well in advance of his European contemporaries. Ignored for most of his career, his music was championed by younger generations of composers and conductors, for example, Leonard Bernstein.
The scherzo for string quartet shows Ives’ sense of humour at its most rebarbative and his voice at its most experimental. Composed around 1904, the short piece is a mash-up of popular songs – My Old Kentucky Home, the Sailor’s Hornpipe and others – with no accommodation for their diﬀerent meters and keys. He subtitled it ‘An Exercise in Holding Your Own’ because in the slower middle section the four players are at metrical odds with each other, ﬁrst four beats to the bar against six, and then clashing two against nine against sixteen.
IVES Piano Sonata No.2 Concord, Mass. 1840-60: ‘The Alcotts’ (Composed 1916–17)
BACKGROUND Even if Charles Ives hadn’t been one of music’s great visionaries, he would be assured of fame, at least in certain circles, as a pioneering insurance executive (his big idea was estate planning as means to avoid inheritance tax). His insurance work made him rich enough to not have to worry about writing music that anyone would or could perform, music as deﬁantly challenging and take-it-or-leave-it as his sometimes bristly persona. Ives once said, “Beauty in music is too often confused with
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Transcendentalism was a spiritual and philosophical movement that grew out of New England Protestantism, German Romanticism (ﬁltered through the English Romantics), Vedic (ancient Indian) texts and a sense of the numinous in nature. Believing that modern society endangered the authenticity of the individual, transcendentalists prized selfreliance and independence, feeling that a true community could only be formed of individuals like Henry David Thoreau, who wanted to ‘live deliberately’ and close to nature. Adherents included Concord residents Thoreau, Emerson and the Alcott family, who were aligned with socially progressive ideals like abolition. Transcendentalism can be felt in the works of Walt Whitman, Emily Dickinson and, of course, Charles Ives. The key works of the Transcendentalists include Thoreau’s Walden and Civil Disobedience, Emerson’s Essays and Louisa May Alcott’s Little Women.
There is no ‘spinet piano’ at Orchard House today, only a melodeon reed organ and a large square piano, and indeed no record of Sophie Thoreau ever owning a spinet piano to give to the Alcotts. While this connection between the Sonata’s personalities and themes is lovely, the piano and Beth playing at Beethoven seem to be products of Ives’ imagination.
something that lets the ears lie back in an easy chair.” A question he posed in Essays Before a Sonata, could be a motto for his musical modus operandi: ‘How far aﬁeld can music go and keep honest as well as reasonable or artistic?’ He discovered that it could go pretty far. Ives did not have a modernist agenda though. As his (sometimes blinkered) Nationalism hints, he was a Romantic.
ABOUT THE MUSIC Ives called the four pieces that comprise Concord, Mass. 1840–60 a ‘sonata, for want of a more exact name’. It was, he said, ‘an attempt to present (one person’s) impression of the spirit of transcendentalism that is associated in the minds of many with Concord, Mass., of over a half century ago.’ The movements are portraits of Ralph Waldo Emerson, Hawthorne, The Alcotts and Thoreau and each of them contains a reference to the opening notes Beethoven’s Fifth Symphony – that essential document of the Romantic imagination – symbolising ‘the soul of humanity knocking at the door of the divine mysteries, radiant in the faith that it will be opened.’ The third movement, really a double portrait of philosopher Bronson Alcott and his daughter Louisa May, is an oasis of tender nostalgia in the midst of the stormy, Romantic ‘maximalist’ outer movements. The Beethoven quotation here is melded with two American hymn tunes (Martyn and The Missionary Chant) in a ruminative ‘improvisation’. The image is of the Alcotts gathered around the ‘little old spinet-piano Sophia Thoreau gave to the Alcott children, on which Beth (March, of Louisa May’s Little Women, based on Elizabeth Alcott) played the old Scotch airs, and played at the Fifth Symphony.’ Bell-like chimes (‘overtones’ from Orchard House, the Alcott’s home) ring over the impressionistic mesh of quotations. ‘All around you,’ Ives writes, ‘under the Concord sky, there still ﬂoats the inﬂuence of that human faith melody, transcendent and sentimental enough for the enthusiast or the cynic respectively.’
Further reading and listening The best introductions to Charles Ives’ work include Three Places in New England, The Unanswered Question, Central Park in the Dark, the ‘pops’ favourite Variations on America and the ‘Concord’ Sonata with its accompanying Essays.
AUSTRALIAN CHAMBER ORCHESTRA 9
J.S. BACH Concerto for Keyboard, Strings and Continuo in F minor, BWV1056 (Composed c1717–1723)
I. Allegro II. Adagio III. Presto BACKGROUND
Prince Leopold of Köthen-Anhalt, 1710.
