Sol Gabetta & Basel Chamber Orchestra Concert Program

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SOL GABETTA “Wit, aristocratic poise and elegance; mercurial shifts of mood, intensity and lightness of touch in near miraculous balance.”

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FIND YOUR ART The best in fine music performance every weeknight at 8.30 PM AEST Anne-Sophie Mutter and the Camerata Academica Salzburg perform Mozart’s Violin Concerto No.1

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ME S S AGE F ROM T HE CH A IR M A N The Australian Chamber Orchestra is extremely proud to welcome the Basel Chamber Orchestra for its very first appearances in Australia. For those of us who live in the world of chamber orchestras, the Basel Chamber Orchestra is one of the most important institutions in our world for its remarkable contribution to the expansion of the repertoire.

This was especially true under the leadership and vision of its founder, the great Swiss conductor and philanthropist Paul Sacher. It is thanks to Sacher’s commitment to the repertoire of chamber orchestras that we have some of the greatest music written for our ensemble, by such 20th-century legends as Igor Stravinsky, Richard Strauss, Witold Lutosławski and especially Béla Bartók, who wrote the Divertimento for Strings and Music for Strings, Percussion and Celesta for Sacher and his Orchestra.

The Basel Chamber Orchestra’s appearances in Australia this month are the antipodean side of an international exchange which will see the ACO performing in Switzerland in July next year. Thanks to this collaboration, Richard Tognetti and the ACO will give concerts in the prestigious Yehudi Menuhin Festival in Gstaad – a festival made even more significant by the 2016 celebration of Menuhin’s birth. These Swiss concerts form the foundation stone of the ACO’s extensive July/August tour which will include performances in some of the most significant music festivals in Europe and North America.

While our guest orchestra, the Basel Chamber Orchestra, performs in the ACO’s subscription seasons in Brisbane, Canberra, Melbourne and Sydney, the ACO is returning from an extraordinary week-long residency in Hong Kong which included performances in partnership with the Sydney Dance Company, ACO Underground (at the funky new Hong Kong creative hub PMQ), an installation of ACO VIRTUAL and a side-by-side workshop with students of the Hong Kong Academy for Performing Arts on Shostakovich’s Chamber Symphony.

Guido Belgiorno-Nettis am Chairman

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S OL G A BE T TA BASEL CHAMBER ORCHESTR A Yuki Kasai Director and Violin Sol Gabetta Cello

Program 1 (22, 25, 27, 29 November) FAURÉ (arr. Herzog) Après un rêve, Op.7 No.1, for cello and small orchestra SAINT-SAËNS (arr. Walter) Cello Concerto No.1 in A minor, Op.33 INTERVAL HEINZ HOLLIGER Meta Arca BARTÓK Divertimento for Strings Approximate durations (minutes): 4 – 22 – INTERVAL – 9 – 23 The concert will last approximately one hour and 30 minutes, including a 20-minute interval.

Program 2 (23 November) BOCCHERINI Cello Concerto No.10 in D major, G.483 HAYDN Symphony No.59 in A major ‘Fire’ INTERVAL PĒTERIS VASKS Cello Concerto No.2 ‘Presence’ Approximate durations (minutes): 18 – 22 – INTERVAL – 34 The concert will last approximately one hour and 40 minutes, including a 20-minute interval.

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

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A BOU T T HE MUSIC PROGR AM ONE (22, 25, 27, 29 November)

‘Time and place’ might be a good subtext for the first program in this tour by the Basel Chamber Orchestra.

The music of Fauré and Saint-Saëns is expressive of a certain French sensibility of the 1870s; Swiss identity is one of Heinz Holliger’s concerns though he profits more from contemporary music’s technical experimentation; Bartók, the Hungarian composer of the Divertimento looked to the music of his own region, Eastern Europe, as a means to modernise Western classical music in the 20th century.

APRÈS UN RÊVE, OP. 7 NO.1, FOR CELLO AND SMALL ORCHESTRA arr. Thomas Herzog (Composed 1877) GABRIEL FAURÉ Born Pamiers 1845.

