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VIR1349_ACO

The romance is back

Proud Principal Partner of the Australian Chamber Orchestra.


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ABOUT THE MUSIC Opening both halves of this wide-ranging program are contemporary works by American composers. Five selected movements from John Adams’ 1994 work John’s Book of Alleged Dances—incorporating recorded tracks of prepared piano and designed to be mixed and matched and performed in any order—begin the concert in energetic and dryly humorous fashion. A polar opposite work, American big-band leader and composer Maria Schneider’s Winter Morning Walks welcomes the audience back from the interval. A song cycle setting nine brief, poignant poems by the 13th Poet Laureate of the United States Ted Kooser, this is earnest and moving music of crystalline beauty that captures the shadowed loveliness of nature in pre-dawn light as well as the very personal emotions of both poet and composer. We also hear music from the Nordic countries of Europe, in the form of works by the Norwegian, Edvard Grieg and the Finn, Einojuhani Rautavaara. Grieg’s Holberg Suite, which has become one of the most celebrated works for string orchestra despite the composer himself originally scorning it, dresses Grieg’s lush, lyrical style in the garb of a Baroque dance suite. Two strongly contrasting vocal pieces then follow: ‘Solveig’s Song,’ a heartstring-tugging lament from Grieg’s massively popular Incidental Music to Peer Gynt, and Rautavaara’s ‘Liebes-Lied’ from the Die Liebenden, a fascinating love song that combines lyricism and 12-tone technique. Bringing the concert to a close is Edward Elgar’s Introduction and Allegro, a highly sophisticated work for string quartet and string orchestra that displays the composer at the height of his powers, and is a natural showpiece for the ACO and ACO Emerging Artists you see on stage today, all under the leadership of ACO Principal Violin Helena Rathbone. Incorporating elements of the Baroque concerto grosso and intricate counterpoint, this music, too, looks to the 18th century for inspiration. It also has at its heart the spirit of folk music, prominently featuring a melody that Elgar wrote in imitation of folk tunes from ‘that sweet borderland’ between England and Wales, to which the work pays tribute. JAY GOODWIN © 2013


DAWN UPSHAW, ELGAR AND GRIEG HELENA RATHBONE Lead Violin DAWN UPSHAW Soprano SCOTT ROBINSON Clarinets JAY ANDERSON Jazz bass FRANK KIMBROUGH Piano John ADAMS

John’s Book of Alleged Dances: Judah to Ocean, Habanera, Toot Nipple Ständchen: The Little Serenade Pavane: She’s so Fine, Judah to Ocean

Einojuhani RAUTAVAARA Die Liebenden: I. ‘Liebes-Lied’ GRIEG

Peer Gynt: Solveig’s Song

GRIEG

Holberg Suite, Op.40

INTERVAL Maria SCHNEIDER

[AUSTRALIAN PREMIERE]

ELGAR

Introduction and Allegro, Op.47

Winter Morning Walks

Approximate durations (minutes): 20 – 4 – 4 – 16 – INTERVAL –33 – 14 The concert will last approximately two hours including a 20-minute interval.

BRISBANE

QPAC Concert Hall Mon 17 Feb 8pm

CANBERRA

PERTH

WOLLONGONG

Concert Hall Wed 19 Feb 7.30pm

Town Hall Fri 21 Feb 7.30pm

SYDNEY

Llewellyn Hall Fri 7 Feb 8pm

Opera House Sun 9 Feb 2pm

MELBOURNE

City Recital Hall Angel Place Tue 11 Feb 8pm Wed 12 Feb 7pm Fri 14 Feb 1.30pm Sat 15 Feb 7pm

Hamer Hall Sun 23 Feb 2.30pm Mon 24 Feb 8pm

The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. AUSTRALIAN CHAMBER ORCHESTRA 1


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

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ACO ON THE RADIO ABC CLASSIC FM: Upshaw, Elgar & Grieg Sun 16 Feb, 1pm

UPCOMING TOUR Haydn & Italian Cello 12 Apr — 6 May

FREE PROGRAMS To save trees and money, we ask that you please share one program between two people where possible.

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

MESSAGE FROM THE GENERAL MANAGER There could be no better way to open the year than with concerts featuring one of the ACO’s best musical friends, Dawn Upshaw. Three years ago, Maria Schneider composed this beguiling song-cycle for Dawn and the ACO and the world premiere took place at the prestigious Ojai Festival in California in 2011. We have since had the opportunity to perform it on an extensive North American tour in April 2012, then to record it in New York in May 2012, and we are thrilled to bring this exquisite, Grammy Award-winning music to audiences in Australia. This year, in addition to a full season of concerts in Adelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney and Wollongong, the ACO’s musicians have a heavy year of international touring, starting with a week-long residency in the idyllic alpine setting of Banff in Canada, where Richard will begin work on a new film and live music project. The Orchestra then travels to New York for an alternative program in the Bleecker Street nightclub Le Poisson Rouge before a concert in Chicago’s legendary Symphony Center. In late September and early October, we return to Europe for concerts in Amsterdam’s Concertgebouw, Dublin’s National Concert Hall, London’s Queen Elizabeth Hall, Symphony Hall Birmingham, the Luxembourg Philharmonie, the Cologne Philharmonie, the Alte Oper in Frankfurt and Vienna’s Konzerthaus. That tour will include the world premiere of Jonny Greenwood’s Water, which he began writing during his residency with the ACO in late 2012. Our friends at Alumni Travel have arranged a tour to co-incide with the ACO’s European Tour see aco.com.au/europe-2014 for details) and we’d love to welcome you aboard. Having welcomed Alexandru-Mihai Bota as the newest member of the viola section halfway through last year, we are very pleased to announce another new recruit, this time in the violin section. Ike See joins us having spent the last two years as Associate Concertmaster of the Adelaide Symphony Orchestra. Originally from Singapore, Ike studied at the celebrated Curtis Institute in Philadelphia. You may have seen him performing in the ACO during some gettingto-know-you concerts during 2013, and we’re thrilled to welcome him. TIMOTHY CALNIN

GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA AUSTRALIAN CHAMBER ORCHESTRA 3


© Margaretta Mitchell

JOHN ADAMS

Selections from John’s Book of Alleged Dances (Composed 1994)

Judah to Ocean Habanera Toot Nipple Ständchen: The Little Serenade Pavane: She’s So Fine Judah to Ocean

John ADAMS (b. Worcester, Massachusetts, 1947) A noted composer and conductor, John Adams’ works are amongst the most frequently performed of any living American composer. He trained as a clarinettist, learning from his father and Felix Viscuglia, a past member of the Boston Symphony. He is inextricably identified with the new music culture of San Francisco, where he moved in 1971. In 1978 he served as the San Francisco Symphony’s new music advisor, working with music director Edo de Waart in establishing their New and Unusual Music series.

BACKGROUND The composer writes: John’s Book of Alleged Dances was the next piece written after the Violin Concerto, a complex work that took a full year to compose. The concerto emboldened me to go further with string writing, and some of the techniques and gestures I’d touched on in it appeared again in the Alleged Dances, only in a less earnest guise. The ‘Book’ is a collection of ten dances, six of which are accompanied by a recorded percussion track made of prepared piano sounds. The prepared piano was, of course, the invention of John Cage, who first put erasers, nuts, bolts, and other damping objects in the strings of the grand piano, thereby transforming it into a kind of pygmy gamelan. In the original version of Alleged Dances, the prepared piano sounds were organised as loops installed in an onstage sampler, and one of the quartet players triggered them on cue with a foot pedal. This made for a lot of suspense in the live performance—perhaps too much, as the potential for crash-and-burn was so high that I eventually created a CD of the loops, a decision that allowed for significantly less anxiety during concerts. The dances were ‘alleged’ because the steps for them had yet to be invented (although by now a number of choreographers, including Paul Taylor, have created pieces around them). The general tone is dry, droll and sardonic.

ABOUT THE MUSIC Judah to Ocean: A piece of vehicular music; following the streetcar tracks way out into the fog and ultimately to the beach, where I used to rent a two-room cottage behind the Surf Theater and listened to the N Judah tram reach the end of the line, turn around, and head back to town. Habanera: The strings strum and limn a serpentine tune. The loops dance the robot habanera while the aging dictator watches from the wings. Too many rafts headed for Miami. 4 AUSTRALIAN CHAMBER ORCHESTRA


Further listening A good starting point in exploring Adams’ oeuvre is his Earbox, a 10-disc retrospective of his music written since the late 1970’s (Nonesuch) Adams provides keen insights into his musical experience, and the creative process in general, in his Hallelujah Junction: Composing an American Life (Farrar, Straus & Giroux).

