Intimate Letters program

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you can now experience the aco in new places.

Introducing ACO VIRTUAL, the Australian Chamber Orchestra’s new virtual installation.

This world first will be travelling around Australia, giving everyone the chance to get up close, like never before, to this critically acclaimed orchestra.

Find out more at aco.com.au/acovirtual CommBank is proud to be the Founding Partner of ACO VIRTUAL.

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To watch the Australian Chamber Orchestra is to witness collaboration in its purest form — a group of world-class musicians working as one to create a seamless performance. Under the wonderful artistic direction of Richard Tognetti, the ACO constantly innovates to ensure it stays on the creative edge — and this year its dramatic collaboration with Bell Shakespeare brings to life Intimate Letters in a stunning visual and auditory immersion for the audience.

Collaboration, innovation, creativity and excellence — these are the qualities that IBM values. The ACO represents an outstanding model to which Australia’s business community can aspire. It’s with great pride that we present this special performance by one of our national creative treasures.

NATIONAL TOUR AND FOUNDING PARTNER

ANDREW STEVENS MANAGING DIRECTOR, IBM AUSTRALIA & NEW ZEALAND AUSTRALIAN CHAMBER ORCHESTRA 1

Words that give meaning to music TIMO-VEIKKO VALVE Principal Cello Australian Chamber Orchestra

A few years ago, in November of 2012, I worked on a project that both Richard Tognetti and I felt had a lot of potential. We presented two pop-up performances at Pier 2/3 Walsh Bay of Leoš Janáček’s Intimate Letters (his Second String Quartet), with actors from Bell Shakespeare reading a selection of letters sent between the composer and his muse, Kamila Stösslová. The letters selected for these performances were compiled by Arja Puikkonen and translated by John Tyrell, and that collection served as the starting point for Peter Evans and Susanna Dowling, our directors for this production.

The words illuminated the music, and the emotion behind the music was given a palpable dimension. The melodies and phrases became characters in a mini-opera, with scenes from the letters played out.

Intimate Letters at Pier 2/3 Walsh Bay in November 2012.

Photos by Lisa Tomasetti

Now it is time to take this project around the country on a national subscription tour. While this epistolary concert is conceptually mine, the whole project is, in a way, a continuation of the ‘Kreutzer vs Kreutzer’ concert that we toured nationally in 2010. Tolstoy, Beethoven and Janáček were put side by side, Tolstoy giving narrative substance to both Beethoven’s and Janáček’s music.

Out of the 700 or more letters that Leoš and Kamila exchanged, we have put together a selection that depicts the development of their relationship, reflected in the four movements of Intimate Letters. The outburst of the opening movement illustrates what he felt when they first met: that first emotionally powerful eye contact.

The subsequent movements, although not entirely programmatic, depict the carefree days they often spent together in Luhačovice, as well as going beyond reality and painting a picture of them finally consummating their forbidden love. The lullaby of the third movement is for the baby they never had.

Janáček’s Intimate Letters has not been performed by the ACO before. I prepared the arrangement of this quartet and had the privilege of workshopping it with two orchestras back home in Finland: the Ostrobothnian Chamber Orchestra and Jousia Ensemble. Even if the arrangement bears my name, the process was very much a collaborative effort with the extraordinary musicians of both orchestras.

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In collaboration with Bell Shakespeare

INTIMATE LETTERS GORDAN NIKOLIC

Guest Director & Violin PETER EVANS Director

SUSANNA DOWLING Assistant Director

ELLA SCOTT LYNCH Actor MARSHALL NAPIER Actor Concept by TIMO-VEIKKO VALVE MOZART Divertimento in F major, K.138

I. Allegro II. Andante III. Presto

SMETANA String Quartet No.1 in E minor From My Life

Arranged for string orchestra I. Allegro vivo appassionato II. Allegro moderato alla polka III. Largo sostenuto IV. Finale (Vivace – Meno presto)

INTERVAL

JANÁČEK String Quartet No.2 Intimate Letters

Arranged for string orchestra by Timo-Veikko Valve I. Andante – Con moto – Allegro II. Adagio – Vivace III. Moderato – Adagio – Allegro IV. Allegro – Andante – Allegro

Approximate durations (minutes): 12 – 36 – INTERVAL – 40

The concert will last approximately two hours including a 20-minute interval.

ADELAIDE

Town Hall Tue 2 Sep 8pm

Pre-concert talk by Eugene Ragghianti

BRISBANE

QPAC Concert Hall Mon 18 Aug 8pm Pre-concert talk by Gillian Wills

CANBERRA

Llewellyn Hall Sat 23 Aug 8pm

Pre-concert talk by Ken Healey am

MELBOURNE

Arts Centre Sun 31 Aug 2.30pm, Mon 1 Sep 8pm Pre-concert talk by John Weretka

NEWCASTLE

Wed 27 Aug 7pm

Pre-concert talk by Ken Healey am

Fri 29 Aug 1.30pm

SYDNEY

Sat 30 Aug 7pm

City Hall Wed 20 Aug 7.30pm

City Recital Hall Angel Place Tue 26 Aug 8pm

Pre-concert talk by Ken Healey am

Pre-concert talk by Susanna Dowling Pre-concert talk by Susanna Dowling Pre-concert talk by Ken Healey am

Sydney Opera House Sun 24 Aug 2pm Pre-concert talk by Ken Healey am

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

AUSTRALIAN CHAMBER ORCHESTRA 3

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.

Have your say Let us know what you thought about this concert at aco.com.au or email aco@aco.com.au

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ACO ON THE RADIO ABC CLASSIC FM: Intimate Letters Fri 29 Aug, 1.30pm Tognetti in Recital Sat 6 Sep, 8pm

UPCOMING TOURS Osborne in Recital 23 August (Sydney only) Tognetti in Recital 25 August (Melbourne only) Tognetti’s Beethoven 26 Oct — 3 Nov

FREE PROGRAMS

MESSAGE FROM THE GENERAL MANAGER With Intimate Letters, the ACO not only joins hands with our fellow performing arts company Bell Shakespeare, but we also welcome a new guest artist working with the ACO for the first time.

Gordan Nikolic enjoys a distinguished career as a soloist, leader and chamber musician. As Concertmaster of the London Symphony Orchestra, he has been at the helm of that legendary orchestra in concerts all over the world.

Bell Shakespeare shares several similarities with the ACO. John Bell established his brand new theatre company in 1990, which was also Richard Tognetti’s first full year as the ACO’s Lead Violin. Recently, our two companies have talked about shacking up together in the proposed transformation of Pier 2/3 in Sydney’s Walsh Bay, and two years ago we collaborated in a chamber music and spoken word project in the raw, empty pier. We are thrilled to be taking an expanded version of this artistic collaboration on this national tour with our friends from Bell Shakespeare.

Our relationship with IBM goes back much further, to the early 1980s and we are honoured to have this iconic company as our Founding Sponsor – one of the longest corporate partnerships in Australian performing arts history. In addition to sponsorship support, IBM has always provided us with access to the expertise of the Managing Director as a Director on the ACO Board. For the last few years, we have benefitted enormously from Andrew Stevens’ strategic insight, vision and inexhaustible energy and we thank and salute him as he steps down from the Managing Director’s role this year.