Bach’s concertos are less cerebral entertainment than his canons. The Keyboard Concerto in F minor (BWV1056) is probably an arrangement of a violin or possibly oboe concerto (in G minor) and bears the stylistic imprints of one of Bach’s heroes, Antonio Vivaldi. It was composed during his time at Köthen-Anhalt (1717–1723), where he was Kapellmeister at the Calvinist court of Prince Leopold where church music was verboten but where secular music was generally loved. With the chore of producing weekly Lutheran cantatas removed, Bach had the time and the latitude for the ﬁrst time to compose instrumental music, and a high-quality orchestra at his disposal to play it. Many of the concertos, the solo violin and cello sonatas and keyboard works that Bach is best known and loved for were composed during this fertile (and mostly happy) time.
ABOUT THE MUSIC
ACO performance history Bach’s Concerto for Keyboard, Strings and Continuo in F minor was ﬁrst performed by the ACO in a 1997 subscription tour with Pedro Burmester, and most recently in 2003 as part of a subscription tour and again in a 2005 tour of North America with Angela Hewitt.
The short F minor concerto follows the established Italianate pattern of alternating ritornello and solo passages. As the word implies, the ritornello is a recurring refrain that punctuates the ﬂamboyant displays of the soloist to extend and elaborate the thematic material. The emphatic 14-bar ritornello of the Allegro introduces a ﬁgure in the bass and a rocking motif in the higher voices that permeate much of the pianist’s music, giving the movement a feeling of close (almost claustrophobic) integration. This is dispelled by the radiant A ﬂat major aria of the Adagio, where over skeletal pizzicato (plucked strings) accompaniment, the pianist spins one of Bach’s most exquisite songs with his right hand. The seemingly spontaneous tracery of ornament is composed into it. Constant motion, material tossed between soloist, and tutti, and dramatic pauses give the ﬁnal Presto a mood of impetuous energy.
Further listening Angela Hewitt’s complete set of Keyboard Concertos with the ACO is available to buy at aco.com.au (Hyperion Records). The reconstruction for violin has been recorded by Isabelle Faust and Bach Collegium Stuttgart (Hänssler Classic). 10 AUSTRALIAN CHAMBER ORCHESTRA
BRAHMS Piano Quintet in F minor, Op.34 (Composed 1864–65)
I. II. III. IV.
Allegro non troppo Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto
Johannes BRAHMS (b. Hamburg, 1833 — d. Vienna, 1897) Johannes Brahms is one of the key ﬁgures of German Romanticism. The pianist and composer’s interest in the music of Bach, Handel and Haydn imbues his music with Classical discipline and contrapuntal and formal rigor, but his harmonic and melodic innovations earned him the respect of later modernists like Schoenberg (who dubbed him ‘Brahms the Progressive’) as well as those of a more conservative character. His masterpieces are too numerous to list but the four symphonies, the two piano concertos, the violin concerto are essential, as are the string quartets and clarinet quintet.
Brahms rarely wrote to please the masses, but he paid good attention to what musicians and critics said about his work. When he was younger, Brahms perhaps took it too much to heart: the venomous critical response to his ﬁrst – and deeply personal – piano concerto, Op.15, stunned him. The concerto had begun as a symphony, but eventually the raw material was concerted into the more ﬂexible genre of the concerto, but some of the symphonic heft and tight thematic integration remains in this uncompromising but unconventional concerto. It was the start of a pattern for Brahms, his second thoughts leading to a truer and more apt expression of his ideas. The Piano Quintet in F minor went through several transformations, provoked by the opinion of his friend, the violin virtuoso Joseph Joachim, (1831–1907). In 1862, Brahms relocated to Vienna, the city of Beethoven and Schubert, and was eager to insert himself into the musical life and traditions of the city. He started by composing a string quintet (with two cellos, like Schubert’s magniﬁcent example). He sent the work in progress to Clara Schumann, who loved it, and to Joachim, who was not so eﬀusive in his praise: ‘The details of the work show some proof of overpowering strength but what is lacking, to give me pure pleasure, is, in a word, charm.’ Brahms reworked it into a sonata for two pianos which he premiered in 1864, but Clara, while still admiring its content urged him to ‘remodel it once more!’. It assumed its ﬁnal form later in 1864 as a Piano Quintet, the instrumentation (two violins, viola, cello, piano) suggested by his friend the conductor Hermann Levi. The result, in Levi’s word, was a ‘masterpiece of chamber music’.
ABOUT THE MUSIC
ACO performance history The ACO performed Brahms’ Piano Quintet in F minor, Op.34 for the ﬁrst time in 1998 at Government House, Sydney and most recently in 2000, as part of national subscription tour.
The ﬁrst movement opens with a fairly gentle unison statement of the theme, with tension immediately cranked up with a quasiBaroque piano solo and a dramatic reiteration of the theme. The whole movement thrums with high-strung energy, although its intricate but very organic structure does allow some brief moments of lyrical repose. The shifting allegiances of the instruments are especially fascinating, with the piano sometimes pitted against the strings, sometimes colluding with one or more of them. The recapitulation roars back with a massive statement of the primary theme before a kaleidoscopic journey through the other thematic material and a suitably dramatic ﬁnish. AUSTRALIAN CHAMBER ORCHESTRA 11
In contrast, the Andante is a relaxed lullaby, reminiscent in its mood of quiet rapture to the Adagio of Schubert’s String Quintet. The piano leads with a melody that could have been drawn from a Schubert lieder while the string quartet accompanies. The movement’s climax comes with an emotive version of the song with the roles reversed: the strings singing the melody with the piano backing it with strummed chords and little ﬂourishes.