Had to give up his beloved cigars. Lament for a season without baseball. Toot Nipple: ‘Mrs. Nipple…You probably don’t remember her husband, Toot. When he was young he was a big fellow, quick and clever, a terror on the dance floor.’ (From Postcards by E. Annie Proulx.) Furious chainsaw triads on the cellos, who ride them like a rodeo bull just long enough to hand over to the violas. Ständchen: The Little Serenade: A little serenade in three, but also in four. But which is it? The violins and violas set out in an interlocking hiccup of staccato figures while the cellos pump out a counter-rhythm. The loops pluck and chirp in tight collaboration with the pulse. An homage to those ecstatic Beethoven and Schubert finales in 12/8 time. Pavane: She’s So Fine: A quiet, graceful song for a budding teenager. She’s in her room, playing her favorite song on the boom box. Back and forth over those special moments, those favourite progressions. She knows all the words. On her bed are books and friendly animals. High, sweet cello melodies. JOHN ADAMS © 2013 Background reprinted with kind permission of www.earbox.com About the Music reprinted with kind permission of Nonesuch Records

EINOJUHANI RAUTAVAARA

Die Liebenden: Liebes-Lied (Composed 1958–1959)

BACKGROUND

Neoclassical: in a musical style whose chief aesthetic characteristics are objectivity and expressive restraint. 12-tone structure: based on a serial ordering of all twelve chromatic pitches.

Born in Helsinki in 1928, Einojuhani Rautavaara studied musicology at Helsinki University and composition at the Sibelius Academy. In 1953, while still a student, he wrote his remarkable A Requiem in Our Time, a Stravinsky-influenced neoclassical work for brass and percussion that won him both the 1954 Thor Johnson competition and the attention of Finnish composer-godfather Jean Sibelius. Rautavaara has been active and prolific ever since, composing eight symphonies and numerous smaller orchestral works, more than a half-dozen concertos, plentiful chamber music, choral works, and four operas. Like Sibelius before him, Rautavaara writes music that combines the modern with the traditional, the intellectual with the Romantic, and incorporates powerful themes of nature, mystery and legend, especially those of his native land. AUSTRALIAN CHAMBER ORCHESTRA 5


© Maarit Kytöharju-Fimic

ABOUT THE MUSIC

Einojuhani RAUTAVAARA (b. 1928, Helsinki) Known as the leading Finnish composer of his generation, Rautavaara’s 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 studied in New York and Tanglewood with Aaron Copland, in Ascona with Wladimir Vogel and Cologne with Rudolf Petzold.

Further reading Rautavaara’s perspective on music can be gleaned from his essay Choirs, Myths and Finnishness available free of charge by searching on the Music Finland website at: composers.musicfinland.fi. 6 AUSTRALIAN CHAMBER ORCHESTRA

‘Liebes-Lied’ (‘Love Song’) comes from the relatively early song cycle Die Liebenden (The Lovers), with text by Rainer Maria Rilke, in whose work the composer found ‘an attitude and philosophy of life that I could identify as my own.’ Rautavaara matches the exotic mysticism of the poem—in which a lover exalts in and wonders about the source of his love—with a fascinating technique that reveals lyrical melody within a 12-tone structure. ‘The tone rows generate a polyphonic texture using what I call interpolation,’ the composer wrote in a note about Die Liebenden. ‘Against the harmonies thus generated, the solo voice part is ‘free’ in its musical conception—in other words, it employs those pitches in the harmony that make up an expressive melodic line.’ In this song, the effect fits the text perfectly: The voice, singing a relatively digestible melody, inhabits bewildering musical surroundings that seem unrelated yet actually determine everything it does. JAY GOODWIN © 2013

Liebes-Lied

Love Song

Wie soll ich meine Seele halten, daß sie nicht an Deine rührt? Wie soll ich sie hinheben über dich zu andern Dingen? Ach gerne möcht ich sie bei irgendwas erlorenem im Dunkel unterbringen an einer fremden stillen Stelle, die nicht weiterschwingt, wenn deine Tiefen schwingen. Doch alles, was uns anrührt, dich und mich, nimmt uns zusammen wie ein Bogenstrich, der aus zwei Saiten eine Stimme zieht. Auf welches Instrument sind wir gespannt? Und welcher Geiger hat uns in der Hand? O süßes Lied.

How am I to contain my soul so that it will not meet with yours? And how am I to lift it over you to something else? Alas, how gladly would I harbour it in darkness where some long-lost object dwells at some strange silent spot that in reply will never pulse when your deep places pulse. Yet everything that moves us, me and you, takes us together, as a fiddle-bow draws from two strings the music of one tongue. Upon what instrument are we two stretched? And by what player’s fingers are we touched? O lovely song.


GRIEG

Peer Gynt, Op.23: Solveig’s Song (Composed 1874–1875)

Edvard GRIEG (b. Bergen, 1843 — d. Bergen, 1907) Grieg is Norway’s greatest composer, and the first to imbue western classical music with a native Nordic sensibility. Great friends with the Australian Percy Grainger, works such as his Piano Concerto and the Holberg Suite are known and loved the world over.

Grieg was an ardent admirer of Henrik Ibsen, setting several of his poems beautifully to music as standalone songs. But when Ibsen approached Grieg for incidental music to be incorporated into a stage adaptation of the verse drama Peer Gynt, the composer found things much more difficult. He accepted the commission but—though it has since become by far his most beloved and frequently performed piece—found the content of the play, a scathing social satire based on Norwegian folktale, unmusical: ‘It is a terribly intractable subject,’ Grieg wrote, ‘except in some places, such as where Solveig sings.’ We hear one of these moments in Solveig’s Song, a moving and inventive lament in which Solveig pines for the return of Peer Gynt, to whom she remains true despite his abandoning her to travel the world in search of frivolous pleasure and debauchery. The lilting accompaniment depicts Solveig’s slowly turning spinning wheel; during the two wordless sections at the middle and end of the song, she consoles herself by returning to her work and humming to herself. JAY GOODWIN © 2013

Solveigs Lied

Solveig’s Song

Kanske vil der gå både Vinter og Vår, og næste Sommer med, og det hele År, men engang vil du komme, det ved jeg visst; og jeg skal nok vente, for det lovte jeg sidst.

Winter may go and spring pass; summer may fade and the year blow away; but you’ll come back to me, I know you’ll be mine, I’ve promised I’ll stay true to you.

Gud styrke dig, hvor du i Verden går, Gud glæde dig, hvis du for hans Fodskammel står! Her skal jeg vente till du komme igjen; og venter du hisst oppe, vi træffes der, min Ven.

God help you if you still see the sun. God bless you if you kneel at His feet. I’ll wait for you till you’re near me, and if you’re waiting above, we’ll meet there! Translation © Christian Morgenstern

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GRIEG

Holberg Suite, Op. 40 (Composed 1884, orch. 1885)

I. Praeludium: Allegro vivace II. Sarabande: Andante III. Gavotte: Allegretto—Musette: Poco piu mosso IV. Air: Andante religioso V. Rigaudon: Allegro con brio BACKGROUND Though the present work is almost always referred to these days as the Holberg Suite, its original title was From Holberg’s Time: Suite in Olden Style—a label that reveals much more about the origin and nature of the music. Composed in 1884, the suite was one of several works commissioned from Scandinavian composers to commemorate the bicentennial of the birth of Baron Ludvig Holberg, a prominent 18th-century writer, philosopher, and playwright. And though he spent most of his life in Denmark, Holberg— like Grieg—was born in Bergen, Norway, and is recognised as a founding father of the literary traditions of both countries. For his musical tribute, Grieg chose to tap into the musical style that prevailed in Holberg’s day, writing a 19th-century take on the Baroque dance suite perfected by the dedicatee’s contemporaries, Bach and Handel. Originally composed for solo piano and given its première performance by the composer himself, the Holberg Suite achieved sufficient popularity for Grieg to arrange it the following year for string orchestra, in which form it is almost exclusively heard today.

ABOUT THE MUSIC

Further listening The ACO has recorded this string orchestra staple with Richard Tognetti on the Sony Classics label. New York’s Orpheus Chamber Orchestra in New York city has also released a notable recording of the Holberg Suite (Deutsche Grammophon).