Died Paris 1924.

PICTURED: Gabriel Fauré, 1875.

Fauré and Saint-Saëns knew each other well. Saint-Saëns had become Fauré’s piano teacher in 1861, and had mentored Fauré’s path into Paris society, introducing him, for example, to the salon of Pauline Viardot in 1872. Though Fauré’s harmonic language would pave the way for later French composers such as Debussy and Ravel, Fauré and Saint-Saëns shared a similar harmonic sensibility – an eschewal of the German chromatic intensification of cadence – in the 1870s when this work was composed.

Après un rêve started life as a song. Its text comes from a Tuscan poem translated by Romain Bussine, a member of Viardot’s circle.

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It describes a flight with a lover ‘towards the light’. But this sensation is a dream and, on waking, the subject longs to return to the consolations of ‘mysterious night’.

The music reflects the text’s arc. Its long cantilena emerging from pulsing or throbbing C minor chords ‘unfolds organically from beginning to end’, according to Fauré expert Graham Johnson, and climaxes and returns to that C minor pulse. No small part of the song’s intoxicating effect is the effectiveness of its harmony (that wonderful ninth chord so soon after the opening!).

Tuscan folk poetry was particularly enjoyed by Pauline Viardot.

As well, she loved Schumann and that might explain the similarity of Fauré’s repeated chords to Schumann’s accompaniment for ‘Ich grolle nicht’.

Performance of this song tonight in an instrumental arrangement proves that the song’s cumulative power lies in its melody. Lack of literary merit in the text may explain why the novelist Marcel Proust, an admirer of other Fauré songs, considered this one ‘a dud’.

But Pablo Casals’ cello version became a hit in 1910 and the song has been popular in various arrangements ever since.

CELLO CONCERTO NO.1 IN A MINOR, OP.33 arr. David Walter (Composed 1872) I. Allegro non troppo – II. Allegretto con moto – III. Tempo primo CAMILLE SAINT-SAËNS Born Paris 1835.

Died Algiers 1921.

Unpretentiously beguiling, tightly constructed, and subtly orchestrated, this concerto reveals many of Saint-Saëns’ most endearing qualities as a composer. Its composition was one of the activities Saint-Saëns threw himself into following the death of his beloved great-aunt in January 1872. At the same time – as ‘Phémius’ – he began writing a newspaper column promoting French music (composers such as Rameau, Gounod and Bizet) as a way of bolstering French national pride after losing the FrancoPrussian War. The concerto was first performed on 19 January 1873 by the Paris Conservatoire Orchestra with its principal cellist Auguste Tolbecque as soloist. Saint-Saëns’ biographer James Harding says, it ‘gives the instrument an excellent opportunity to display its resources without straining after needless virtuosity.’

The work begins with one sharp chord from the orchestra, immediately ushering in a swirling theme from the solo cello, which will form the main thematic material for the movement.

This material is repeated, varied, played on the woodwinds behind long notes on the solo cello and extended. Eventually the cello 13

. . . it ‘gives the instrument an excellent opportunity to display its resources without straining after needless virtuosity.’

JAMES HARDING

PICTURED: Camille Saint-Saëns.

plays an attractive romantic melody that is dovetailed into cadential material by the swirling theme in the accompaniment. A new sequence continues to work on the swirling figure, first making use of the half-tone rise and fall of its tailpiece.

A developmental extension of the romantic melody leads us imperceptibly into the minuet-like second movement. Saint-Saëns’ structural fluency has been revealed by the clever way in which this movement was introduced, almost as if it were merely another phase of the first movement. (This work will sound as if three movements have been rolled into one.) A dance-like figure is transformed into an orchestral accompaniment for a ruminative cello melody. There is a slightly darker, more lilting middle section, followed by cadenza-like runs in the cello solo which lead to a reprise of the dancing figure over a cello trill.