TIMOTHY CALNIN General Manager Australian Chamber Orchestra

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.

AUSTRALIAN CHAMBER ORCHESTRA 5

The stories behind the music SUSANNA DOWLING Assistant Director Bell Shakespeare

On my first day as Director in Residence at Bell Shakespeare, Co-Artistic Director Peter Evans handed me two dusty books, and, with a twinkle in his eye, he said ‘I have a project for you’. The first book was a collection of writings and recollections of Bedřich Smetana, the second was the correspondence between Leoš Janáček, a married composer in his 60s and his muse, Kamila Stösslová, a married woman in her 20s.

I soon became absolutely engrossed in the lives of these people, writing over 100 years ago, on the other side of the world. Their humanity, their mundanities, their struggles, their joys. With Smetana’s story, I was deeply touched by the descriptions of his developing deafness, and his determination to continue to compose, despite never being able to hear his works played. With Leoš and Kamila, I was swept away by the ardent, overwhelming passion these two people had for each other – a love that was taboo, that only existed in the more than 700 letters that they exchanged over a decade, and the occasional walk in the forest.

Marshall Napier, Ella Scott Lynch (actors) and Julian Thompson (cello).

Photos by Jack Saltmiras

Music, above nearly all other artforms, has the ability to stand alone, without introduction or explanation. These two incredible pieces are no exception. However, they are both deeply personal pieces, and are shaped by the most significant experiences of their later lives. Understanding this context helps us to hear them anew to feel Janáček’s urgent longing, Smetana’s suffering.

In selecting just a handful of letters, we have sought to give the listener an insight into the stories behind the music.

AUSTRALIAN CHAMBER ORCHESTRA 7

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MOZART Divertimento in F major, K.138 I. Allegro II. Andante III. Presto

Wolfgang Amadeus MOZART (b. Salzburg 1756 — d. Vienna 1791) Beginning as a gifted child prodigy, Mozart quickly developed into one of history’s greatest composers. Although he only lived to the age of 35, he mastered virtually every compositional genre of his time.

Today, he is recognised both as the epitome of the Classical style and one of music’s greatest innovators.

The spoken text is drawn from a spirited letter W.A. Mozart wrote to his sister, Maria Anna, in December 1772. Mozart was in Milan at the time, preparing the premiere of his opera Lucio Silla.

Sixteen-year-old Mozart composed a set of three untitledworks, known as the Divertimentos K.136-138, during a brief interlude at home in Salzburg early in 1772. He and his father, Leopold, had just returned from a second extended visit south of the Alps, to Milan in northern Italy, where Mozart’s new opera Ascanio in Alba had been performed, and within the year they would be back in Milan for the premiere of another new Mozart opera, Lucio Silla.

Like the operas, these compact instrumental works bear testimony to the impact of Italian musical fashion on the young Mozart. Scored for four separate string parts – first violin, second violin, viola, and unspecified ‘bass’ – it is possible they were intended to be played by quartet – one instrument for each part – or, equally possible, by a string band – multiple instruments per part. In this third Divertimento, Mozart adopts features he had obviously found attractive in Italian music.

In the Allegro, powerful unison triads form the pillarlike opening figure, its melodic continuation by the violins accompanied by incessant quavers from the lower strings. In the Andante, the violins play out twin skeins, a sustained melody and a faster-moving accompaniment, above simple bass counterpoints. The impetus of the final Presto derives from the closely hatched melodic and rhythmic interplay of all four separate string strands.

Mozart (at keyboard) and Thomas Linley (with violin), in Florence, 1770.

AUSTRALIAN CHAMBER ORCHESTRA 9

SMETANA

String Quartet No.1 in E minor Z mého života (From my Life) Arranged for string orchestra I. II III. IV.

Bedˇrich SMETANA (b. Litomyšl 1824 — d. Prague 1884) With his reputation as a key founder of a Czech national musical style well established, as well as being credited with developing a style of national opera, the Bohemian composer Bedˇrich Smetana began to lose his hearing when he was 50 years old. Among his most famous works are Má vlast (My Country), The Bartered Bride and The Moldau.

The spoken text is drawn from: Smetana: Letters and Reminiscences. Ed. Bartos, Frantisek. Artia, Prague (1955).

Allegro vivo appassionato Allegro moderato alla polka Largo sostenuto Finale (Vivace – Meno presto)

In 1874, aged 50, Smetana was diagnosed with profound, permanent deafness. But though physical hearing was denied him, he was condemned to inhabit a terrifying non-physical sound world of constant ‘shriekings, whistles, and ghastly bawlings’ inside his head, making life difficult, and composition slow and painful. Nevertheless, over the next two years he composed the first two parts of his great orchestral cycle Má vlast (My Country), and the sixth of his eight operas, The Kiss. Cheated out of monies owing to him for the opera, he had to give up his apartment in Prague and move to the country to live with his daughter at Jabkenice.

There, in October 1876 he began composing this work.

The first two movements were complete by the end of the month, remarkable considering the difficulties he faced.

On 20 December, nine days before the Quartet was finished, he wrote: ‘I cannot compose for more than an hour at a time, because the buzzing in my ears starts and I am unable to continue.’ In a letter to his close friend and supporter Josef Srb-Debrnov, Smetana further explained: ‘My intention was to trace the course of my life in sound.

The First Movement depicts my youthful interest in art, Romanticism, inexpressible longings for the indefinable. The opening “Call of Destiny” theme (in the violas) prophesies my future misfortune, and the long, insistent note in the Finale, grew out of this beginning: the fateful high-pitched ringing in my ear that, in 1874, announced the onset of my deafness (I allowed myself this little joke because for me it was so disastrous). The Second Movement, a sort of polka, takes me back to the happy days of my youth when, as a composer I lavished dance music on the fashionable world, and was myself a passionate dancer. Later I recall my love of travel in the melody imitating the posthorn. The Trio section paints my memories of the aristocratic circles in which I once moved. The Third Movement recalls the happiness of my love for the girl who became my first wife.

The Fourth Movement describes my realisation of the potential of folk music, and the joy it brought to my music, until deafness strikes, the outlook into a sad future, tiny

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Part of the score of the third movement — Largo sostenuto — of Smetana’s String Quartet No.1.

rays of hope of recovery; but, a flashback to the beginning of my life (and the Quartet) finally sadness. That is roughly the aim of the piece, essentially private in character, and so for only four instruments, who discuss all that has had such momentous bearing on my life like a group of friends.’

Despite its avowedly private nature, Smetana submitted it to the Prague Music Association in 1877 hoping they would organise a performance. Perhaps, not surprisingly, they judged it too difficult and stylistically advanced.

And although Smetana had conceived of it as an intimate discussion among friends, they also felt the string writing was too orchestral for a quartet, and better suited to a larger body of strings, with several players to each part, an option taken up, by coincidence, by Smetana’s young friend Dvořák only a couple of years earlier in his Serenade for Strings. Dvořák, incidentally, played viola in the first private performance of Smetana’s Quartet at Srb-Debrnov’s house in Prague (for the occasion Smetana provided his description above). Thus, by another turn of fate, the Quartet’s opening ‘destiny’ theme was played first by the man who would soon inherit leadership of Czech music from Smetana. A year later, when the public premiere finally took place, Smetana could not hear anything.