Less than 40 years after Grieg’s composition of the Holberg Suite, composers such as Prokofiev and Stravinsky— rebelling against the grandiloquence of late Romanticism and searching for a purer and more pared-down means of expression—would look to the past for inspiration and make neoclassicism one of early-20th century’s most important innovations. But Grieg’s Holberg music is something entirely different. Driven by nostalgia rather than subversiveness, this is music that, despite being dressed up in 18th-century costume, sounds neither Baroque nor modern, but precisely of its own time. Grieg builds each of the suite’s five movements on a dance form commonly found in Baroque suites and incorporates in each

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the rhythmic pattern, tempo, and mood expected from that style. The lush harmonies, full-bodied orchestration, and pleasant lyricism, however, fit comfortably alongside the rest of Grieg’s work. Though it has become one of his most popular works, the composer himself initially scorned this music—written quickly and on commission—humorously describing it as the musical equivalent of a peruke, the stylised wigs familiar from the portraits of 18th-century composers and other historical figures. By the time he orchestrated it, however, he was coming around, writing to a friend that the new version ‘may sound quite well.’ JAY GOODWIN © 2013

MARIA SCHNEIDER

Winter Morning Walks (Composed 2011)

I.

Perfectly Still This Solstice Morning

II.

When I Switched On a Light

III. Walking by Flashlight IV.

I Saw a Dust Devil This Morning

V.

My Wife and I Walk the Cold Road

VI. All Night, in Gusty Winds

Maria SCHNEIDER

VII. Our Finch Feeder

(b. Windorn, Minnesota, 1960)

VIII. Spring, the Sky Rippled with Geese

American composer, arranger, and bandleader Maria Schneider moved to New York in 1985 after completing studies at the Eastman School of Music. Eventually she formed her own big band (Maria Schneider Orchestra) in 1992, and they came to prominence in 1994 with the release of her landmark album Evanescence. Her work has been commissioned by the Monterey Jazz Festival, Carnegie Hall Jazz Orchestra, Kronos Quartet, the Paris-based Orchestre National de Jazz, the American Dance Festival, the Stockholm Jazz Orchestra, and others.

IX. How Important It Must Be BACKGROUND Though American big-band leader and composer Maria Schneider, one of contemporary jazz music’s most original and revered voices, has spent most of her career in New York, she was born and raised in the far north of the United States’ Midwest, in a small town in Minnesota that she still considers home. When she first collaborated with soprano Dawn Upshaw in 2008, their shared Midwestern heritage (Upshaw spent much of her childhood in a town on the outskirts of Chicago) was one of many connections that made the two women feel like kindred spirits despite coming from different musical spheres. In the song cycle Winter Morning Walks, the second piece Schneider has written for Upshaw, the cold yet beautiful Midwestern landscape materialises before AUSTRALIAN CHAMBER ORCHESTRA 9


the listener’s eyes, conjured through the combination of Schneider’s vibrant music and the work’s fabulous texts: selected poems from a collection of the same name by Ted Kooser, America’s Poet Laureate from 2004 to 2006 and yet another Midwesterner. The origin of Kooser’s brief yet profoundly moving poems, which chronicle his observations and thoughts during mostly solitary pre-dawn nature walks in Garland, Nebraska (population 216), reveal another connection between the creative voices of this music. Kooser undertook his morning walks while recovering mentally and physically from cancer treatment, and his poetry is as much a trip through the topography of his thoughts and emotions as that of the landscape. Both Schneider and Upshaw have had their own battles with cancer, and Upshaw dedicates her performances of this work to her sister Dana, who lost her fight with the disease in 2011, a few months after the première of Winter Morning Walks— the last concert she was able to attend. For all involved, then, this music is intensely personal.

ABOUT THE MUSIC The first piece Schneider wrote for Dawn Upshaw was entirely written out, but when she set out to compose Winter Morning Walks, Schneider knew that she wanted to incorporate more of the freedom and unpredictability of the jazz world. Though their parts are not completely improvised, the three jazz musicians are able to modify and embellish, speeding up or slowing down the musical flow, exploring different rhythmic possibilities, and adding a sense of spontaneity to the work. Singer and orchestra must respond and react on the fly, demanding intense focus and a collaborative spirit from everyone on stage. Winter Morning Walks is a work of arresting peace and beauty; its songs flowing smoothly and inevitably from one to the next in a series of simple, gorgeous melodies and vividly ambient soundscapes. Time seems to elude the listener; the half-hour duration is over in a flash. Schneider also employs an impressive naturalness in her vocal writing—not for her the lavish decorative effects and leaps that can compromise art song. The style here is softly spun yet unquestionably serious, and Schneider’s earnest understatement, combined with her ability to move seamlessly between the pastoral and playful, the introspective and energetic, and from melancholy to quiet hope, results in a significant, and emotionally powerful, piece of music. 10 AUSTRALIAN CHAMBER ORCHESTRA


Of the many magical moments in this work, it’s worth exploring a few. The opening song, ‘Perfectly Still This Solstice Morning,’ finds Schneider at her most depictive. Thin, shivering string writing and frozen harmonies make the opening lines of the song—setting Kooser’s description of the ‘bone-cracking cold’ of the winter solstice in Nebraska—cold as ice. Then, when the text begins to hint at the coming thaw, the music follows suit with a sudden blossoming of harmony and instrumentation that reveals the potential energy of spring hidden in the trees’ bare branches. In ‘Walking by Flashlight,’ Schneider’s music seems in thrall to Kooser’s captivating poem, words and music building, at steady walking pace, to the wondrous final turn of phrase in which the hidden forest creatures watch “this man with the moon on a leash.” Schneider allows that line to breathe and to sink in, her sparkling instrumental interlude giving expression to the wonderment of Nature, both us at it and it at us.

Vocalise: a composition for voice without text

The final song, ‘How Important It Must Be’—the longest of the cycle by a comfortable margin—is a fascinating blend of poignant sincerity and playful facetiousness. Schneider’s setting stretches out the very brief poem, her music lengthening its emotional arc. The yearning sentiment of the opening statement, ‘How important it must be to someone that I am alive, and walking, and that I have written these poems,’—which captures so concisely the profound hope of every artist, and every human—is stated very simply by the soprano while the emotion is filled in by the instrumentalists. Only after a lengthy section without voice is the mood lightened by the final line—‘This morning the sun stood right at the end of the road and waited for me.’—which casts a different, brighter light on what has come before. The final punctuation to the cycle’s last line of text is a soaring passage of vocalise, spirit and voice rising with the sun. JAY GOODWIN © 2013

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WINTER MORNING WALKS The poet writes: Preface from Ted Kooser’s Winter Morning Walks. In the autumn of 1998, during my recovery from surgery and radiation for cancer, I began taking a two-mile walk each morning. I’d been told by my radiation oncologist to stay out of the sun for a year because of skin sensitivity, so I exercised before dawn, hiking the isolated country roads near where I live, sometimes with my wife but most often alone.

Ted Kooser

During the previous summer, depressed by my illness, preoccupied by the routines of my treatment, and feeling miserably sorry for myself, I’d all but given up on reading and writing. Then, as autumn began to fade and winter came on, my health began to improve. One morning in November, following my walk, I surprised myself by trying my hand at a poem. Soon I was writing every day. Several years before, my friend Jim Harrison and I had carried on a correspondence in haiku. As a variation on this, I began pasting my morning poems on postcards and sending them to Jim, whose generosity, patience and good humor are here acknowledged. What follows is a selection of one hundred of those postcards. –Ted Kooser Garland, Nebraska Spring, 1999 The composer writes:

Further listening The ACO and Dawn Upshaw took up residence in New York City at the Academy of Arts and Letters in 2012 to record Winter Morning Walks. Released in 2013 on the ArtistShare label, it has received three Grammy® Award nominations in the categories: Best Contemporary Classical Composition, Best Classical Vocal Solo Album and Best Engineered Album, Classical.