Scherzo, from the Italian for ‘joke’, is a lighter, faster movement usually found in symphonic or sonata structures. It often has three beats to a bar and incorporates a contrasting ‘trio’ section.
A tense pulsation on the cello is the stark introduction to the thrilling Scherzo. Brahms juxtaposes three ideas: a rhythmically oﬀ-kilter upward motif, a ‘lighter’ bouncing rhythm, and a full-blooded march, which he combines into an ingenious fugal counterpoint of ever-building drama. The trio section is a more relaxed version of the ‘march’, but things never stay calm for long, and soon the cello begins to pulse again. The Finale’s somber chromatic opening demonstrates the harmonic daring that the later Viennese modernists so admired. It acts as a counterbalance to the Scherzo’s fevered energy, and is a self-contained prelude, reaching a natural closure. The tragic inwardness of the introduction is never entirely shaken oﬀ in the Hungarian folk-inﬂected main fast section, as the momentum of the music occasionally winds down into silence before being taken up with renewed force. The gathering, nearly symphonic power of the movement is dismissed with a sudden and incredibly eﬀective gesture like slamming shut a door on the work. Musical form, musical content and its instrumental realisation are inextricably linked, but sometimes they don’t always align perfectly at the ﬁrst or even the second time. With the Piano Quintet, Brahms found the ideal medium to allow the music to come into being, transforming idea into reality.
PROGRAM NOTES © ROBERT WESLEY MURRAY, 2013
12 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: 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 Bach 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 All available from aco.com.au/shop
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.
14 AUSTRALIAN CHAMBER ORCHESTRA
JEREMY DENK © Michael Wilson
Jeremy Denk has established himself as one of America’s most thought-provoking, multi-faceted, and compelling artists. He has appeared as soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London. He regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the United States. Denk is known for his original and insightful writing on music, praised by Alex Ross for its ‘arresting sensitivity and wit.’ Denk’s writing has appeared in the New Yorker, New Republic, and on the front page of the New York Times Book Review. His website ‘think denk’ recounts his experiences of touring, performing, and practicing, was recently selected for inclusion in the Library of Congress Web Archives. Denk looks forward to performing and curating as music director of the 2014 Ojai Music Festival, for which he is also composing the libretto to a semi-satirical opera. In 2012, Denk made his debut as a Nonesuch Records artist with a pairing of masterpieces old and new: Beethoven’s ﬁnal piano sonata and selected György Ligeti Études. The disc was named one of the best discs of 2012 by the New Yorker, NPR, and the Washington Post. Later this year, Denk will release a recording of Bach’s Goldberg Variations. He has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives’s two Piano Sonatas was selected for many ‘best of the year’ lists. Last season, Denk was invited by Michael Tilson Thomas to appear as a soloist in the San Francisco Symphony’s American Mavericks Festival, and he recorded Henry Cowell’s piano concerto with the orchestra. He has cultivated relationships with many living composers, and has several commissioning projects currently in progress. This season includes a return to Carnegie Hall, as part of a thirteen-city recital tour of the US, as well as a performance of J.S. Bach’s complete set of six keyboard concertos in a single evening.
Recordings Jeremy Denk Plays Ives Think Denk Media Jeremy Denk plays Ligeti & Beethoven Nonesuch Media
Denk has toured frequently with violinist Joshua Bell, and their album French Impressions was recently released on the Sony Classical label, winning the 2012 Echo Klassik award. He also regularly collaborates with cellist Steven Isserlis. He has appeared at numerous festivals, including the Italian and American Spoleto Festivals, and the Santa Fe Chamber Music, Verbier, Ravinia, Tanglewood, Aspen, and Mostly Mozart Festivals. He lives in New York City. jeremydenk.net
J.S. BACH Partitas 3, 4, 6 Azica Records
AUSTRALIAN CHAMBER ORCHESTRA 15
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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 ensemble (except for the cellists) for which it is internationally recognised. Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andreæ cello on loan from Peter William Weiss ao and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Award-winning Bach recordings, multi-award-winning documentary ﬁlm Musica Surﬁca and the complete set of Mozart Violin Concertos.
The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.
The ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall. In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.
The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.
aco.com.au AUSTRALIAN CHAMBER ORCHESTRA 17
MUSICIANS ON STAGE Photo: Michael Wilson
Photos: Paul Henderson-Kelly
RICHARD TOGNETTI ao§ SATU VÄNSKÄ≈
Director & Lead Violin
Chair sponsored by Michael Ball am & Daria Ball, Wendy Edwards, & Prudence MacLeod
Chair sponsored by Kay Bryan
Players dressed by
Chair sponsored by peckvonhartel architects
Chair sponsored by Peter William Weiss ao
§ 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. ❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter William Weiss ao.