The movement winds down, and then the cello line forms the link to the final, and longest, movement. The oboe retrieves the first movement’s swirling figure. After a dramatic development, the cello finally takes back the swirling figure. The cello now introduces a new aria-like theme, built on the rise-and-fall idea of the opening melody. Now, at last, the cello part begins to become more virtuosic, and in the slower section ends up in the instrumental stratosphere, with high harmonics. The music resumes speed after a reprise of the aria-like melody, and with an exciting pick-up, the movement and the concerto come to a close.

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META ARCA (Composed 2012) HEINZ HOLLIGER Born Langenthal 1939.

The Swiss musician Heinz Holliger has been known for five decades as an oboist. As critic Tom Huizenga, reviewing a Bach recording in 2011, said, ‘They say the cello can pull at the heartstrings . . . but you should hear what Heinz Holliger can do with an oboe.’

PICTURED: Heinz Holliger.

But Holliger is also an important composer. He studied composition with Pierre Boulez (in Berne) and with Sándor Veress, a pupil of Bartók who had migrated to Switzerland in 1949. Holliger’s own works express a concern with Swiss identity, the past (Schumann is an important anchor for this thought), and also a desire to push the technical envelope. Works contemplating the frontiers of existence might push the music to the edge of the physically possible. There is a distillation of expression to its essentials that may remind the listener of Anton von Webern or even, in stage-works, the playwright Samuel Beckett. Since the 1980s, Holliger has moved away from thoughtful pre-composition to more direct expression. But as critic Paul Griffiths has said, ‘Mr. Holliger’s music profits from his practical and imaginative experience of what were once marginal effects.’

Meta arca was written for another Swiss chamber orchestra, the Camerata Bern. A mini concerto for violin and 13 or 15 string instruments, it makes great use of the possibilities of sound emission in string technique – harmonics, alla chitarra (played in the manner of a guitar), the thumb beating against the body of the instrument . . . Where is the unity? The universe that contains this music is huge. One is reminded that Holliger admires Schumann’s ‘labyrinthine imagination’ and unending ‘associative thinking process’. On the other hand the work is sequential in the sense of being six tone-portraits in a row of former concertmasters of the Berne orchestra. Their names are given in the score: Alexander van Wijnkoop Thomas Fůri Ana Chumachenko Thomas Zehetmair Erich Höbarth Antje Weithaas

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DIVERTIMENTO FOR STRINGS (Composed 1939) I. Allegro non troppo II. Molto adagio III. Allegro assai BÉLA BARTÓK Born Nagyszentmiklós 1881.

Died New York 1945.

PICTURED: Béla Bartók.

Paul Sacher, founder of an earlier incarnation of the Basel Chamber Orchestra, played an important role in commissioning music in the 20th century. Bartók had already written him the Music for Strings, Percussion and Celeste and the Sonata for Two Pianos and Percussion when, in November 1938, Sacher asked Bartók for another work for his Basel orchestra.

Times were difficult. In Budapest, Bartók felt uneasy about the European political situation. But he confirmed his acceptance in March 1939.

One might expect music of this period to be unrelievedly harrowing or gloomy. But Bartók would end up writing a Divertimento, a musical form that in the 18th century denoted musical entertainment.

He wrote to Sacher on 1 June: ‘. . . my idea is a kind of concerto grosso alternating with concertino’ – that is with a solo group of instruments who appear against a background of the rest of the ensemble. He asked Sacher ‘whether you have the right people for the solo-string quartet in your orchestra.’ He would bring to the work the expertise in string technique he had honed in string quartets from No.3 on.

Bartók was clearly thinking of very traditional Western forms.

His early career had seen an immersion in the folk music of Eastern Europe (and Central Asia and North Africa). Now he was seeking to blend Eastern melos and Western traditional forms, not only 16

“. . . my idea is a kind of concerto grosso alternating with concertino . . .”

BARTÓK

PICTURED: Béla Bartók using a gramophone to record folk songs sung by peasants in what is now Slovakia.