Nevertheless, he followed ‘the course of my life in sound’ by watching the players’ movements carefully through a pair of opera glasses.

AUSTRALIAN CHAMBER ORCHESTRA 11

JANÁČEK String Quartet No.2 Listy důvěrné (Intimate Letters) Arranged for string orchestra by Timo-Veikko Valve I. II. III. IV.

ˇ EK Leoˇ s JANÁC (b. Hukvaldy 1854 — d. Ostrava 1928) Along with Smetana, Janᡠcek is one of the giants of Czech music, and like him, is a composer particularly concerned with the exploration of nationalism through music.

Fame was a long time coming, although his works are now a firm part of the repertory.

The spoken text is drawn from: Intimate Letters: Leoš Janáˇcek to Kamila Stösslová. Transl. & Ed. Tyrrell, John. Faber & Faber, London (2005).

Andante – Con moto – Allegro Adagio – Vivace Moderato – Adagio – Allegro Allegro – Andante – Allegro

‘Janáček is now 70 years old, white haired, but singularly vigorous, not at all the type of starving and uncomprehended dreamer, but a very full-blooded personality whose dominant tone is that of fresh idealism and a great pleasure in living.’

So wrote American critic Olin Downes in the New York Times in July 1924, after visiting the composer in his hometown of Brno. Despite being for most of his career counted in the last wave of Romantic composers, along with the only slightly older Dvořák, today Janáček is usually thought of as an early modernist, with more in common with Stravinsky and Ravel. This is because a revolutionary change in style and outlook overtook his personal and musical life in the years around the First World War.

Kamila Stösslová

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Janᡠcek out walking with Kamila Stösslová ° ‘Intimate Letters’ (Listy duvˇ erné in Czech) was inspired by his long and spiritual friendship with Kamila Stösslová.

A new musical stimulus was his rediscovery of traditional Czech folk music and dance, reflected in vivid new compositions dominated by whole-tone and modal scales, ostinatos, parallel harmonies, and complex dance rhythms.

As Janáček explained it: ‘My last creative period is, I feel, like a new burgeoning of my soul. I have settled my affairs with the world, and am trying to come close to the heart of the Czech people’.

Janáček’s personal life underwent a parallel transformation when, in 1917, unhappily married and 63 years of age, he conceived what he called a ‘passionate friendship’ for a 25-year-old woman, Kamila Stösslová. Kamila (also married) never allowed Janáček’s fixation to proceed beyond chivalrous devotion. He wrote to her 10 years later: ‘It is just as well that it is only I who am infatuated’, and he finally (if unconvincingly) excused the affair to his wife as a ‘harmless fantasy’. Kamila’s friendship was, nevertheless, ‘as necessary to my life as air or water’, and integral to the extraordinary creative burgeoning of his final decade. Under her influence (or that of the idealised AUSTRALIAN CHAMBER ORCHESTRA 13

woman he addressed in over 700 letters), the elderly Janáček composed his greatest works, beginning in 1917 with The Diary of One who Disappeared (‘Writing Diary I thought only of you …’), the operas Katya Kabanova (‘My Katya grows in her; in her, my Kamila …’) and The Cunning Little Vixen, and his First String Quartet in 1923 (based on Tolstoy’s tragic novella of marital infidelity, The Kreutzer Sonata). Finally, in this avowedly autobiographical Second Quartet, he explored firsthand his side of this latter-day chivalric relationship.

Originally called ‘Love Letters’, but later altered to ‘Intimate Letters’, it was composed over just three weeks during the last year of his life. He wrote to Kamila: ‘Our life is going to be in it’. Each movement is a musical letter for Kamila to ‘read’.

Part of the autograph score of Janᡠcek’s Intimate Letters.

The First Movement, he explained, tells how he fell in love with a young woman called ‘Mme K.S.’; it is built on two contrasting motives, the first vigorous and assertive in E minor, while the second, a short figure for violas, is more delicately melodic. The Second Movement depicts their first meeting; the unfolding of the impassioned movement is held up by an unexpected Adagio section in which the violins play flautato (producing flute-like sounds by bowing near the fingerboard). The Third Movement focusses on the spiritual nature of his love; Janáček told Kamila the music was intended to ‘resolve into your image’.

Its theme recalls a Russian melody, while the subsidiary theme is full of trilled crotchets. The Fourth Movement charts the progress of their love. In the midst of the passionate argument, Janáček employs deviant tonalities and frequent changes of metre. The structure is rondolike, moving between boisterousness and despair. A new pizzicato theme introduces a more confident attitude at the end of the movement.

The intensity of the work springs not just from intense love, but equally from the new artistic confidence that came to him, likewise, late in life. Like Smetana’s From my Life, Janáček’s Intimate Letters is a distillation of a composer’s career, happy and despairing, in life, music, and love.

ALL NOTES BY GRAEME SKINNER © 2014

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© Paul Henderson-Kelly

RICHARD TOGNETTI ao

ARTISTIC DIRECTOR & LEADER AUSTRALIAN CHAMBER ORCHESTRA

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

THE DAILY TELEGRAPH (UK)

Select Discography As soloist: BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679 BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surfica (DVD) Best Feature, New York Surf Film Festival As director: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop

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 Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia and Creative Associate of Classical Music for Melbourne Festival.

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 Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig.

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, 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. A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005.

Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

AUSTRALIAN CHAMBER ORCHESTRA 15

© Marco Borggreve

GORDAN NIKOLIC

GUEST DIRECTOR & VIOLIN

Gordan Nikolic began learning the violin at the age of seven.

He studied with violinist and conductor Jean-Jacques Kantorow at the Basel Music Academy, and graduated with the highest honours as both teacher and soloist. During this period he developed his interest in Baroque and contemporary music, and worked closely with Witold Lutosławski and György Kurtág.

‘Gordan Nikolic...is one of the most high-spirited musicians on earth.’

NRC HANDESLBLAD (THE NETHERLANDS)

In 1990 Nikolic was appointed Leader of the Chamber Orchestra of the Auvergne, and appeared frequently as a soloist and as a conductor. In 1997 he was appointed Leader of the Lausanne Chamber Orchestra, relinquishing this post in 1998 to become Leader of the London Symphony Orchestra (LSO).

In 1999 he also became Leader of the Chamber Orchestra of Europe.

In 2005, the LSO invited him to perform as soloist in three important projects: Schumann’s Violin Concerto under Daniel Harding, Brahms’ Violin Concerto under Sir Colin Davis, and Beethoven’s Triple Concerto, with pianist Emanuel Ax and cellist Tim Hugh, under Bernard Haitink.

Since 2004, he has been Artistic Director of the Netherlands Chamber Orchestra and has programmed many memorable productions, including Stravinsky’s L’histoire du soldat with kinetic painter Norman Perryman and Weill’s Die sieben Todsünden with theatre company Dogtroep.

He is a distinguished chamber musician, having appeared with many renowned ensembles and with his own trio.

He has conducted the Chamber Orchestra of the London Symphony Orchestra, the Orchestre National d’Île-de-France, the Manchester Camerata and the Rotterdam Philharmonic Orchestra, among others.