It’s uncanny how much these stunningly beautiful poems feel like home to me, connecting with my southwest Minnesota roots at so many different levels. There’s nothing to explain about this music, except to say it was very hard to pick which poems from Ted Kooser’s Winter Morning Walks I would choose. These poems were originally titled with the date, for instance Perfectly Still This Solstice Morning was titled December 21, Clear and five degrees. I changed the titles, as the dates were no longer chronological once musical considerations for song ordering entered the picture. But it did feel natural to open with the poem he wrote on the winter solstice, and to close with the poem he wrote on the vernal equinox to bookend Winter Morning Walks. In writing this piece, I wanted to wrap Dawn in the improvisations of three very special musicians I’ve each worked with for over twenty years: Jay Anderson, Frank Kimbrough and Scott Robinson. Not everything they played is improvised, but if you hear something that makes you smile or gives you a little shiver, chances are, it’s coming from their individual creative voices. They’ve been making me smile and shiver for two decades now. –Maria Schneider

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Perfectly Still This Solstice Morning

Perfectly still this solstice morning, in bone-cracking cold. Nothing moving, or so one might think, but as I walk the road, the wind held in the heart of every tree flows to the end of each twig and forms a bud. When I Switched On a Light

When I switched on a light in the barn loft late last night, I frightened four flickers hanging inside, peering out through their holes. Confused by the light, they began to fly wildly from one end to the other, their yellow wings slapping the tin sheets of the roof, striking the walls, scrabbling and falling. I cut the light and stumbled down and out the door and stood in the silent dominion of starlight till all five of our hearts settled down. Walking by Flashlight

Walking by flashlight at six in the morning, my circle of light on the gravel swinging side to side, coyote, raccoon, field mouse, sparrow, each watching from darkness this man with the moon on a leash. I Saw a Dust Devil This Morning

I saw a dust devil this morning, doing a dance with veils of cornshucks in front of an empty farmhouse, a magical thing, and I remembered walking the beans in hot midsummer, how we’d see one swirling toward us over the field, a spiral of flying leaves forty or fifty feet high, clear as a glass of cold water just out of reach, and we’d drop our hoes and run to catch it, shouting and laughing, hurdling the beans, and if one of us was fast enough, and lucky, he’d run along inside the funnel, where the air was strangely cool and still, the soul and center of the thing, the genie whose swirls out of the bottle, eager to grant one wish to each of us. I had a hundred thousand wishes then. AUSTRALIAN CHAMBER ORCHESTRA 13


My Wife and I Walk the Cold Road

My wife and I walk the cold road in silence, asking for thirty more years. There’s a pink and blue sunrise with an accent of red: a hunter’s cap burns like a coal in the yellow-gray eye of the woods. All Night, in Gusty Winds

All night, in gusty winds, the house has cupped its hands around the steady candle of our marriage, the two of us braided together in sleep, and burning, yes, but slowly, giving off just enough light so that one of us, awakening frightened in darkness, can see. Our Finch Feeder

Our finch feeder, full of thistle seed oily and black as ammunition, swings wildly in the wind, and the finches in olive drab like little commandos cling to the perches, six birds at a time, ignoring the difficult ride. Spring, the Sky Rippled with Geese

Spring, the sky rippled with geese, but the green comes on slowly, timed to the ticking of downspouts. The pond, still numb from months of ice, reflects just one enthusiast this morning, a budding maple whose every twig is strung with beads of carved cinnabar, bittersweet red. How Important It Must Be

How important it must be to someone that I am alive, and walking, and that I have written these poems. This morning the sun stood right at the end of the road and waited for me. Ted Kooser, poems from Winter Morning Walks: One Hundred Postcards to Jim Harrison. TED KOOSER © 2000 Reprinted with the permission of Ted Kooser. 14 AUSTRALIAN CHAMBER ORCHESTRA


ELGAR

Introduction and Allegro (Composed 1905)

BACKGROUND

Edward ELGAR (b. Broadheath 1857 — d. Worcester 1934) Widely considered the standardbearer of British classical music tradition of his time, Elgar’s contributions to symphonic literature are significant and enduring. Elgar never undertook formal compositional study and was mostly self-taught, drawing upon the musical resources around him and styles abroad. His Enigma Variations are a staple of orchestral repertoire, and his first Pomp and Circumstance March is familiar to families, especially in the United States, as a requisite, if not defining work; performed during high school and university graduations.

‘Study old Handel,’ Elgar once wrote in response to a request for advice from the young composer Herbert Howells, ‘I went to him for help ages ago.’ In none of Elgar’s work, perhaps, is this influence more apparent than in the Introduction and Allegro, the second work on this program to take inspiration from the forms and structures of the Baroque. Scored for string orchestra and string quartet, the Introduction and Allegro can be seen as Elgar’s response to the 18th-century concerto grosso, in which themes and ideas are traded between the larger ensemble and a small group of soloists. In Elgar’s work, however, the musical flow is far more organic, emphasising connection rather than division between the orchestra and the quartet. Furthermore, the individual string sections spend most of the time divisi, or divided into multiple parts, creating intricate textures, blurring the lines between instrumental groups and demanding an unusual level of virtuosity from individual players. (In fact, Elgar wrote the Introduction and Allegro with the newly formed London Symphony Orchestra in mind and designed the music to showcase its virtuosic string section.) This increased level of independence within the ensemble also allows Elgar to incorporate complex polyphony and counterpoint, further referencing the Baroque models of Bach and Handel.

ABOUT THE MUSIC Polyphony: general description of music in more than one part, and the style in which musical parts move independently Counterpoint: combination of simultaneously sounding musical lines according to a system of rules

In the broadest terms, this work is divided into two sections—an Introduction and an Allegro, as the title suggests. The serious-sounding opening section introduces the work’s main themes, mostly in minor keys, in succession, emphasising Elgar’s masterful hand with string sonorities and voicing. Then, the frenzied Allegro blends all of the themes together, developing and transforming them in what Elgar called ‘a devil of a fugue.’ Eventually the melodies are reworked into the major and the work arrives at its triumphant coda, which finally brings all of the voices together for the final punctuation of a decisively-plucked unison G major chord. The most memorable melody, and the one that rises to the top at the end, is a beautifully simple songlike tune based around the interval of a falling third. First introduced by solo viola shortly after the work’s opening fanfare, the melody is Elgar’s own but is AUSTRALIAN CHAMBER ORCHESTRA 15


Further listening Dozens of orchestras the world over have recorded this work, including the Academy of St Martin in the Fields (Decca), BBC Philharmonic (Chandos), The London Philharmonic Orchestra with varying conductors (EMI and LPO), and even a John Eliot Gardiner-led interpretation by the Vienna Philharmonic Orchestra (Deutsche Grammophon).

based on folk music the composer heard near his beloved Herefordshire, close to where England meets Wales. This tune is the heart and soul of the Introduction and Allegro, which the composer called ‘a tribute to that sweet borderland where I have made my home.’ JAY GOODWIN © 2013

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16 AUSTRALIAN CHAMBER ORCHESTRA ACO-national-concert-program-ad-July-2013-GPO-AD1.indd 1

6/15/2013 7:31:11 PM


Š Helena Rathbone

HELENA RATHBONE PRINCIPAL VIOLIN

Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s second ensemble ACO2, which sources musicians from the Emerging Artists Program. Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff, Canada. Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin in the Fields.

When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, the Christchurch Arts Festival, the Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. The group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008. In November 2013 Helena was invited to lead the Mahler Chamber Orchestra on an extensive concert and recording tour of Europe with pianist Leif Ove Andsnes. Helena plays a 1759 Guadagnini violin kindly on loan from the Commonwealth Bank Group. Chair sponsored by Kate & Daryl Dixon.

AUSTRALIAN CHAMBER ORCHESTRA 17


DAWN UPSHAW SOPRANO

© Dawn Upshaw

Combining a rare natural warmth with a fierce commitment to the transforming communicative power of music, Dawn Upshaw has achieved worldwide celebrity as a singer of opera and concert repertoire ranging from the sacred works of Bach to the freshest sounds of today. Her ability to reach to the heart of music and text has earned her both the devotion of an exceptionally diverse audience, and the awards and distinctions accorded to only the most distinguished of artists. In 2007, she was named a Fellow of the MacArthur Foundation, the first vocal artist to be awarded the five-year ‘genius’ prize, and in 2008 she was named a Fellow of the American Academy of Arts & Sciences.

Further listening A four-time Grammy Award winner, Dawn Upshaw is featured on more than 50 recordings, including the million-selling Symphony No. 3 by Henryk Gorecki. Her discography also includes full-length opera recordings of Mozart’s Le nozze di Figaro; Messiaen’s St. Francois d’Assise; Stravinsky’s The Rake’s Progress; John Adams’s El Niño; two volumes of Canteloube’s ‘Songs of the Auvergne,’ and a dozen recital recordings. Her most recent release on Deutsche Grammophon is ‘Three Songs for Soprano and Orchestra’, the third in a series of acclaimed recordings of Osvaldo Golijov’s music.

Her acclaimed performances on the opera stage comprise the great Mozart roles as well as modern works by Stravinsky, Poulenc, and Messiaen. From Salzburg, Paris and Glyndebourne to the Metropolitan Opera, where she began her career in 1984 and has since made nearly 300 appearances, Dawn Upshaw has also championed numerous new works created for her including: The Great Gatsby by John Harbison; the Grawemeyer Award-winning opera, L’Amour de Loin and oratorio La Passion de Simone by Kaija Saariaho; John Adams’ Nativity oratorio El Niño; and Osvaldo Golijov’s chamber opera Ainadamar and song cycle Ayre. Dawn Upshaw is a favoured partner of many leading musicians, including Richard Goode, the Kronos Quartet, James Levine, and Esa-Pekka Salonen. From Carnegie Hall to large and small venues throughout the world she regularly presents specially-designed programs composed of lieder, unusual contemporary works in many languages, and folk and popular music. She furthers this work in master classes and workshops with young singers at major music festivals, conservatories and liberal arts colleges. She is Artistic Director of the Vocal Arts Program at the Bard College Conservatory of Music and a faculty member of the Tanglewood Music Centre. Dawn Upshaw holds honorary doctorate degrees from Yale, the Manhattan School of Music, the Juilliard School, Allegheny College and Illinois Wesleyan University. She began her career as a 1984 winner of the Young Concert Artists Auditions and the 1985 Walter W. Naumburg Competition, and was a member of the Metropolitan Opera Young Artists Development Program.