18 AUSTRALIAN CHAMBER ORCHESTRA
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 ao
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 & Development Manager Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti ao ARTISTIC & OPERATIONS Luke Shaw Head of Operations & 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 & 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 & 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
AUSTRALIAN CHAMBER ORCHESTRA
MARKETING Rosie Rothery Marketing Manager Amy Goodhew Marketing Coordinator Clare Morgan National Publicist Chris Griﬃth Box Oﬃce Manager Dean Watson Customer Relations Manager Poppy Burnett Box Oﬃce & CRM Database Assistant Christina Holland Oﬃce Administrator INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist
ABN 45 001 335 182
Australian Chamber Orchestra Pty Ltd is a not for proﬁt company registered in NSW.
In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Oﬃce: 1800 444 444 Email: email@example.com Website: aco.com.au
AUSTRALIAN CHAMBER ORCHESTRA 19
ACKNOWLEDGEMENTS GOVERNMENT SUPPORT
VENUE SUPPORT We are also indebted to the following organisations for their support:
PO Box 7585 St Kilda Road Melbourne Victoria 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au
LLEWELLYN HALL School of Music Australian National University William Herbert Place (oﬀ Childers Street) Acton, Canberra VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: firstname.lastname@example.org
VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Ms Deborah Beale, Mr Sandy Clark, Mr Julian Clarke, Ms Catherine McClements, Mr Graham Smorgon am, Mr David Vigo ARTS CENTRE MELBOURNE FOUNDATION BOARD OF GOVERNORS Mr Sandy Clark Chairman Mr John Haddad ao Emeritus Chairman Miss Betty Amsden oam, Mrs Debbie Dadon, Mr John Denton, Mr Carrillo Gantner ao, Mr Tom Harley, Ms Dana Hlavacek, Mrs Mem Kirby oam, Mrs Jennifer Prescott
AEG OGDEN (PERTH) PTY LTD
EXECUTIVE GROUP Ms Judith Isherwood Chief Executive Ms Jodie Bennett Executive Corporate Services (CFO) Mr Tim Brinkman Executive Performing Arts Ms Louise Georgeson General Manager – Development, Corporate Communications & Special Events Ms Sarah Hunt General Manager, Marketing & Audience Development Mr Kyle Johnston Executive Customer Enterprises
Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.
Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal. FOR YOUR INFORMATION The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.
20 AUSTRALIAN CHAMBER ORCHESTRA
PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briﬀa
AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900
ACKNOWLEDGEMENTS VENUE SUPPORT
A City of Sydney Venue Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Anne-Marie Heath General Manager
PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444 Chair: Henry Smerdon am Deputy Chair: Rachel Hunter TRUSTEES Simon Gallaher, Helene George, Bill Grant oam, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White EXECUTIVE STAFF Chief Executive: John Kotzas Director – Marketing: Leisa Bacon Director – Presenter Services: Ross Cunningham Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government
CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Oﬃce 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com
SYDNEY OPERA HOUSE TRUST Mr Kim Williams am (Chair) Mr Wayne Blair, Ms Catherine Brenner, The Hon Helen Coonan, Ms Renata Kaldor ao, Mr Robert Leece am rfd, Mr Peter Mason am, Mr Leo Schoﬁeld am, Mr John Symond am, Mr Robert Wannan
Director-General, Department of Science, Information Technology, Innovation and the Arts: Andrew Garner
SYDNEY OPERA HOUSE EXECUTIVE Chief Executive Oﬃcer Louise Herron am Chief Operating Oﬃcer Claire Spencer Director, Programming Jonathan Bielski Director, Theatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, External Aﬀairs Brook Turner Director, Commercial David Watson
Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.
SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Oﬃce: 02 9250 7777 Facsimile: 02 9250 7666 Website: sydneyoperahouse.com
The Honourable Ian Walker mp Minister for Science, Information Technology, Innovation and the Arts
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AUSTRALIAN CHAMBER ORCHESTRA 21
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Bookings: 9229 7700 | Web: www.gposydney.com
ACO MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.
MEDICI PATRON MRS AMINA BELGIORNO-NETTIS
PRINCIPAL CHAIRS Richard Tognetti ao
Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod
Kate & Daryl Dixon
Principal Double Bass
Peter William Weiss ao
John Taberner & Grant Lang
Viola Chair Philip Bacon am
Anthony & Sharon Lee
Violin Chair Terry Campbell ao & Christine Campbell
Ian Wallace & Kay Freedman
The Bruce & Joy Reid Foundation
Australian Communities Foundation – Connie & Craig Kimberley Fund
The Clayton Family
CORE CHAIRS Aiko Goto Violin
FRIENDS OF MEDICI
Mr R. Bruce Corlett am & Mrs Ann Corlett
Mr Robert Albert ao & Mrs Libby Albert
AUSTRALIAN CHAMBER ORCHESTRA 23
ACO INSTRUMENT FUND The ACO has established its Instrument Fund to oﬀer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s ﬁrst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. The ACO pays tribute to its Founding Patrons of the Fund.