In 2000, Nikolic was appointed Prince Consort Professor for string ensembles at the Royal College of Music, and since 2003 he has also been a professor at the Guildhall School of Music.

He also teaches at the Rotterdam Academy for Classical Music in the Netherlands.

Nikolic has won many international awards, including the Tibor Varga, Niccolò Paganini, Città di Brescia, and Václav Huml prizes, and has performed regularly as a soloist with the Orchestra of the Suisse-Romande, the Basel Radio Symphony Orchestra and the Combattimento Consort Amsterdam.

He is regularly invited to perform at festivals, including the Musique à l’Empéri Festival, Edinburgh Festival, Daytona Music Festival, Chaise-Dieu Festival and the London Proms, where he has performed with Vladimir Mendelssohn, Pieter Wispelwey, Christophe Coin, Eric Le Sage, Maria-João Pires, Mikhail Pletnev, Emanuel Ax, Leif Ove Andsnes and Tim Hugh.

Nikolic has recorded extensively for the Olympia, Lyrinx and Cyrius labels, exploring the rarer violin repertoire.

He plays a Guiseppe Guarneri filius Andreæ violin.

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ELLA SCOTT LYNCH

ACTOR

Ella graduated from the prestigious National Institute of Dramatic Art in 2004, having previously appeared at an early age in the Academy Award-winning film Shine alongside Geoffrey Rush in 1996.

With television credits including regular roles on both longrunning Australian dramas All Saints and Home and Away as Hayley Lawson (replacing Bec Cartwright), Ella played a lead role in the tele-movie The Falls starring alongside Georgie Parker and Vince Colosimo, and appeared in the ABC production The Silence, produced by Jan Chapman and directed

by Cate Shortland. Most recently she appeared in Channel 7’s City Homicide, the acclaimed ABC series Crownies, and the spin-off series Janet King. She also appeared in the ABC/HBO Asia series Serangoon Road alongside Don Hany, the hugely successful Channel 9 franchise Underbelly and the critically acclaimed and rating blockbuster Love Child, opposite Jessica Marais, for the same network.

Ella also had a small supporting role in the 2005 remake of Charlotte’s Web which was shot in Australia and starred Dakota Fanning. Ella’s other film credits include Emulsion directed by Jonathan Ogilvie and the Australian independent feature film Monkey Puzzle.

MARSHALL NAPIER

ACTOR

Marshall Napier has had an extensive career in theatre, film and television. He has acted in over 30 feature films, 45 stage plays, and countless television shows.

His theatre work includes: All My Sons (Eternity Playhouse), Cat on a Hot Tin Roof (Belvoir), The Gift (ATC), In the Next Room (STC), The Power of Yes (Belvoir), The Birthday Party (MTC), Frost/Nixon (MTC), The Herbal Bed (STC), Simpatico (STC), A View from the Bridge (Belvoir), Waiting for Godot (Q Theatre), Speaking in Tongues (Griffin), Diving for Pearls (Belvoir).

Marshall’s feature films include: Griff the Invisible, The Water Horse, Dead Heart, Babe, Lucky Break, Shotgun Wedding, The Big Steal, Flirting, Starlight Hotel, The Navigator.

His television credits include: Love Child, The Moodys, Underbelly, Jack Irish, City Homicide, Chandon Pictures, McLeod’s Daughters, Stingers, Airtight, Water Rats, Secrets, Twisted Tales, Blue Murder, Mission Impossible, Police Rescue.

Marshall has also written for stage and radio and directed a number of short films.

AUSTRALIAN CHAMBER ORCHESTRA 17

PETER EVANS

DIRECTOR

New Zealand-born Peter Evans was appointed Co-Artistic Director of Bell Shakespeare, alongside John Bell in 2012. A devoted classicist, he is the first person to share the Artistic Director title and duties since the company was founded in 1990.

Since the 1990s Evans has worked as a freelance director for Bell Shakespeare, Melbourne’s Malthouse Theatre and the Queensland Theatre Company. He then spent four years as Associate Director at Melbourne Theatre Company. Peter’s directing credits also include productions with Sydney Theatre Company, New Zealand’s Court Theatre, Red Stitch Actors Theatre, Theatre Jamb at the Bondi Pavilion, Theatre Adami at the Stables, and Studio Company at Belvoir St Theatre.

In 2010, Evans returned to Bell Shakespeare and has since directed new versions of Julius Caesar (2011), Macbeth (2012) and Phèdre (2013) and most recently, Tartuffe. In addition to directing, Evans is the curator of the Company’s development arm, Mind’s Eye.

SUSANNA DOWLING

ASSISTANT DIRECTOR

Susanna is a graduate of Trinity College in Dublin, National Institute of Dramatic Arts and University of New South Wales.

For Bell Shakespeare she is the 2014 Director In Residence, and has directed Mind’s Eye development, Merchants. She was Assistant Director for Henry V and Tartuffe.

Her other theatre credits include; as director: In A Heart Beat and Girl In Tan Boots (Rough Draft #9) for Sydney Theatre Company; The Kiss and Yellow Moon for Belvoir; Girl In Tan Boots for Griffin Independent/ Collide; Vigil for Tamarama Rock Surfers; and God’s Lap for Project Theatre, Dublin; as assistant director: The Long Way Home (also national tour director) for Sydney Theatre Company; Summer of the Seventeenth Doll for Belvoir; A Month In The Country for Abbey Theatre, Dublin; and The Great Gatsby for Guthrie Theatre, Minneapolis. Susanna was Associate Director at PlayWriting Australia in 2011–2013, Associate Education Artist at Sydney Theatre Company in 2012, and Associate Artist at Belvoir in 2011.

NICHOLAS RAYMENT

LIGHTING DESIGNER

Nicholas is a graduate of the National Institute of Dramatic Arts production course.

For Bell Shakespeare he worked on Macbeth. Other theatre credits include Mojo, Romeo and Juliet (Sydney Theatre Company); The Lighthouse, Through The Gates, I Have Had Enough (Sydney Chamber Opera); Dirty Rotten Scoundrels (James Anthony Productions); The Baulkham Hills African Ladies Troupe (Belvoir Theatre); Jump For Jordan (Griffin Theatre); All My Sons, Torch Song Trilogy (Darlinghurst Theatre); The Interview, Fallout, The Highway Crossing, Bondi Dreaming, Pictures of Bright Lights (Tamarama Rock Surfers); Culminate 2012 (Force Majeure); A Return To The Trees (Strings Attached Theatre Company); Wreck (Performance Space/Sydney Festival).

As Lighting Associate, he has worked for Opera Australia on Carmen and La Traviata, both HANDA Opera on Sydney Harbour productions and Will O’Rourke’s Moving Parts. He also worked on Sydney Biennale 2014 with Tacita Dean and CarriageWorks’ Event For A Stage.

Nicholas is an artistic associate of US-A-UM and is a member of the Darlinghurst Theatre Peer Membership Group.

18 AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA

RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEADER ACO Musicians Richard Tognetti Artistic Director & 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 and Mark Ingwersen plays the 1714 Guarneri ex Isolde Menges, both violins owned by the ACO Instrument Fund; Christopher Moore plays a 1610 Maggini viola, on loan from an anonymous benefactor; Timo-Veikko 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 Award-winning Bach recordings, multi-award-winning documentary film Musica Surfica and the complete set of Mozart Violin Concertos.