‘because of the geographical position of [my] country ...’ but, also, because it was a demonstration of ‘universal brotherhood’.

The Divertimento contains many of the recognisable features of the synthesis that has come to be considered typical of the mature Bartók. The first movement may begin with what sounds like Eastern European asymmetrical dance rhythms (the dance in mind was the verbunkos, a Hungarian recruiting dance), but Western contrapuntal techniques, particularly canon and other types of imitation, soon arise as the means of developing the material which,

in typical Bartók fashion, grows while remaining recognisable in its broader shape.

The sombre, muted atmosphere of the Second movement has been likened by some to funeral music. The tremolos and ‘shrieks’ are similar to sound bursts to be heard in music Bartók elsewhere associated with night-time, but it is also hard to ignore a presentiment of war. The third movement could be considered a rondo but Bartók’s creative instincts are too organic to allow for straightforward ‘repetition’ of the recurring sections. A ‘polka’ toward the end shows how far he can extend his material.

Bartók completed this work in 15 days as a guest at the Sachers’ house at Saanen (Bern canton) in August. The atmosphere was exceptionally genial. He said he felt like ‘a musician of olden times, the invited guest of a patron of the arts’. But the GermanRussian Non-Aggression Pact was announced while he was part way through his next commission, the Sixth String Quartet, and he hurriedly returned to Budapest. In the next harrowing months, Bartók’s attention was on ‘a race against time’ to get works published before communications between Hungary and Britain were broken off. On 16 December his mother died. Bartók kept working, virtually without respite, until April when he boarded a boat for New York, where plans would be made for a return to the US that would become permanent.

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PROGR AM T WO (23 November)

The music in this concert has been composed away from what would once have been considered the major centres of Western music. Boccherini spent much of his working life in Spain. Haydn was forced to become innovative while serving at remote Esterházy family estates. Pēteris Vasks is from Latvia and only recently has our orchestral repertoire been enriched by music from the Baltic States.

CELLO CONCERTO NO.10 IN D, G.483 (Composed 1782) I. Allegro moderato II. Andante lentarello III. Allegro e con moto LUIGI BOCCHERINI Born Lucca 1743.

Died Madrid 1805.

PICTURED: Pencil drawing of Luigi Boccherini by Etienne Mazas after a portrait bust.

Born in Lucca, Italy, Boccherini was first taught by his father who assumed the customary initial responsibility for his son’s musical education. Neither the Italian cities nor Vienna, where Boccherini had gone in 1758, could offer a cello virtuoso of the time the means to make a living purely as a soloist. So Boccherini went to Paris (in 1767). There he made a fateful decision. At the end of six months, instead of going to England as intended, he went to Madrid, where he was to remain under the patronage of the Infante Luis Antonio for the rest of Don Luis’ life, living with him even in ‘exile’ at Arenas de San Pedro, a little town in the Gredos mountains (no-one could tell Haydn in Esterhaza where it was). There, and in Candeleda, Boccherini wrote many of his most famous works.

Like Heinz Holliger (heard in Basel’s first program), Boccherini was an expert on his chosen instrument, but his chosen instrument is more important in his compositional output. Tonight’s cello concerto is one of 11 Boccherini wrote for the instrument.

The broad orchestral opening promises a work on a grand scale.

An interesting feature established from the outset of the soloist’s exposition is a dialogic relationship, even cameraderie, between the solo cello and the two oboes, echoed to a lesser extent by the 18

“. . . when Boccherini is at his best, there is a force of serious expression . . .”

THOMAS TWINING

two horns, of the ensemble. One of music history’s great melodists, Boccherini’s skill in this regard is on display in the Andante lentarello.

The plaintive melody of the opening is first announced by orchestral strings. That Boccherini refreshingly explores subtly-shifting relationships between the instruments is highlighted by the way the solo cellist’s entry in this movement is so cunningly surreptitious, concealed underneath the winds’ repetition of the strings’ melody.