Ms Upshaw has recorded extensively for the Nonesuch label. She may also be heard on Angel/EMI, BMG, Deutsche Grammophon, London, Sony Classical, Telarc, and on Erato and Teldec in the Warner Classics Family of labels. 18 AUSTRALIAN CHAMBER ORCHESTRA


Courtesy Vandoren

SCOTT ROBINSON ALTO AND BASS CLARINET

One of today’s most wide-ranging instrumentalists, Scott Robinson performs on tenor and bass saxophone, trumpet and alto clarinet. On these and other instruments including theremin and ophicleide, he has been heard with a cross-section of jazz’s greats representing nearly every imaginable style of the music, from Braff to Braxton. Scott has recorded for film, radio and television, and his discography now includes more than 200 recordings. Scott’s collaborators on disc have included Frank Wess, Hank Jones, Joe Lovano, Ron Carter, and Bob Brookmeyer, and he has been a member of the Maria Schneider Orchestra for 20 years. Scott has been a staunch advocate for creative music around the world. He was selected by the US State Department to be a Jazz Ambassador for 2001, completing an 8-week, 11-country tour of West Africa performing his arrangements of the compositions of Louis Armstrong (later featured on his CD Jazz Ambassador). In 2012, Scott served as artist-in-residence at the week-long Ancona Summer Jazz Festival in Italy. He is currently serving each June as musical host of the annual Louis Armstrong Jazz Festival in Hungary. Since moving to New York in 1984, Scott has been awarded four fellowships by the National Endowment for the Arts, and participated in a number of Grammy-nominated and Grammy-winning recordings. He has been profiled in new editions of the Encyclopedia of Jazz and Grove’s Dictionary of Jazz, along with books by Royal Stokes, Nat Hentoff and others.

© Stefe Jiroflée

Bassist/composer Jay Anderson is among the most versatile and respected jazz artists performing today. He has performed and recorded with a wide range of jazz artists including Woody Herman, Carmen McRae, Michael Brecker, Paul Bley, Bob Mintzer, John Abercrombie, Dave Liebman, Joe Sample, Maria Schneider, John Scofield, Lee Konitz, Vic Juris, Red Rodney, Ira Sullivan, Mike Stern, Anat Cohen, Toots Thielemans, Kenny Wheeler, Jay Clayton and non-jazz artists like Oswaldo Golijov, Robert Spano (Atlanta Symphony), Michael Franks, Frank Zappa, Tom Waits, Chaka Khan, Michel Legrand, Allen Ginsberg and Celine Dion. He has been featured on over 300 recordings, four of which have received a Grammy Award . He has conducted clinics around the world and is a Professor of Jazz Bass Studies at the Manhattan School of Music in New York City. Jay currently co-leads the critically-acclaimed group BANN featuring Seamus Blake, Oz Noy and Adam Nussbaum.

© Jimmy Katz

JAY ANDERSON DOUBLE BASS

Frank has been active on the New York jazz scene as a pianist and composer for nearly 30 years. He is currently a Palmetto recording artist, and Frank’s most recent trio CD is Live at Kitano, with bassist Jay Anderson and drummer Matt Wilson. He has appeared on more than a dozen recordings as a leader for Palmetto, OmniTone and Soul Note labels, and has appeared on nearly 50 more as a sideman. Frank has toured the US, Canada, Brazil, England, France, Spain, Portugal, Germany, Austria, Switzerland, Italy, Denmark, Sweden, Finland and Macao, and is a founding member and composer-in-residence, Jazz Composers Collective (1992–2005), a nonprofit, musician-run organisation dedicated to presenting original works by its resident and guest composers. He has held the piano chair in the Maria Schneider Orchestra since 1993 and has also toured and recorded with saxophonist Dewey Redman, vocalist Kendra Shank, and fellow JCC composers-in-residence Ben Allison, Ted Nash, Michael Blake and Ron Horton, among others. Frank has served on the faculty of New York University and is currently on the Jazz Studies faculty at the Juilliard School.

FRANK KIMBROUGH PIANO

AUSTRALIAN CHAMBER ORCHESTRA 19


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 Ike See Violin Christopher Moore Principal Viola Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous crossartform projects and pieces specially commissioned for the ensemble. Founded in 1975 by John Painter am, 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; TimoVeikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter Weiss ao, and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Awardwinning 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. aco.com.au

20 AUSTRALIAN CHAMBER ORCHESTRA


MUSICIANS ON STAGE

HELENA RATHBONE *

REBECCA CHAN

Principal Violin Chair sponsored by Kate & Daryl Dixon

ILYA ISAKOVICH

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

TIMO-VEIKKO VALVE v Principal Cello Chair sponsored by Peter Weiss ao

Violin Chair sponsored by Anthony & Sharon Lee

CHRISTOPHER MOORE

ALEXANDRU-MIHAI BOTA

Principal Viola Chair sponsored by peckvonhartel architects

MELISSA BARNARD

Viola

WILLIAM CLARK

Viola Chair sponsored by Philip Bacon AM

JULIAN THOMPSON #

Cello Chair sponsored by Bruce & Joy Reid Foundation

IKE SEE 1 VERONIQUE SERRET CAMERON HILL CARISSA KLOPOUSHAK LIISA PALLANDI THIBAUD PAVLOVIC-HOBBA LACHLAN O’DONNELL

• •

AIKO GOTO

Violin Chair sponsored by Ian Wallace & Kay Freedman

Violin

Photos: Paul Henderson-Kelly, Helen White

Jazz Double Bass

Cello

MICHAEL DAHLENBURG

Double Bass

MUHAMED MEHMEDBASIC

Cello Chair sponsored by The Clayton Family

JAY ANDERSON

Piano

MARK INGWERSEN

Violin

NICOLE DIVALL

Viola Chair sponsored by Ian Lansdown

MAXIME BIBEAU I

Principal Bass Chair sponsored by John Taberner & Grant Lang

Players dressed by

AKIRA ISOGAWA

FRANK KIMBROUGH

• ACO Emerging Artist

Alto Clarinet

SCOTT ROBINSON

] Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

v Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. # Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. I Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from private Australian benefactors.

AUSTRALIAN CHAMBER ORCHESTRA 21


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

John Grill Heather Ridout ao Andrew Stevens

John Taberner Peter Yates am

Richard Tognetti ao Artistic Director

ADMINISTRATION STAFF EXECUTIVE OFFICE

FINANCE

MARKETING

Jessica Block Deputy General Manager

Steve Davidson Corporate Services Manager

Amy Goodhew Marketing Coordinator

Timothy Calnin General 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 Cyrus Meurant Librarian

Bernard Rofe Assistant Librarian

Cathy Davey Chief Financial Officer

Yvonne Morton Accountant

Shyleja Paul Assistant Accountant DEVELOPMENT

Rebecca Noonan Development Manager

Alexandra Cameron-Fraser Strategic Development Manager

Aaron Curran Marketing Manager (Acting)

Chris Wynton National Publicist (Acting)

Jack Saltmiras Digital Content & Publicity Coordinator Chris Griffith Box Office Manager

Dean Watson Customer Relations Manager

Tom Tansey Events Manager

Deyel Dalziel-Charlier Box Office & CRM Database Assistant

Alison Carter Investment Relations Manager

INFORMATION SYSTEMS

Tom Carrig Senior Development Executive

Ali Brosnan Patrons & Foundations Executive

Sally Crawford Development Coordinator

EDUCATION

Christina Holland Office Administrator

Ken McSwain Systems & Technology Manager

Emmanuel Espinas Network Infrastructure Engineer ARCHIVES

John Harper Archivist

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

AUSTRALIAN CHAMBER ORCHESTRA

ABN 45 001 335 182

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

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

22 AUSTRALIAN CHAMBER ORCHESTRA


ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

PO Box 7585 St Kilda Road Melbourne Victoria 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au 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

LLEWELLYN HALL School of Music Australian National University William Herbert Place (off Childers Street) Acton, Canberra VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: music.venues@anu.edu.au

ARTS CENTRE MELBOURNE FOUNDATION BOARD OF GOVERNORS Mr Sandy Clark Chairman Mr John Haddad ao Emeritus Chairman Miss Betty Amsden oam, Mrs Debbie Dadon, Mr John Denton, Mr Carrillo Gantner ao, Mr Tom Harley, Ms Dana Hlavacek, Mrs Mem Kirby oam, Mrs Jennifer Prescott

AEG OGDEN (PERTH) PTY LTD

EXECUTIVE GROUP Ms Judith Isherwood Chief Executive Ms Jodie Bennett Executive Corporate Services (CFO) Mr Tim Brinkman Executive Performing Arts Ms Louise Georgeson General Manager – Development, Corporate Communications & Special Events Ms Sarah Hunt General Manager, Marketing & Audience Development Mr Kyle Johnston Executive Customer Enterprises

Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.

Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal. FOR YOUR INFORMATION The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briffa

AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

AUSTRALIAN CHAMBER ORCHESTRA 23


ACKNOWLEDGEMENTS VENUE SUPPORT

A City of Sydney Venue

Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Anne-Marie Heath General Manager

PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444 Chair: Henry Smerdon am Deputy Chair: Rachel Hunter TRUSTEES Simon Gallaher, Helene George, Bill Grant oam, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White EXECUTIVE STAFF Chief Executive: John Kotzas Director – Marketing: Leisa Bacon Director – Presenter Services: Ross Cunningham Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government

CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Office 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com

SYDNEY OPERA HOUSE TRUST Mr John Symond am (Chair) Mr Wayne Blair, Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

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, Marketing Anna Reid

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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Chairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music Alan Ziegler

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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO–141 — 17229 — 1/070214

24 AUSTRALIAN CHAMBER ORCHESTRA


ACO MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti ao Lead Violin

Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Christopher Moore

Principal Viola

peckvonhartel architects

Helena Rathbone

Principal Violin

Kate & Daryl Dixon

Timo-Veikko Valve

Satu Vänskä

Principal Violin

Kay Bryan

Maxime Bibeau

Principal Cello

Principal Double Bass

Violin Chair Terry Campbell ao & Christine Campbell

Viola

Rebecca Chan

Melissa Barnard

Ian Wallace & Kay Freedman

The Bruce & Joy Reid Foundation

Peter Weiss ao

John Taberner & Grant Lang

CORE CHAIRS Aiko Goto Violin

Anthony & Sharon Lee Mark Ingwersen

Alexandru-Mihai Bota

Philip Bacon am

Violin

Violin

Ilya Isakovich

Nicole Divall

Julian Thompson

Australian Communities Foundation – Connie & Craig Kimberley Fund

Ian Lansdown

The Clayton Family

Violin

Viola

Cello

Cello

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon

Mr R. Bruce Corlett am & Mrs Ann Corlett

Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert AUSTRALIAN CHAMBER ORCHESTRA 25


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

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

FOUNDING PATRONS PETER WEISS ao, PATRON VISIONARY $1m+ Peter Weiss ao

LEADER $500,000–$999,999 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

SONATA $25,000–$49,999

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

26 AUSTRALIAN CHAMBER ORCHESTRA

ENSEMBLE $10,000–$24,999

Leslie & Ginny Green

SOLO $5,000–$9,999

Amanda Stafford

PATRONS

June & Jim Armitage Leith & Darrel Conybeare John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Ian & Pam McGaw Patricia McGregor Alison Reeve Angela Roberts Robyn Tamke Anonymous (2)


ACO SPECIAL COMMISSIONS NEVER TRULY LOST by Brenton Broadstock

Commissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.

SPECIAL COMMISSIONS PATRONS Dr Jane Cook & Ms Sara Poguet Mirek Generowicz Peter & Valerie Gerrand V Graham Anthony & Conny Harris Andrew & Fiona Johnston Lionel & Judy King Alison Reeve Dr Suzanne Trist Margot Woods & Arn Sprogis Team Schmoopy Anonymous (1)

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 Ian & Pam McGaw Julia Ross

MELBOURNE HEBREW CONGREGATION PATRONS Lead Patrons

Patrons Marc Besen AO & Eva Besen AO The Eddie & Helen Kutner Family The Graham & Minnie Smorgon Family

AUSTRALIAN CHAMBER ORCHESTRA 27


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

Tony Gill

Liz Cacciottolo Senior Advisor UBS Australia

Jennie Orchard

Tony O’Sullivan

Ian Davis Managing Director Telstra Television

Maggie Drummond Chris Froggatt

Heather Ridout ao Director Reserve Bank of Australia Margie Seale

MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chairman) Chairman Royal Institution of Australia Director AIA Ltd

Debbie Brady Ben Brady

Stephen Charles

Christopher Menz

Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan SC

EVENT COMMITTEES Sydney

Lillian Armitage Margie Blok Alison Bradford Liz Cacciottolo 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 (Chair) Jennifer Tejada Judi Wolf

Brisbane

Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn

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

28 AUSTRALIAN CHAMBER ORCHESTRA

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


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

Limb Family Foundation

EMERGING ARTISTS & EDUCATION PATRONS $10,000+

Miss Nancy Kimpton Bruce & Jenny Lane Prudence MacLeod Alf Moufarrige Mr Robert Albert ao & Louise & Martyn Myer Foundation Mrs Libby Albert Australian Communities Bruce Neill Jennie & Ivor Orchard Foundation – Alex & Pam Reisner Ballandry Fund Mr Mark Robertson oam Daria & Michael Ball & Mrs Anne Steven Bardy & Robertson Andrew Patterson The Belalberi Foundation Margie Seale & David Hardy Guido & Michelle Tony Shepherd ao Belgiorno-Nettis Mr John Singleton am Liz Cacciottolo & Beverley Smith Walter Lewin John Taberner & Grant John & Janet CalvertLang Jones Alden Toevs & Judi Wolf Carapiet Foundation The Hon Malcolm Mark Carnegie Turnbull mp & Stephen & Jenny Ms Lucy Turnbull ao Charles John & Myriam Wylie Darin Cooper Family E Xipell Daryl & Kate Dixon Anonymous (3) Geoff & Dawn Dixon Chris & Tony Froggatt DIRETTORE Daniel & Helen $5,000 – $9,999 Gauchat Geoff Alder John Grill & Rosie Brad Banducci Williams Bill & Marissa Best Catherine Holmes Patricia Blau à Court-Mather Belinda Hutchinson am Marjorie Bull Joseph & Veronika Angus & Sarah James Butta PJ Jopling qc

Terry Campbell ao & Christine Campbell The Clayton Family Victor & Chrissy Comino Leith & Darrel Conybeare Peter & Tracey Cooper Mr R. Bruce Corlett am & Mrs Ann Corlett Ellis Family Suellen & Ron Enestrom Bridget Faye am Michael Firmin Ian & Caroline Frazer Jan Freemantle Maurice Green ao & Christina Green Liz Harbison Annie Hawker Rosemary Holden Bee Hopkins Warwick & Ann Johnson Julie Kantor Keith & Maureen Kerridge Lorraine Logan David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation David Mathlin Julianne Maxwell P J Miller

Jan Minchin Jacqui & John Mullen Marianna & Tony O’Sullivan Elizabeth Pender John Rickard The Sandgropers Paul Schoff & Stephanie Smee Emma Stevens Jon & Caro Stewart Anthony Strachan Tamas Szabo Cameron Williams Karen & Geoff Wilson Peter Yates am & Susan Yates Carla Zampatti Foundation Anonymous (1)

MAESTRO $2,500 – $4,999

Mrs Jane Allen Atlas D’Aloisio Foundation Will & Dorothy Bailey Charitable Gift Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Andrew Best Linda & Graeme Beveridge Leigh & Christina Birtles

AUSTRALIAN CHAMBER ORCHESTRA 29


ACO DONATIONS PROGRAM Rosemary & Julian Block Dr David & Mrs Anne Bolzonello Ben & Debbie Brady Gilbert Burton Caroline & Robert Clemente Andrew Clouston Robert & Jeanette Corney Judy Crawford Kate Dixon Leigh Emmett Geoff Weir Michael Fitzpatrick Ann Gamble Myer Colin Golvan sc Ross Grant Warren Green Nereda Hanlon & Michael Hanlon am Mrs Yvonne Harvey & Dr John Harvey ao Peter & Helen Hearl Wendy Hughes Graeme Hunt Glen Hunter & Anthony Niardone Vanessa Jenkins I Kallinikos Peter Lovell Macquarie Group Foundation Sandra & Michael Paul Endowment Justin Punch Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Ruth Ritchie Susan & Gary Rothwell D N Sanders Cheryl Savage Chris & Ian Schlipalius Brian Schwartz Jennifer Senior Greg Shalit & Miriam Faine Petrina Slaytor Philippa Stone Tom Thawley Ralph Ward-Ambler am & Barbara WardAmbler Drs Victor & Karen Wayne The WeirAnderson Foundation Ivan Wheen Anonymous (4)