BOARD MEMBERS Bill Best (Chairman) Jessica Block Janet Holmes à Court ac John Leece am John Taberner
FOUNDING PATRONS PETER WILLIAM WEISS ao, PATRON VISIONARY $1m+ Peter William Weiss ao
ENSEMBLE $10,000 $24,999 Leslie & Ginny Green
CONCERTO $200,000–$499,999 Amina Belgiorno-Nettis Naomi Milgrom ao
OCTET $100,000–$199,999 QUARTET $50,000–$99,999 John Leece am & Anne Leece
FOUNDING INVESTORS Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Steven Duchen Brendan Hopkins John Taberner Ian Wallace & Kay Freedman
24 AUSTRALIAN CHAMBER ORCHESTRA
SOLO $5,000 $9,999 Amanda Staﬀord
PATRONS $500 $4,999 June & Jim Armitage John Landers & Linda Sweeny Pamela McGaw Patricia McGregor Alison Reeve Angela Roberts Anonymous (1)
ACO SPECIAL COMMISSIONS The ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2012 and 2013.
THE REEF LEAD PATRONS
Tony & Michelle Grist
Graham & Treﬃna Dowland Wendy Edwards Euroz Charitable Foundation Don & Marie Forrest Tony & Rose Packer Nick & Claire Poll Gavin & Kate Ryan Jon & Caro Stewart Simon & Jenny Yeo Anonymous (1)
Jane Albert Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin T Cavanagh & J Gardner Anne Coombs & Susan Varga Amy Denmeade Toni Frecker John Gaden am Cathy Gray Susan Johnston & Pauline Garde
Brian Kelleher Andrew Leece Scott Marinchek & David Wynne Kate Mills & Sally Breen Nicola Penn Martin Portus Janne Ryan Barbara Schmidt & Peter Cudlipp Richard Steele Stephen Wells & Mischa Way Anonymous (1)
ELECTRIC PRELUDES by Brett Dean Commissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the 2013 ACO National Concert Season.
NEVER TRULY LOST by Brenton Broadstock Commissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.
SPECIAL COMMISSIONS PATRONS Dr Jane Cook & Ms Sara Poguet Mirek Generowicz Peter & Valerie Gerrand V Graham Andrew & Fiona Johnston Dr Suzanne Trist Margot Woods & Arn Sprogis Anonymous (1)
AUSTRALIAN CHAMBER ORCHESTRA 25
NISEKO SUPPORTERS The ACO would like to pay tribute to the following donors who have supported our involvement with the Niseko Winter Music Festival.
NISEKO PATRONS Ann Gamble Myer Alf Moufarrige Louise & Martyn Myer Foundation Peter Yates AM & Susan Yates
NISEKO SUPPORTERS A J Abercrombie Warwick Anderson Breeze Family Tim Burke Simone Carson Suzy Crittenden Cathryn Darbyshire & Andrew Darbyshire am Kerry Gardner & Andrew Myer Phil & Rosie Harkness Ryota Hayashi Louise Hearman & Bill Henson Simon & Katrina Holmes à Court Family Trust
Howard & Launa Inman Robert Johanson & Anne Swann Richard & Lizzie Leder Naomi Milgrom Clarke & Leanne Morgan Richard & Amanda O’Brien Jill Reichstein Schiavello Peter Scott John & Nicky Stokes Dr Mark & Mrs Anna Yates Oliver Yates Anonymous (2)
INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in 2013. International Tour Patrons Catherine Holmes à Court-Mather International Tour Supporters Jan Bowen Jenny & Stephen Charles Suellen & Ron Enestrom Delysia Lawson Julia Ross
26 AUSTRALIAN CHAMBER ORCHESTRA
ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Bill Best (Chairman) Guido Belgiorno-Nettis am Chairman ACO & Executive Director Transﬁeld Holdings Leigh Birtles Executive Director UBS Wealth Management Anna Bligh
Liz Cacciottolo Senior Advisor UBS Australia Ian Davis Managing Director Telstra Television Chris Froggatt Tony Gill
Tony O’Sullivan Head of Investment Banking Lazard Australia
Peter Shorthouse Client Advisor UBS Wealth Management
Heather Ridout ao Director Reserve Bank of Australia
John Taberner Consultant Herbert Smith Freehills
MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chairman) Chairman Royal Institution of Australia Director AIAA Ltd
Debbie Brady Ben Brady Stephen Charles Christopher Menz
Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan SC
EVENT COMMITTEES Bowral
Elsa Atkin Michael Ball am (Chairman) Daria Ball Cam Carter Linda Hopkins Judy Lynch Karen Mewes Keith Mewes Tony O’Sullivan Marianna O’Sullivan The Hon Michael Yabsley
Ross Clarke Steﬃ Harbert Elaine Millar Deborah Quinn
Lillian Armitage Margie Blok Alison Bradford Liz Cacciottolo (Chair) Dee de Bruyn Judy Anne Edwards JoAnna Fisher Chris Froggatt Elizabeth Harbison Bee Hopkins Sarah Jenkins Vanessa Jenkins
Somna Kumar Prue MacLeod Julianne Maxwell Julie McCourt Elizabeth McDonald Julia Pincus Sandra Royle Nicola Sinclair John Taberner Jennifer Tejada Judi Wolf
DISABILITY ADVISORY COMMITTEE Amanda Tink Training Coordinator Arts Activated National Conference Convenor Accessible Arts Morwenna Collett Program Manager Arts Funding (Music) Australia Council for the Arts
AUSTRALIAN CHAMBER ORCHESTRA 27
ACO DONATIONS PROGRAM The ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.