Horn calls, echoed this time by oboes, break the atmosphere of dignified ceremonial dance for a vigorous Allegro finale.

‘Haydn’s wife’ is what Boccherini was called by one 18th-century musician, referring disparagingly perhaps to the charm and gentleness of his style. In 1783 both composers were the subject of a debate between two musical enthusiasts. ‘. . . when Boccherini is at his best, there is a force of serious expression, a pathos, that is not so much Haydn’s forté . . .’ wrote Thomas Twining, son of the famous tea merchant, to music historian Charles Burney in July. Burney replied on 6 Sep: ‘I love Boccherini . . . but I think I shall live to make you eat your words about his pathetic being superior to Haydn’s . . .’ In October, Twining shot back: . . . eat my words? . . . I think I am yet upon firm ground; for I do not say . . . that Haydn was never pathetic . . . but only that, in his general cast & manner, Boccherini is a more serious, earnest composer . . .’ He went on: ‘I am so far from meaning to disparage Haydn, that were I obliged to give up him, or Boccherini, I do believe I shou’d turn to Haydn in preference.

His wonderful variety, & intarissable fancy wd turn the scale.’

SYMPHONY NO.59 IN A MAJOR ‘FIRE’ (Composed 1769) I. Presto II. Andante più tosto Allegretto III. Menuetto e Trio IV. Allegro assai JOSEPH HAYDN Born Rohrau 1732.

Died Vienna 1809.

‘Intarissable’? It means ‘inexhaustible’. And what a stunningly appropriate word to describe Haydn’s compositional imagination!

It’s certainly on show in this work.

The Symphony No.59 is a superb product of that period in Haydn’s composing career known as Sturm und Drang, a term used to describe a German literary movement in the 18th century in which extremes of emotion and drama (‘storm and stress’) were given free reign in accordance with a subjective emotionality that bucked the era’s rationalism.

PICTURED: Joseph Haydn.

But perhaps Haydn’s innovative musical thinking stemmed less from adherence to literary movements than from a desire not to be hobbled by isolation. Haydn had been recruited as a musician by the noble Esterházy family in 1761 and become their kapellmeister 19

in 1766, two or three years before the composition of this symphony.

As kapellmeister he was responsible for all the musical activity on the Esterházy estates, from composing an endless stream of symphonies and church and chamber music, to running the Orchestra and managing the opera house at Eszterháza. No doubt this was the job of a lifetime for a composer who sought continually to perfect his art, but the remoteness of the Esterházy estates, especially Eszterháza carved out of the Hungarian marshlands must have niggled sometimes.

This work may also have later been used as incidental music for a play, Feuerbrunst. Haydn was certainly writing, rehearsing and supervising a lot of opera at Eszterháza at this time. Whether that experience also explains the almost theatrical daring of this work, the Symphony No.59 is a typical example of Haydn’s middle-period symphonies with their unexpected turns of harmony or structure, range of contrasting gesture and breathless tempos.

PICTURED: Schloss Esterházy [detail]

by Albert Christoph Dies.

Like many another Haydn symphony, this piece gives the lie to any idea that form is ever a rigid paradigm. The first movement is recognisably a classical sonata, but the return of the opening material in the development section is actually a feint. Development resumes until the recapitulation proper, which in itself is a variation of the opening music. The movement ends not with a bang, but with a tapering-off (if not a whimper), proving large-scale consequences for the strange sort of dissipation of energy characteristic of the very opening.

The second movement has a formal dance-like aspect, dour if you consider the minor mode, but just when you think its repeats are straightforward there are surprises – a late turn to the major that blooms with the addition of horns and oboes, a sudden militant tattoo on the horns . . .

The surprise in the minuet and trio is the evocation of the same melody that began the slow movement. It has been noted that the finale (Allegro assai) carries the listener along at such breakneck speed that one almost doesn’t notice the absence of tunes. Even in this, not one of Haydn’s best known works, you see the fertile genius at work.