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

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

The ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall.

In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia. aco.com.au AUSTRALIAN CHAMBER ORCHESTRA 19

MUSICIANS ON STAGE

HELENA RATHBONE *

Principal Violin Chair sponsored by Kate & Daryl Dixon

ILYA ISAKOVICH

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

ALEXANDRU-MIHAI BOTA

Viola Chair sponsored by Philip Bacon AM

SATU VÄNSKÄ≈

Principal Violin Chair sponsored by Kay Bryan

IKE SEE

Violin

NICOLE DIVALL

Viola Chair sponsored by Ian Lansdown

Photos: Paul Henderson-Kelly, Helen White, Jack Saltmiras

REBECCA CHAN

Violin Chair sponsored by Ian Wallace & Kay Freedman

VERONIQUE SERRET

Violin

TIMO-VEIKKO VALVE v

Principal Cello Chair sponsored by Peter Weiss ao

MARK INGWERSEN✿

Violin

CHRISTOPHER MOORE✜

Principal Viola Chair sponsored by peckvonhartel architects

MELISSA BARNARD

Cello

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

≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.

✿ Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andræ violin kindly on loan from the ACO Instrument Fund.

✜ Christopher Moore plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor. 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. ✦ Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from a private Australian benefactor.

20 AUSTRALIAN CHAMBER ORCHESTRA

MUSICIANS ON STAGE Violin

KATHERINE LUKEY LIISA PALLANDI

JULIAN THOMPSON #

Cello Chair sponsored by The Clayton Family

Players dressed by

AKIRA ISOGAWA

MAXIME BIBEAU âœŚ

Principal Bass

ACO BEHIND THE SCENES

BOARD

Guido Belgiorno-Nettis am Chairman

Angus James Deputy Andrew Stevens John Taberner

Chris Froggatt Bill Best John Grill ao John Borghetti Heather Ridout ao Liz Cacciottolo Richard Tognetti ao Artistic Director

ADMINISTRATION STAFF

EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager Alexandra Cameron-Fraser Strategic Development Manager Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti AO

Bernard Rofe Librarian Cyrus Meurant Assistant Librarian

ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Alan J. Benson Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator

FINANCE Cathy Davey Chief Financial Officer Steve Davidson Corporate Services Manager Yvonne Morton Accountant Shyleja Paul Assistant Accountant

EDUCATION Phillippa Martin ACO2 & ACO VIRTUAL Manager Vicki Norton Education Manager Sarah Conolan Education Coordinator

AUSTRALIAN CHAMBER ORCHESTRA

DEVELOPMENT Rebecca Noonan Development Manager Jill Colvin Philanthropy Manager Penelope Loane Investor Relations Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Ali Brosnan Patrons Manager Sally Crawford Development Coordinator MARKETING Derek Gilchrist Marketing Manager Amy Goodhew Marketing Coordinator Mary Stielow National Publicist Jack Saltmiras Digital Content & Publicity Coordinator

Hilary Shrubb Publications Editor Chris Griffith Box Office Manager Dean Watson Customer Relations Manager Deyel Dalziel-Charlier 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: aco@aco.com.au Website: aco.com.au

AUSTRALIAN CHAMBER ORCHESTRA 21

BOARD OF DIRECTORS

Ilana Atlas (Chairman) John Bell ao (Co-Artistic Director) Jane Caro Antony de Jong Graham Froebel Kathryn Greiner ao Greg Hutchinson am Gene Tilbrook Alden Toevs Janet Whiting Helen Williams ao

ARTS ADVISORY COMMITTEE Jane Caro John Bell ao Lyndsay Connors Campion Decent Peter Evans Fran Kelly Hugh Mackay David Malouf ao Nick Marchand

Shakespeare’s work explores human experience at its limits.

It was never just meant to be read. We believe the only way to truly appreciate his work is to see it brought to life through live performance.

We believe Shakespeare and other great works are not stuck in the past, but that they are the key to exploring our present and imagining our future. We value the beauty of Shakespeare’s ideas, language and imagery. His work becomes our lens, helping us find modern perspectives on timeless truths.

These plays are not static. They’re constantly adapting, helping us make sense of who we are, where we’ve been, and where we’re going. And we’re not static either. We’ve been travelling the country for 24 years, bringing classic theatre to Australia, looking for new ways to educate, collaborate and recreate.

Shakespeare and the other classic works we present challenge our beliefs and urge us to see ourselves in a new light. Their ability to discover the things that make us human inspires us to make work that challenges preconceptions and encourages new interpretations and contemporary parallels – work that speaks to every age.

ADMINISTRATION Co-Artistic Director John Bell ao Co-Artistic Director Peter Evans Deputy General Manager John Henderson Producer Gill Perkins Associate Artist & Resident Artist in Education James Evans Director in Residence Susanna Dowling Production Manager Patrick Buckle Deputy Production Manager Daniel Murtagh Casting & Company Manager Alex Souvlis Company Management Coordinator Laura Smans Production Coordinator Joshua Vozzo Acting Head of Education Toni Murphy Acting Education Manager Tiana Stefanic Education Coordinator Caitlin Brass

22 AUSTRALIAN CHAMBER ORCHESTRA

Chief Finance Officer Marea Salisbury Personnel Manager Susan Howard Accountant Yvonne Morton Assistant Accountant Sally Stevenson Executive Assistant Emily Russell Administrative Assistant Charmaine Sleishman Head of Marketing Fiona Hulton Publicity Manager Prue Vercoe Box Office Manager Jesse Sturgeon Graphic Designer Nathanael van der Reyden Marketing Coordinator Sunday Gullifer Head of Development Zoë Cobden-Jewitt Philanthropy Manager Sarah Jackson Development Manager Stephanie Stojanovic Development Coordinator Kate Gardner

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

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

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

VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Mr Sandy Clark Mr Julian Clarke am Mr Jim Cousins ao Ms Dana Hlavacek Ms Catherine McClements Mr Graham Smorgon am Mr David Vigo EXECUTIVE GROUP Mr Geoff Street, Interim Chief Executive Ms Jodie Bennett, Chief Operating Officer Ms Louise Georgeson, Executive Development & Strategy Ms Sarah Hunt, Executive Programming, Marketing & Media Mr Kyle Johnston, Executive Sales & Customer Services Arts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure as many Victorians as possible can experience the joy of the performing arts here in Melbourne.

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.