PATRONS NATIONAL EDUCATION PROGRAM Janet Holmes à Court ac Marc Besen ao & Eva Besen ao
TRUSTS AND FOUNDATIONS HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE NEILSON FOUNDATION
EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Australian Communities Foundation – Ballandry Fund Daria & Michael Ball Steven Bardy & Andrew Patterson The Belalberi Foundation Guido & Michelle Belgiorno-Nettis 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 Bruce & Jenny Lane Prudence MacLeod Alf Moufarrige Jennie & Ivor Orchard Alex & Pam Reisner
Mr Mark Robertson oam & Mrs Anne Robertson Margie Seale & David Hardy Tony Shepherd ao Mr John Singleton am Beverley Smith John Taberner & Grant Lang Alden Toevs & Judi Wolf The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao John & Myriam Wylie E Xipell Anonymous (1)
DIRETTORE $5,000 $9,999 The Abercrombie Family Foundation Geoﬀ Alder Brad Banducci Patricia Blau Marjorie Bull Joseph & Veronika Butta Jenny & Stephen Charles The Clayton Family Victor & Chrissy Comino Leith & Darrel Conybeare Peter & Tracey Cooper Mr R. Bruce Corlett am & Mrs Ann Corlett Suellen & Ron Enestrom Bridget Faye am
28 AUSTRALIAN CHAMBER ORCHESTRA
Ian & Caroline Frazer Maurice Green am & Christina Green Annie Hawker Rosemary Holden Bee Hopkins Warwick & Ann Johnson Julie Kantor Keith & Maureen Kerridge Lorraine Logan Peter Lovell David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation Julianne Maxwell P J Miller Marianna & Tony O’Sullivan John Rickard The Roberts Family The Sandgropers Paul Salteri am Paul Schoﬀ & Stephanie Smee Seleco Foundation Ltd Kerry Stokes ac & Christine Simpson Ian Wallace & Kay Freedman Ian Wilcox & Mary Kostakidis Cameron Williams Evan Williams am Karen & Geoﬀ Wilson Carla Zampatti Foundation Anonymous (2)
ACO DONATIONS PROGRAM MAESTRO $2,500 $4,999 Mrs Jane Allen Tiﬀany Andrews Will & Dorothy Bailey Bequest Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Bill & Marissa Best Mr Leigh Birtles Rosemary & Julian Block Dr David & Mrs Anne Bolzonello Cam & Helen Carter Dr Peter Clifton Andrew Clouston Robert & Jeanette Corney 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 Mrs Yvonne Harvey & Dr John Harvey ao Wendy Hughes Graeme Hunt Glen Hunter & Anthony Niardone Vanessa Jenkins Macquarie Group Foundation The Marshall Family The Michael Family 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
Petrina Slaytor Philippa Stone Tom Thawley Dr & Mrs R Tinning Ralph Ward-Ambler am & Barbara Ward-Ambler Anonymous (3)
VIRTUOSO $1,000 $2,499 Annette Adair Mr L H & Mrs M C Ainsworth Peter & Cathy Aird Antoinette Albert David & Rae Allen Andrew Andersons David Arnott Sibilla Baer Virginia Berger Linda & Graeme Beveridge Jessica Block In memory of Peter Boros Kathy Borrud Vicki Brooke Sally Bufé Rowan Bunning Neil Burley & Jane Munro Massel Australia Pty Ltd Michael Cameron Terry Campbell ao & Christine Campbell Cannings Communication Bella Carnegie Sandra Cassell Julia Champtaloup & Andrew Rothery Elizabeth Cheeseman Elizabeth Chernov Caroline & Robert Clemente Angela & John Compton Bernadette Cooper Laurence G Cox ao & Julie Ann Cox Anne & David Craig Judy Croll Lindee & Hamish Dalziell Mrs June Danks Michael & Wendy Davis Martin Dolan Anne & Thomas Dowling Jennifer Dowling Dr W Downey