VIRTUOSO $1,000 – $2,499

Jaye Gardner Paul Gibson & Gabrielle Curtin Annette Adair Thomas Goudkamp Mrs Lenore Adamson Griffiths Architects in memory of Peter Halstead Mr Ross Adamson Lesley Harland Peter & Cathy Aird Jennifer Hershon Antoinette Albert Reg Hobbs & Louise David & Rae Allen Carbines Andrew Andersons Australian Communities Michael Horsburgh am & Beverley Horsburgh Foundation – Carrie & Stanley Howard Clare Murphy Fund Penelope Hughes Ruth Bell Stephanie & Michael Virginia Berger Hutchinson Jessica Block Dee Johnson In memory of Peter Brian Jones Boros Bronwen L Jones Vicki Brooke Carolyn Kay & Simon Sally Bufé Swaney Rowan Bunning Mrs Judy Lee Neil Burley & Jane Mr Michael Lee Munro Massel Australia Pty Ltd Mr John Leece am Michael Lin Bella Carnegie Sydney & Airdrie Lloyd Sandra Cassell Trevor Loewensohn Julia Champtaloup & Robin & Peter Lumley Andrew Rothery Charlotte & Adrian Elizabeth Cheeseman Mackenzie Elizabeth Chernov Sydney Airport Stephen Chivers Jane Mathews ao Angela & John Janet P Matton Compton Martyn Cook Antiques Karissa Mayo Kevin & Deidre Bernadette Cooper McCann Laurence G Cox ao & Paul & Elizabeth Julie Ann Cox McClintock Anne & David Craig Brian & Helen Judy Croll McFadyen Lindee & Hamish Donald & Elizabeth Dalziell McGauchie Mrs June Danks Ian & Pam McGaw Michael & Wendy Jenny McGee Davis J A McKernan Martin Dolan Peter & Ruth McMullin Anne & Thomas Jillian & Robert Meyers Dowling Graeme L Morgan Dr William F Downey John Morgan Michael Drew Roslyn Morgan Emeritus Professor Suzanne Morgan Dexter Dunphy am Jane Morley Peter Evans Marie Morton Julie Ewington Nola Nettheim Elizabeth Finnegan Graham North Stephen Fitzgerald Elspeth & Brian Noxon Lynne Flynn Origin Foundation Jane & Richard Brendan Ostwald Freudenstein Justin & Anne Gardener Anne & Christopher Page

30 AUSTRALIAN CHAMBER ORCHESTRA

Leslie Parsonage Rowland Paterson peckvonhartel architects David Penington ac Tom Pizzey Michael Power Mark Renehan Dr S M Richards am & Mrs M R Richards Warwick & Jeanette Richmond in memory of Andrew Richmond Josephine Ridge Em. Prof. A. W. Roberts am Joan Rogers Peter J Ryan Manfred & Linda Salamon Jennifer Sanderson Garry E Scarf In memory of H. St. P. Scarlett Peter & Ofelia Scott Gideon Shaw Diana & Brian Snape am Maria Sola & Malcolm Douglas Ezekiel Solomon am Keith Spence Cisca Spencer Robert Stephens Professor Fiona Stewart Andrew Strauss John & Josephine Strutt Dr Charles Su & Dr Emily Lo Kyrenia & Rob Thomas Paul Tobin Peter Tonagh Ngaire Turner Venture Advisory Kay Vernon David Walsh Janie Wanless & Nev Wittey G C & R Weir Mrs M W Wells Rachel Wiseman & Simon Moore Sir Robert Woods cbe Lee Wright Don & Mary Ann Yeats William Yuille Brian Zulaikha Anonymous (18)


ACO DONATIONS PROGRAM CONCERTINO $500 – $999

A Ackermann Max Benyon Brian & Helen Blythe Brian Bothwell Dr Sue Boyd Denise Braggett Diana Brookes Mrs Kay Bryan Arnaldo Buch Tim & Jacqueline Burke Lynda Campbell Helen & Ian Carrig Julie Carriol Kirsten Carriol Scott Charlton Colleen & Michael Chesterman Richard & Elizabeth Chisholm Georg Chmiel Elizabeth Clayton ClearFresh Water Jilli Cobcroft Geoff Cousins & Darleen Bungey Carol & Andrew Crawford Professor John Daley & Dr Rebecca Coates Marie Dalziel Mari Davis Defiance Gallery David Dix In Memory of Raymond Dudley Anna Dunphy M T & R L Elford Carol Farlow Ian Fenwicke Jean Finnegan & Peter Kerr Sheila Fitzpatrick in memory of Michael Danos Janet Fitzwater Michael Fogarty Nancy & Graham Fox Brian Goddard Victoria Greene Steven Gregg

Katrina Groshinski & John Lyons Annette Gross Susan Harte Marian Hill Sue & David Hobbs Geoff Hogbin Julie Hopson How to Impact Pty Ltd Pam & Bill Hughes Dr & Mrs Michael Hunter Geoff & Denise Illing Diane Ipkendanz Margaret & Vernon Ireland Philip & Sheila Jacobson Owen James Barry Johnson & Davina Johnson oam Caroline Jones Geoff Loyce Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso ao Danièle Kemp Josephine Key & Ian Breden TFW See & Lee Chartered Accountants Greg Lindsay ao & Jenny Lindsay Andrew & Kate Lister Megan Lowe Bronwyn & Andrew Lumsden James MacKean Peter Marshall Ian & Linda Martin Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham H E McGlashan Colin McKeith Jeanne McMullin Joanna McNiven I Merrick Julie Moses Dr G Nelson Jenny Nichol

J Norman Richard & Amanda O’Brien Robin Offler Lisa Paulsen Deborah Pearson Robin & Guy Pease Kevin Phillips Miss F V Pidgeon am Rosie & Robert Pilat The Hon C W Pincus qc Ian Pryer Dr Anoop Rastogi Ruth Redpath Chris Roberts Team Schmoopy Lucille Seale Mr Berek Segan obe am & Mrs Marysia Segan Andrew & Rhonda Shelton Anne Shipton Roger & Ann SmithJohnstone Alida Stanley & Harley Wright Mrs Judy Ann Stewart Geoffrey Stirton & Patricia Lowe In Memory of Dr Aubrey Sweet Leslie C Thiess Matthew Toohey Sarah Tobin Sarah Jane & David Vaux Evan Williams am Ed Wittig Sue Wooller & Ron Wooller Rebecca Zoppetti Laubi Anonymous (19)

CONTINUO CIRCLE BEQUEST PROGRAM

The late Charles Ross Adamson The late Kerstin Lillemor Andersen Steven Bardy

Dave Beswick Ruth Bell Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill The late John Nigel Holman Penelope Hughes Estate of Pauline Marie Johnston The late Mr Geoff Lee am oam Mrs Judy Lee The late Shirley Miller Selwyn M Owen The late Richard Ponder Ian & Joan Scott Leslie C Thiess G C & R Weir Margaret & Ron Wright Mark Young Anonymous (11)

LIFE PATRONS

IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido BelgiornoNettis am Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson Dr John Harvey ao Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao

Patrons list is current as of 10 October 2013.

CONTRIBUTIONS

If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Ali Brosnan on 02 8274 3830 or at Ali.Brosnan@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

Rowena Danziger am & Kenneth G. Coles am Mr Greg Ellis Chief Executive Officer REA Group

Mr Andrew Low Chief Executive Officer RedBridge Grant Samuel Mr Steven Lowy am Lowy Family Group Mr Didier Mahout CEO Australia & NZ BNP Paribas

Aurizon Holdings Limited

Dr Bob Every Chairman Wesfarmers

Mr Philip Bacon am Director Philip Bacon Galleries

Mr Angelos Frangopoulos Mr David Mathlin Chief Executive Officer Ms Julianne Maxwell Australian News Channel

Mr David Baffsky ao

Mr Richard Freudenstein Chief Executive Officer FOXTEL

Mr Brad Banducci Director Woolworths Liquor Group Mrs Eva Besen ao Mr Marc Besen ao 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 Julian Clarke Chief Executive Officer News Limited Mr & Mrs Robin Crawford

Mr Daniel Gauchat Principal The Adelante Group Mr Colin Golvan SC & Dr Deborah Golvan Mr John Grill Chairman WorleyParsons Mr Andrew & Mrs Hiroko Gwinnett Mrs Janet Holmes à Court ac

Mr Michael Maxwell

Ms Naomi Milgrom ao

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

Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Officer Servcorp

Mr John Kench Chairman Johnson Winter & Slattery

Mr Neil Perry am Rockpool

32 AUSTRALIAN CHAMBER ORCHESTRA

Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Paul Sumner Director Mossgreen Pty Ltd

Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects

Mr Tim Longstaff Managing Director, Corporate Finance, Deutsche Bank, Australia/New Zealand

Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities

Mr Donald McGauchie ao Chairman Nufarm Limited

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

Ms Catherine Livingstone ao Chairman Telstra

Mr Tony Shepherd ao President Business Council of Australia

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 Michael Triguboff Managing Director MIR Investment Management Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Ms Vanessa Wallace Director Mr Malcolm Garrow Director Booz & Company Mr Peter Yates am Chairman, Royal Institution of Australia Director, AIA Ltd


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

FOUNDING PARTNER

FOUNDING PARTNER: ACO VIRTUAL

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES AND WA REGIONAL TOUR PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

CONCERT AND SERIES PARTNERS

EVENT PARTNERS

AUSTRALIAN CHAMBER ORCHESTRA 33


news ACO NEWS • FEBRUARY 2014

EDUCATION NEWS MOVE Workshops ACO Education hosts movement and music classes for secondary students with a disability. Students work with our movement facilitator (and Customer Relations Manager) Dean Watson and our musicians through a series of exercises designed to develop physical movement responses to classical music. In December 2013 we invited students from St Edmund’s High School to attend an AcO2 rehearsal lead by Guest Director Dale Barltrop at our Circular Quay studios, run in conjunction with the International Day of People with Disability. Each student was asked how they enjoyed their visit. Conner: It was like going on holidays. The music made me feel smiley and like dancing

Zoe: The music made me feel happy, excited and I liked the guy (Dean) because he made me laugh. The music was beautiful as well. Angus: I could switch my mind off and think about something else. Kathleen: It felt peaceful and nice. It sometimes made me want to dance like a ballerina. Lachlan: The music made me feel calm and centred. Andrew: The music felt good and made me yawn a bit too because I was relaxed. Janelle: I felt sleepy. Then I felt excited when they played me happy birthday! Richard: I thought that the music was wonderful. It took me to another place. It was just beautiful.

Akanksha: It made me feel calm and excited and happy listening to the violins.

The ensemble at work

34 AUSTRALIAN CHAMBER ORCHESTRA

ACO Move facilitator Dean Watson leading the class


VASSE FELIX – TOUR REPORT Doretta Balkizas 2013 Emerging Artist

While sitting around a table late in 2013, watching my fellow Emerging Artists (EAs) bond over a rather competitive game of Speed-Scrabble, I reflected on how uniquely special the ACO Emerging Artist Program is. The EAs were performing as part of AcO2 at Vasse Felix led by the fantastic Dale Barltrop and supported by ACO mentors — Veronique Serret, Zoe Black, Caroline Henbest and Danny Yeadon — who have been a constant source of encouragement and wisdom. Vasse Felix is a magical place in Margaret River. We performed three nights in the beautiful acoustic of the art gallery of the Vasse Felix Winery, and had the opportunity to meet our audience members after each performance — something that we greatly value.

Vasse Felix Winery

The programming was challenging but creative and varied, repertoire ranging from Vivaldi to Lerdahl; Bizet to Schubert. Our first concert is worth making note of as it marked the day of Mr Nelson Mandela’s passing. Cowell’s Hymn and Fuguing Tune No.5 was dedicated in commemoration, a minute passing in collective quiet, until the Mendelssohn String Symphony broke the silence. These performances were the pinnacle of our EA year: the six individual Emerging Artists were no longer just independent bodies of Emerging Artists, but friends and completely unified by something great — AcO2. See Doretta’s full tour report on the ACO blog acoblog.com.au

Ádám Szabo, Daniel Yeadon, Robert Gallagher and Aiko Goto

AcO2 rehearsing

AUSTRALIAN CHAMBER ORCHESTRA 35


DONOR PROFILE Rob and Nancy Pallin

Robert and Nancy Pallin have been ACO subscribers for many years and in 2010 they began thinking about a unique way to celebrate Robert’s 70th birthday in 2013 as, ‘at 70, one does not want or need presents’, says Robert. They contacted the ACO to enquire about commissioning a new piece of music, which would honour Rob’s late father, Paddy Pallin, and capture their shared love of the Australian bush. In November 2013, just days after Rob’s 70th birthday, From left: Nancy Pallin, Brenton Broadstock and Rob Pallin Rob and Nancy sat in the a new piece of music for the ACO repertoire… audience in Newcastle to hear the world We look forward to hearing it yet again and première of Rob’s birthday present, a work hope it is Never Truly Lost!’ entitled Never Truly Lost, written by renowned Australian composer Brenton Broadstock. The We offer our heartfelt thanks to Rob and Nancy work featured in our sellout subscription tour for their visionary support of the ACO and the with clarinettist Martin Frost and was acclaimed future of Australian music. by audiences and critics alike. To enquire about commissioning a new work, Robert says, ‘Brenton had really captured the please contact Jessica Block, Deputy General feeling of the bush in the music…it was a real Manager of the ACO, at jessica.block@aco.com.au thrill to have contributed to the composition of or PO Box R21, Royal Exchange, NSW, 1225.

YOUR SAY… Christmas Oratorio ‘Last night (Melbourne) was fantastic, so much joyfulness (what a mood booster!) and a bubbly, appreciative audience! I feel lucky to have experienced this and heard the fine voices of the Choir of London. I always leave the ACO feeling like nothing else that week will top the experience.’ — Amy Earl

‘What a beautiful way to start the Christmas holiday! Thank you ACO and the stirring Choir of London. You make sublime partners!’ — Emily Lo ‘Thank you ACO, the Choir of London and JS Bach for a magnificent performance last evening in Canberra.’ — Canberra Tatchies

Let us know what you thought about today’s concert on Facebook, Twitter or email aco@aco.com.au

36 AUSTRALIAN CHAMBER ORCHESTRA


ORLANDO BY GEORGE FRIDERIC HANDEL DIRECT FROM GLIMMERGLASS FESTIVAL, NEW YORK

JULIA LEZHNEVA XAVIER SABATA IN HER ONLY AUSTRALIAN APPEARANCE WITH ORCHESTRA

WITH ORCHESTRA OF THE ANTIPODES

OTTOMAN BANQUET @ MONA WITH LATITUDE 37

TOWN HALL SERIES TIMO-VEIKKO VALVE DUALLING HARPSICHORDS SMARO GREGORIADOU ENSEMBLE HOBART BAROQUE LATITUDE 37

AND THE 5X5X5@5 SERIES

HOBART BAROQUE FRI 28 MARCH - SAT 5 APRIL 2014

HOBARTBAROQUE.COM.AU

Hobart Baroque is supported by the Tasmanian Government through Events Tasmania.

AUSTRALIAN CHAMBER ORCHESTRA 37


Building a smarter planet:

Smarter customers demand smarter commerce. Today, customers are deciding when and where the buying process begins, when it ends, who will be part of that process, what order it will follow, and how all elements in the chain – market, buy, sell and service – will be linked. Each individual’s data is the key to connecting the value chain to the customer – helping businesses to understand and predict customer needs and to orchestrate partners and suppliers in greater responsiveness to changes in buying behaviour. The opportunity is enormous. According to a recent IBM® Institute for Business Value survey, more than US$15 trillion in inefficiencies comes from waste throughout the global commerce system, such as inventory backlogs and failed product launches*. Given the rise of new generations of empowered and digitally literate customers, it’s clear that the world’s commercial systems have to become as smart as the individuals who are now driving them. Fortunately, they can – and in the process, will redefine how we buy, market and sell on a smarter planet. Let’s build a smarter planet. Join us and see what others are doing at ibm.com/smarterplanet/au

TRADEMARKS: IBM, the IBM logos, ibm.com, Smarter Planet, Let’s build a smarter planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services of IBM or others. A current list of IBM trademarks is available on the Web at “Copyright and trademarks information” at www.ibm.com/legal/copytrade.shtml. © Copyright IBM Australia Limited 2012 ABN 79 000 024 733 © Copyright IBM corporation 2012 All Rights Reserved. These customer stories are based on information provided by the customers and illustrate how certain organisations use IBM products. Many factors have contributed to the results and benefits described. IBM does not guarantee comparable results elsewhere.* The IBM Business Value survey is available at: http://www.ibm.com/ibm/files/Y067208R89372O94/11The_worlds_4_trillion_dollar_challenge-Executive_Report_1_3MB.pdf. IBMNCA0626/SCOMMERCE/ACO

Upshaw, Elgar & Grieg program  

The program for the 2014 national subscription tour, Dawn Upshaw, Elgar & Grieg.

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