AEG OGDEN (PERTH) PTY LTD PERTH CONCERT HALL General Manager – Andrew Bolt Deputy General Manager – Helen Stewart Technical Manager – Peter Robins Assistant Technical Manager – Paul Richardson Event Coordinator – Penelope Briffa Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues AEG OGDEN (PERTH) PTY LTD Chief Executive – Rodney M Phillips PERTH THEATRE TRUST Chairman – The Hon. Mr Peter Blaxell 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 PO Box 3567, South Bank, Queensland 4101 Telephone: 07 3840 7444 Website: qpac.com.au Chair: Chris Freeman am Deputy Chair: Rhonda White TRUSTEES Simon Gallaher Sophie Mitchell Mick Power am Maggi Sietsma am

CITY RECITAL HALL ANGEL PLACE General Manager Anne-Marie Heath City Recital Hall Angel Place is managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD 2–12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Telephone: 02 9231 9000 Box Office: 02 8256 2222 Fax: 02 9233 6652 Website: www.cityrecitalhall.com 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

EXECUTIVE STAFF Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government The Honourable Ian Walker mp Minister for Science, Information Technology, Innovation and the Arts Director-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

SYDNEY OPERA HOUSE TRUST Mr John Symond am (Chair) 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 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, Marketing Anna Reid Director, External Affairs Brook Turner

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ACO–146 — 17366 — 1/180814

24 AUSTRALIAN CHAMBER ORCHESTRA

ACO MEDICI PROGRAM

Mrs Amina Belgiorno-Nettis PATRON

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.

PRINCIPAL CHAIRS Richard Tognetti ao

Helena Rathbone

Christopher Moore

Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts

Kate & Daryl Dixon

peckvonhartel architects

Satu Vänskä

Timo-Veikko Valve

Kay Bryan

Peter Weiss ao

Lead Violin

Principal Violin

Principal Violin

Principal Viola

Principal Cello

Maxime Bibeau

Principal Double Bass

CORE CHAIRS Violin

Rebecca Chan Ian Wallace & Kay Freedman

Aiko Goto Anthony & Sharon Lee Foundation

Mark Ingwersen

Ilya Isakovich Australian Communities Foundation – Connie & Craig Kimberley Fund

Ike See

Violin Chair Terry Campbell ao & Christine Campbell

Viola

Alexandru-Mihai Bota Philip Bacon am

Nicole Divall Ian Lansdown

Cello

Melissa Barnard

Julian Thompson The Clayton Family

GUEST CHAIRS Brian Nixon

Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett 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 Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to violinist Mark Ingwersen. The ACO pays tribute to its Founding Patrons of the Fund.

BOARD MEMBERS Bill Best (Chairman) Jessica Block Chris Froggatt 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 Anonymous

SONATA $25,000 – $49,999 ENSEMBLE $10,000 – $24,999

Leslie & Ginny Green Peter J Boxall ao & Karen Chester

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

SOLO $5,000 – $9,999

Amanda Stafford

PATRON $500 – $4,999

Elizabeth Pender Trevor Parkin

PATRONS

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

ACO RECORDING PROJECTS & SPECIAL COMMISSIONS FOUR SEASONS RECORDING PROJECT

Patrons Mr Robert Albert ao & Mrs Libby Albert Anthony & Sharon Lee Foundation Strauss Family

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 Peter & Cathy Aird Gerard Byrne & Donna O’Sullivan Dr Jane Cook & Ms Sara Poguet Mirek Generowicz Peter & Valerie Gerrand Gin Graham Anthony & Conny Harris Andrew & Fiona Johnston

Tony Jones & Julian Liga 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 2014.

International Tour Supporters Linda & Graeme Beveridge Jan Bowen Delysia Lawson

Ian & Pam McGaw Mike Thompson

MELBOURNE HEBREW CONGREGATION PATRONS Lead Patrons

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

THE GREAT SYNAGOGUE PATRONS Corporate Partners

Patrons

Adina Apartment Hotels Meriton Group

David & Helen Baffsky Leslie & Ginny Green The Narev Family

Greg & Kathy Shand Peter Weiss ao

AUSTRALIAN CHAMBER ORCHESTRA 27

ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director Reserve Bank of Australia

Guido Belgiorno-Nettis am Chairman ACO & Executive Director Transfield Holdings Bill Best

Leigh Birtles Executive Director UBS Wealth Management

Ian Davis Managing Director Telstra Television

Maggie Drummond

Tony Gill

Andrea Govaert Jennie Orchard

Tony O’Sullivan Margie Seale

Peter Shorthouse Client Advisor UBS Wealth Management

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

Debbie Brady

Stephen Charles

Christopher Menz

Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan qc

EVENT COMMITTEES Sydney

Lillian Armitage Vanessa Barry Margie Blok Liz Cacciottolo Dee de Bruyn Judy Anne Edwards Sandra Ferman Elizabeth Harbison Bee Hopkins Prue MacLeod

Julianne Maxwell Julie McCourt Elizabeth McDonald Sandra Royle Nicola Sinclair John Taberner (Chair) Liz Williams Judi Wolf

Brisbane

Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn

DISABILITY ADVISORY COMMITTEE Amanda Tink Independent Consultant Amanda Tink Consultancy Morwenna Collett Program Manager Arts Funding (Music) Australia Council for the Arts

28 AUSTRALIAN CHAMBER ORCHESTRA

Mark Stanbridge Partner Ashurst

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 – Annamila Fund Australian Communities Foundation – Ballandry Fund Daria & Michael Ball Steven Bardy & Andrew Patterson The Belalberi Foundation Guido & Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin Mark Carnegie Stephen & Jenny Charles Darin Cooper Family Daryl & Kate Dixon Chris & Tony Froggatt Daniel & Helen Gauchat Dr Edward C. Gray John Grill & Rosie Williams Catherine Holmes à Court-Mather Angus & Sarah James PJ Jopling am qc Miss Nancy Kimpton Bruce & Jenny Lane Prudence MacLeod Alf Moufarrige

Louise & Martyn Myer Foundation Jennie & Ivor Orchard Alex & Pam Reisner Mark & Anne Robertson Margie Seale & David Hardy Tony Shepherd ao John Taberner & Grant Lang The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Westpac Group E Xipell Peter Young am & Susan Young Anonymous (3)

DIRETTORE $5,000 – $9,999

The Abercrombie Family Foundation Geoff Alder Bill & Marissa Best Marjorie Bull Joseph & Veronika Butta John & Lynnly Chalk Stephen & Jenny Charles Elizabeth Chernov Andrew Clouston Victor & Chrissy Comino Mr R. Bruce Corlett am & Mrs Ann Corlett Ellis Family Bridget Faye am

Michael Firmin Ian & Caroline Frazer David Friedlander Maurice Green am & Christina Green Tony & Michelle Grist Annie Hawker Keith & Maureen Kerridge Lorraine Logan Macquarie Group Foundation David Maloney & Erin Flaherty David Mathlin P J Miller Jacqui & John Mullen Bruce Neill Willy & Mimi Packer peckvonhartel architects Elizabeth Pender Bruce & Joy Reid Trust John Rickard Paul Schoff & Stephanie Smee Greg Shalit & Miriam Faine Joyce Sproat & Janet Cooke Emma Stevens Jon & Caro Stewart Anthony Strachan Tamas Szabo Leslie C Thiess Geoff Weir Shemara Wikramanayake Cameron Williams

Peter Yates am & Susan Yates Carla Zampatti Foundation Anonymous (3)

MAESTRO $2,500 – $4,999

David & Rae Allen Atlas D’Aloisio Foundation Will & Dorothy Bailey Charitable Gift Brad Banducci Adrienne Basser Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Andrew Best Patricia Blau Rosemary & Julian Block Gilbert Burton Terry Campbell ao & Christine Campbell Arthur & Prue Charles Caroline & Robert Clemente Robert & Jeanette Corney Judy Crawford Peter Curry Rowena Danziger am & Ken Coles am Dee de Bruyn Elizabeth Dibbs & David Tudehope