Professor Dexter Dunphy am Bronwyn Eslick Peter Evans Julie Ewington Helen Elizabeth Fairfax Elizabeth Finnegan Stephen Fitzgerald Lynne Flynn Nancy & Graham Fox Jane & Richard Freudenstein Justin & Anne Gardener Jaye Gardner Paul Gibson & Gabrielle Curtin Colin Golvan SC Richard & Jay Griﬃn Griﬃths Architects Lyndsey Hawkins Peter Hearl Reg Hobbs & Louise Carbines Michael Horsburgh am & Beverley Horsburgh Carrie & Stanley Howard Penelope Hughes Stephanie & Michael Hutchinson Brian Jones Bronwen L Jones D & I Kallinikos Carolyn Kay & Simon Swaney Len La Flamme Mrs Judy Lee Mr Michael Lee Mr John Leece am Sydney & Airdrie Lloyd Judy Lynch Charlotte & Adrian Mackenzie Mr and Mrs Greg & Jan Marsh David Mathlin Kevin & Deidre McCann Paul & Elizabeth McClintock Brian & Helen McFadyen J A McKernan Jillian & Robert Meyers John Morgan Suzanne Morgan Jane Morley Nola Nettheim Brendan Ostwald Selwyn M Owen Anne & Christopher Page Rowland Paterson
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO DONATIONS PROGRAM 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 Em. Prof. A. W. Roberts am Peter J Ryan Jennifer Sanderson In Memory of H. St. P. Scarlett Jeﬀ Schwartz In memory of Elizabeth C Schweig Peter & Ofelia Scott Jennifer Senior Paul Skamvougeras Diana & Brian Snape am Maria Sola & Malcolm Douglas Ezekiel Solomon am Keith 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 Mrs M W Wells Rachel Wiseman & Simon Moore Sir Robert Woods Nick & Jo Wormald Don & Mary Ann Yeats William Yuille Anonymous (21)
CONCERTINO $500 $999 A Ackermann Mrs Lenore Adamson In memory of Mr Ross Adamson Elsa Atkin Geoﬀrey Bamford Ruth Bell Max Benyon Tamara Best Brian & Helen Blythe Elizabeth Bolton Brian Bothwell Dr Sue Boyd Ben & Debbie Brady Denise Braggett Diana Brookes Mrs Kay Bryan Arnaldo Buch Julie Carriol Kirsten Carriol Fred & Jody Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Elizabeth Clayton John Clayton ClearFresh Water Jilli Cobcroft Geoﬀ Cousins & Darleen Bungey Carol & Andrew Crawford Professor John Daley Marie Dalziel Mari Davis Deﬁance Gallery Dr Christopher Dibden Mike & Pamela Downey Michael Drew In Memory of Raymond Dudley Anna Dunphy M T & R L Elford Ian Fenwicke Janet Fitzwater Michael Fogarty Patricia Gavaghan Brian Goddard Prof Ian & Dr Ruth Gough
30 AUSTRALIAN CHAMBER ORCHESTRA
Philip Graham Steven Gregg Katrina Groshinski & John Lyons Annette Gross Matthew Handbury Lesley Harland Dr Penny Herbert In memory of Dunstan Herbert Jennifer Hershon Marian Hill Geoﬀ Hogbin Peter & Ann Hollingworth Julie Hopson Pam & Bill Hughes Dr & Mrs Michael Hunter Diane Ipkendanz Margaret & Vernon Ireland Philip & Sheila Jacobson Owen James 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 H E McGlashan Colin McKeith Joanna McNiven I Merrick Jan Minchin Julie Moses Helen & Gerald Moylan Hon Dr Kemeri Murray ao Susan Negrau
ACO DONATIONS PROGRAM Dr G Nelson Jenny Nichol J Norman Graham North Robin Oﬄer Josephine Paech Leslie Parsonage Lisa Paulsen Deborah Pearson Robin & Guy Pease Kevin Phillips Miss F V Pidgeon am The Hon C W Pincus qc Michael Power Ruth Redpath Larry & Mickey Robertson Manfred & Linda Salamon Greg & Elizabeth Sanderson Garry E Scarf Team Schmoopy Lucille Seale Mr Berek Segan obe am & Mrs Marysia Segan Anne Shipton John Sydney Smith Roger & Ann Smith-Johnstone Alida Stanley & Harley Wright Mrs Judy Ann Stewart Geoﬀrey Stirton & Patricia Lowe In memory of Dr Aubrey Sweet Leslie C Thiess Matthew Toohey Sarah Jane & David Vaux G C & R Weir Sue Wooller & Ron Wooller Lee Wright Rebecca Zoppetti Laubi Brian Zulaikha Anonymous (21)
CONTINUO CIRCLE BEQUEST PROGRAM
The late Charles Ross Adamson The late Kerstin Lillemor Andersen Steven Bardy Dave Beswick Ruth Bell Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill The late John Nigel Holman Penelope Hughes Estate of Pauline Marie Johnston The late Mr Geoﬀ Lee am oam Mrs Judy Lee The late Shirley Miller The late Richard Ponder Ian & Joan Scott G.C. & R Weir Margaret & Ron Wright Mark Young Anonymous (11)
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
Patrons list is current as of 19 June.
CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Retha Howard on 02 8274 3835 or at Retha.Howard@aco.com.au. AUSTRALIAN CHAMBER ORCHESTRA 31
ACO PARTNERS 2013 CHAIRMAN’S COUNCIL MEMBERS The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra. Mr Guido 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 Mr Brad Banducci Director Woolworths Liquor Group Mr Jeﬀ Bond Chief Executive Oﬃcer 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 Rowena Danziger am & Kenneth G. Coles am Mr Greg Ellis Chief Executive Oﬃcer REA Group
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 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 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 Mr Michael Maxwell
32 AUSTRALIAN CHAMBER ORCHESTRA
Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Oﬃcer Servcorp Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects
Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Paul Sumner Director Mossgreen Pty Ltd Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd Mr Michael Triguboﬀ Managing Director MIR Investment Management Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Mr Scott Perkins Head of Corporate Finance Deutsche Bank Ms Vanessa Wallace Australia/New Zealand Director Mr Malcolm Garrow Mr Neil Perry Director Rockpool Booz & Company 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
Mr Kim Williams am Chief Executive Oﬃcer News Limited Mr Gary Wingrove 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
NATIONAL TOUR PARTNERS
PERTH SERIES PARTNER
REGIONAL TOURING PARTNER
CONCERT AND SERIES PARTNERS
Peter William Weiss AO
Warwick & Ann Johnson
No. 1 Martin Place
AUSTRALIAN CHAMBER ORCHESTRA 33
ACO NEWS • AUGUST 2013
news AcO2’S EUROPEAN DEBUT 24 August, Manchester, England ACO violinist and former ACO Emerging Artist, Rebecca Chan joins some of our current Emerging Artists in a chamber music concert at Carole Nash Recital Hall, Manchester, on 24 August. The program features quartets and quintets by Webern, Beethoven and Schubert.
Sydney audiences have the opportunity to hear the Manchester concert for free at Sydney Conservatorium of Music, Recital Hall West on Fri 27 Sep at 7pm featuring ACO cellist Julian Thompson. Bookings not required.
Following the recent success of ACO2’s main stage Australian tour, we’re delighted that our precocious little sister orchestra continues to develop on such an exponential trajectory.
ACO2’s next regional tour visits Mackay, Cairns, Rockhampton, Cleveland, Bangalow, Armidale and Bellingen.
AcO2 performing at Llewellyn Hall, Canberra
34 AUSTRALIAN CHAMBER ORCHESTRA
SYDNEY MEDICI PATRONS & CHAIRMAN’S COUNCIL DINNER Of course the best way we know how to say “thank you” is through our music, and we performed a special program including works by Vivaldi, Paganini, Haydn and Weill.
Held at the Soﬁtel Sydney Wentworth this special evening was a wonderful opportunity to thank patrons for their continued support.
We would also like to thank Soﬁtel Luxury Hotels, Peter Lehmann Wines, Langton’s and Poho Flowers for their support of this event.
Below: Alf Moufarrige & Guido Belgiorno-Nettis AM
Below: Michael Ball AM, Anne Leece & John Leece AM Photographs: © Jamie Williams
On Wednesday 3 July we thanked our most valued patrons and supporters at our annual Sydney Medici Patrons and Chairman’s Council Dinner.
Above: Bill Best, Yvonne von Hartel AM, Mary Lou Ryan, Marten Peck & Robert Peck AM
2014 SEASON LAUNCH Details to be announced end of August Sign up to receive our monthly enewsletter and receive all the details, as soon as we launch! Sign up at aco.com.au/enews AUSTRALIAN CHAMBER ORCHESTRA 35
Photographs: © Will Huxley
ACO ACADEMY Violinist Aiko Goto guided 23 talented young musicians aged 9—17 through our annual ACO Academy week last month, with talented young string players from around the country joining us in the ACO Studio for intensive group rehearsals and mentoring. The week culminated in a free concert at City Recital Hall Angel Place. Remarkable young classical guitarist Andre Lebedev featured in a Vivaldi concerto, with his deft, lightning-fast ﬁnger work complemented by the excellent string section behind. “…they were brilliant. I really enjoyed the concert, thank you to the ACO, the Academy, the students and especially Aiko.” — K. Mewes
Soloist Andrey Lebedev in rehearsal
Anna Pokorny and Julian Thompson
Students rehearsing in the ACO Studio
YOUR SAY… Project Rameau – Brisbane “I’m a better person for having been there, such a joy. I think I could watch it twenty times or more and still not drink it all in… thank you so much.” — R. Connah “Beautiful artistry, great extensions, unique shapes & sublime musicality. 10/10.” — K. Kelly “Dance isn’t my art form of choice but Project Rameau by Sydney Dance Company
and the Australian Chamber Orchestra was just brilliant. Loved it.” — S. Hetherington
ACO VIRTUAL “Thank you so much for the launch of your virtual tour in Swan Hill at the weekend. I was the one that had to be kicked out at the end!!! Just a fabulous way to experience the ACO, thank you to all involved thank you, thank you!!!” — T. Grifﬁths
Let us know what you thought about today’s concert at email@example.com. 36 AUSTRALIAN CHAMBER ORCHESTRA
Building a smarter planet:
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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
Published on Jul 30, 2013