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATIONS PROGRAM Kate Dixon Leigh Emmett Suellen & Ron Enestrom Colin Golvan qc Tom Goudkamp oam Ross Grant Warren Green Nereda Hanlon & Michael Hanlon am Liz Harbison Mrs Yvonne Harvey & Dr John Harvey ao Peter & Helen Hearl Kimberley Holden Wendy Hughes Glen Hunter & Anthony Niardone I Kallinikos Carolyn Kay & Simon Swaney John Kench Julia Pincus & Ian Learmonth Peter Lovell The Alexandra & Lloyd Martin Family Foundation Peter Mason am & Kate Mason Paul & Elizabeth McClintock Jan Minchin Jane Morley Sandra & Michael Paul Endowment Justin Punch Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Chris Roberts Susan & Gary Rothwell The Sandgropers D N Sanders Chris & Ian Schlipalius Jennifer Senior Petrina Slaytor Andrew Strauss David Thomas oam Peter Tonagh Ralph Ward-Ambler am & Barbara WardAmbler Drs Victor & Karen Wayne The WeirAnderson Foundation Ivan Wheen Anonymous (5)

VIRTUOSO $1,000 – $2,499

Paul Gibson & Gabrielle Curtin Kathryn Greiner ao Peter & Cathy Aird Griffiths Architects Antoinette Albert Peter Halstead Mrs Jane Allen Lesley Harland Andrew Andersons Paul & Gail Harris Philip Bacon am Jennifer Hershon Samantha Baillieu Reg Hobbs & Louise Ruth Bell Carbines Justice Annabelle Michael Horsburgh am & Bennett ao Beverley Horsburgh Virginia Berger Carrie & Stanley In memory of Howard Peter Boros Penelope Hughes Brian Bothwell Stephanie & Mike Jan Bowen Hutchinson Vicki Brooke Dee Johnson Diana Brookes Brian Jones Mrs Kay Bryan Bronwen L Jones Sally Bufé Genevieve Lansell Rowan Bunning Mrs Judy Lee Neil Burley & Jane Michael Lin Munro Airdrie Lloyd Ray Carless & Jill Keyte Trevor Loewensohn Bella Carnegie Robin & Peter Lumley James Carnegie Greg & Jan Marsh Sandra Cassell Massel Australia Pty Ltd Julia Champtaloup & Jane Mathews ao Andrew Rothery Janet P Matton K. Chisholm Angela & John Compton Julianne Maxwell Karissa Mayo Martyn Cook Antiques Kevin & Deidre Alan Fraser Cooper McCann P Cornwell & C Rice Geoff Cousins & Darleen Brian & Helen McFadyen Donald & Elizabeth Bungey McGauchie Laurence G Cox ao & Ian & Pam McGaw Julie Ann Cox J A McKernan Anne & David Craig Peter & Ruth McMullin Judy Croll Jillian & Robert Meyers Judith Crompton Graeme L Morgan Mrs June Danks Michael & Wendy Davis Roslyn Morgan Suzanne Morgan Martin Dolan Anne & Thomas Dowling Marie Morton Nola Nettheim Dr William F Downey Elspeth & Brian Noxon Michael Drew Paul O’Donnell Emeritus Professor Ilse O’Reilly Dexter Dunphy am Origin Foundation Peter Evans Brendan Ostwald Julie Ewington Anne & Christopher Ian Fenwicke & Page Prof. Neville Wills Prof. David Penington ac Jane & Richard Matthew Playfair Freudenstein Justin & Anne Gardener Mark Renehan Dr S M Richards am & In memory of Fiona Mrs M R Richards Gardiner-Hill

30 AUSTRALIAN CHAMBER ORCHESTRA

Warwick & Jeanette Richmond In Memory of Andrew Richmond Josephine Ridge David & Gillian Ritchie Em. Prof.

A.W. Roberts am Peter J Ryan Jennifer Sanderson In memory of H. St. P. Scarlett Gideon Shaw Diana & Brian Snape am Maria Sola Keith Spence Cisca Spencer John & Josephine Strutt Sydney Airport Dr Charles Su & Dr Emily Lo Robert & Kyrenia Thomas Anne Tonkin Ngaire Turner Venture Advisory Kay Vernon Marion W Wells Barbara Wilby Sir Robert Woods cbe Nick & Jo Wormald Lee Wright Don & Mary Ann Yeats am Rebecca Zoppetti Laubi William Yuille Brian Zulaikha Anonymous (18)

CONCERTINO $500 – $999

A Ackermann Elsa Atkin am A. & M. Barnes Robin Beech Leigh & Christina Birtles Dr David & Mrs Anne Bolzonello Dr Sue Boyd Denise Braggett Jasmine Brunner Arnaldo Buch Tim & Jacqueline Burke Lynda Campbell Helen & Ian Carrig oam Roslyn Carter J. M. Carvell Scott Charlton

ACO DONATIONS PROGRAM Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Georg Chmiel Elizabeth Clayton ClearFresh Water Jilli Cobcroft Warren Coli Carol & Andrew Crawford C Critchley & D Siddle Julie Hopson Professor John Daley & Dr Rebecca Coates Marie Dalziel Lindee & Hamish Dalziell Mari Davis Dr Christopher Dibden David Dix The Hon. Catherine Branson & Dr Alan Down In Memory of Raymond Dudley M T & R L Elford Christine Evans Carol Farlow Penelope & Susan Field Elizabeth Finnegan Jean Finnegan & Peter Kerr Sheila Fitzpatrick in memory of Michael Danos Michael Fogarty Nancy & Graham Fox Brian Goddard Prof Ian & Dr Ruth Gough Victoria Greene Annette Gross Susan Harte Gaye Headlam Kingsley Herbert Marian Hill Sue & David Hobbs Geoff Hogbin How to Impact Pty Ltd Peter & Ann Hollingworth Pam & Bill Hughes

Geoff & Denise Illing Margaret & Vernon Ireland Dr Anne James & Dr Cary James Owen James Barry Johnson & Davina Johnson oam Caroline Jones Geoff Joyce Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso ao Josephine Key & Ian Breden TFW See & Lee Chartered Accountants Greg Lindsay ao & Jenny Lindsay Andrew & Kate Lister Megan Lowe James MacKean Peter Marshall Ian & Linda Martin Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Jenny McGee H E McGlashan Jeanne McMullin I Merrick Louise Miller John Mitchell John K Morgan Simon Morris & Sonia Wechsler Julie Moses Dr G Nelson Jenny Nichol J Norman Graham North Richard & Amanda O’Brien Robin Offler Leslie Parsonage Lisa Paulsen Deborah Pearson Robin & Guy Pease Kevin Phillips

Rosie & Robert Pilat The Hon C W Pincus qc Michael Power Beverly & Ian Pryer Dr Anoop Rastogi Ruth Redpath Manfred & Linda Salamon Garry Scarf & Morgie Blaxill Lucille Seale Andrew & Rhonda Shelton Anne Shipton Roger & Ann SmithJohnstone Dr P & Mrs D SouthwellKeely Alida Stanley & Harley Wright Judy Ann Stewart Geoffrey Stirton & Patricia Lowe In memory of Dr Aubrey Sweet Barrie & Jillian Thompson Matthew Toohey Sarah Jane & David Vaux Nev & Janie Wittey G C & R Weir Evan Williams am Ed Wittig Sue Wooller & Ron Wooller Anonymous (23)

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 Josephine Paech 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 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 Weiss ao

Patrons list is current as of 29 July 2014.

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 2014 CHAIRMAN’S COUNCIL MEMBERS The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis am Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings

Dr Bob Every Chairman Wesfarmers

Aurizon Holdings Limited

Mr Bruce Fink Chairman Executive Channel

Mr Philip Bacon am Director Philip Bacon Galleries Mr David Baffsky ao

Ms Tracey Fellows Chief Executive Officer REA Group

Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

Mr Brad Banducci Mr Richard Freudenstein Director Chief Executive Officer Woolworths Liquor Group FOXTEL Mr Marc Besen ao & Mrs Eva Besen ao Mr Jeff Bond Chief Executive Officer Peter Lehmann Wines Mr John Borghetti Chief Executive Officer Virgin Australia Mr Matt Byrne Sales Director Rova Media Pty Limited Mr Michael & Mrs Helen Carapiet Mr Jim Carreker Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux Mr Stephen & Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am

Ms Ann Gamble Myer Mr Daniel Gauchat Principal The Adelante Group Mr Colin Golvan qc & Dr Deborah Golvan Mr John Grill ao Chairman WorleyParsons Mr Grant Harrod Chief Executive Officer LJ Hooker Mr Richard Herring Chief Executive Officer APN Outdoor Pty Limited Mrs Janet Holmes à Court ac Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Mr John Kench Chairman Johnson Winter & Slattery

32 AUSTRALIAN CHAMBER ORCHESTRA

Ms Catherine Livingstone ao Chairman Telstra

Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Andrew Low Chief Executive Officer RedBridge Grant Samuel

Mr Tony Shepherd ao

Mr Didier Mahout CEO Australia & NZ BNP Paribas Mr David Mathlin Ms Julianne Maxwell Mr Michael Maxwell Mr Donald McGauchie ao Chairman Nufarm Limited Mr David Mendelson Managing Director Total E&P Australia Ms Naomi Milgrom ao Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Officer Servcorp

Mr Andrew Stevens Managing Director IBM Australia & New Zealand Ms Anne Sullivan Chief Executive Officer Georg Jensen 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 David & Mrs Julia Turner Ms Vanessa Wallace & Mr Alan Liddle

Mr Peter Yates am Chairman, Royal Mr Robert Peck am & Ms Yvonne von Hartel am Institution of Australia Director, AIAA Ltd peckvonhartel architects Mr Mark Robertson oam Mr Peter Young am & Mrs Susan Young & Mrs Anne Robertson Ms Margie Seale & Mr David Hardy

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

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

K A T E R I N G

AUSTRALIAN CHAMBER ORCHESTRA 33

news • ACO NEWS • AUGUST–SEPTEMBER 2014

EDUCATION NEWS

String Workshops – Brisbane & Canberra

We are also performing with the choir from Our Lady of Mt Carmel School in Waterloo with the Australian Children’s Music Foundation in a very special concert for the school community.

ACO musicians work with students in our String Workshops.

The Picton Strings prepare for one of their concerts.

34 AUSTRALIAN CHAMBER ORCHESTRA

We will release our 2015 Education Program brochure shortly, with details on our new Western Sydney Youth Music Program, $20 tickets for school students offer, programs for talented string students and open rehearsals to watch us prepare for national tours.

Photo: © Fiora Sacco

This month we are holding String Workshops in Brisbane and Canberra, giving secondary students the opportunity to rehearse and play alongside musicians from the ACO. Next month in the culmination of our multi-year Picton Strings Program we will play our farewell concert with the Picton Strings. It is sad to finish this program but we won’t be gone for good as we are still running our successful Music & Art program in the Picton community and will keep in touch with the Picton Strings as they progress.

AKIRA’S ANNIVERSARY Our long-time friend and collaborator Akira Isogawa celebrated the 21st anniversary of his eponymous label in June this year. He chose to celebrate the milestone with an intimate dinner of friends and creative partners at Sydney’s Tetsuya’s.

Guests were treated to a degustation menu with an extra musical ‘course’ provided by our very own Aiko Goto.

Aiko was invited to perform some short pieces as kind of a dessert for guests, treating them to an aural feast to supplement the one they’d just eaten.

Akira has designed the ACO uniform for many years, as well as supplying his beautiful dresses for special tours such as Tognetti Presents AcO2 in 2013 and for the vocal soloists in our 2014 production of Timeline, and we were delighted to share this significant milestone with him.

From left: Janet Vernon, The Australian Ballet; Graeme Murphy, The Australian Ballet; Aiko Goto; Akira Isogawa; Penny and Gerard Manion, The Australian Ballet.

AUSTRALIAN CHAMBER ORCHESTRA 35

DONOR PROFILE Delysia Lawson South Australian Donor and long-term subscriber Delysia Lawson enjoys the ACO’s unique approach to performing. Delysia says, ‘The highlights of the ACO concerts are the players who are highly skilled and perform with enthusiasm and passion as well as enjoying themselves…A fresh and innovative approach to programming adds to the excitement of the concerts.’ Delysia supports our International Touring Program, which is an essential part of the ACO’s activities.

Overseas touring brings us to new audiences, wins new friends for Australian music and attracts the world’s finest musicians to join the Orchestra. Delysia’s support enables us to travel regularly to Europe, Asia and the USA. Later this year, we embark on an 18-day tour to Europe, including concerts in Amsterdam, Dublin, London, Birmingham, Luxembourg, Frankfurt, Cologne and Vienna.

Delysia also enjoyed our weekend of music at the TarraWarra Museum of Art in March, and says, ‘I greatly enjoy the weekend of music played in the most beautiful gallery in an idyllic setting…I have always enjoyed chamber music played by small ensembles and the

Delysia Lawson.

ACO concerts have expanded my horizons.’

We would not be able to bring the ACO to international audiences without the support of our Patrons, and we thank Delysia most warmly for her wonderful support.

If you would like more information on the ACO’s donations programs, please contact Jill Colvin, Philanthropy Manager, at jill.colvin@aco.com.au

YOUR SAY… Piano Quintets

‘Having just read the program for tonight’s Canberra performance, I feel the Shostakovich would be an apt piece to dedicate to the victims of the awful airline disaster. May their souls rest in peace.’

— D. Pask

roof on percussion as the wind flexed its muscles... but the ACO quintet played on!

Loved the choice of music and meeting the new viola, the Cecilia Bartoli of the string world.’

— K. Cosmino

‘Last night’s concert in Wollongong Town Hall was wonderful! The music was great, accompanied by the hall’s

‘Thank you ACO for a wonderful concert.

Can’t wait for the next one.’

— J. Richmond

Let us know what you thought about today’s concert on Facebook, Twitter or email aco@aco.com.au 36 AUSTRALIAN CHAMBER ORCHESTRA

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info@katering.com.au (02) 9319 2700 www.katering.com.au