CELLO CONCERTO NO.2 ‘PRESENCE’ (Composed 2012) I. Cadenza – Andante cantabile II. Allegro moderato III. Adagio PĒTERIS VASKS Born Aizpute 1946.

According to US radio presenter Daniel Stephen Johnson, ‘the rough outlines of Pēteris Vasks’ work and career might have a familiar ring to them: born in Soviet Latvia, Vasks endured government repression not only for his aesthetics but for his Christian faith, and emerged in the late 1970s with a pared-down compositional style 20

heavily influenced by sacred themes.’ Endurance of the human spirit against the brutality of a monolithic oppressor might describe the Symphony No.1; later works sometimes put us in mind of the sacred music of Estonian Arvo Pärt. Vasks’ later works are concerned with broader questions of the soul (he is the son of a clergyman). Some works are offered almost as artefacts of faith that we can escape the self-annihilation inherent in our hostile relationship with nature.

The following statement of Vasks’ can be found on his publisher Schott’s website: Most people today no longer possess beliefs, love and ideals. The spiritual dimension has been lost. My intention is to provide food for the soul and this is what I preach in my works.

Vasks has written a number of works for string ensemble, exploring different timbres and tunings, but this is his first for cello and string orchestra alone (his first cello concerto was for solo cello and large orchestra). The Concerto No.2 was commissioned by this program’s soloist, Sol Gabetta who premiered the work with the Amsterdam Sinfonietta and its conductor, Candida Thompson on 25 October 2012.

PICTURED: Pēteris Vasks.

We shall see now whether, in Tom Huizenga’s words referred to earlier, ‘the cello can pull at the heartstrings . . .’ Certainly it is an appropriate instrument to carry the singing style through which Vasks admits he expresses his ideals.

The concerto begins with the merest material, a low C played col legno (with the wood of the bow) by the soloist. Gradually, principally through tonal alteration, the solo music increases in expression to form a lengthy cadenza. No mere technical display, this cadenza is more like a long rumination – as the soloist’s wide-ranging melody moves in and out of a double-stopped chordal texture. The rest of the strings now enter for the Andante cantabile and Vasks gives full rein to his undulating lyricism.

An almost violent rhythmic dance begins the second movement.

The soloist beats out a repeated note across two strings before sparring with the orchestra. There are several obvious markers defining the form – a lugubrious 5/4 waltz that sounds like an urgent changing of the gears, returns of the more lyrical Andante music.

These also frame a second, chromatically and technically more intense cadenza.

The works ends with a 12-minute slow movement, with echoes of the first movement. Where a build-up in intensity in the second movement might have called forth the lugubrious waltz, Vasks just ‘ups’ the pitch of lyrical outpouring here. How much further can it go?

What does the subtitle mean in the context of such an intense piece? How seriously do we take Vasks’ spiritual side? Perhaps the hymn-like surprise at the end is a clue.

This piece is a world away from the other contemporary music on this tour. But both Holliger and Vasks show us poles of contemporary thought in the midst of repertoire which over the Basel orchestra’s two programs has given us a whole geography of chamber music.

Gordon Kalton Williams © 2015 21

S OL G A BE T TA CELLO

Sol Gabetta achieved international acclaim upon winning the Crédit Suisse Young Artist Award in 2004 and making her debut with the Wiener Philharmoniker and Valery Gergiev.

Born in Argentina, Gabetta won her first competition at the age of 10, soon followed by the Natalia Gutman Award as well as commendations at Moscow’s Tchaikovsky Competition and the ARD International Music Competition in Munich. A Grammy Award nominee, she received the Gramophone Young Artist of the Year Award in 2010 and the Würth-Preis of the Jeunesses Musicales in 2012.

Photo by Marco Borggreve

Following her highly acclaimed debuts with the Berliner Philharmoniker and Sir Simon Rattle at the Baden-Baden Easter Festival in 2014 and at Mostly Mozart in New York in August 2015, this season sees Gabetta debut with Los Angeles Philharmonic Orchestra and Houston Symphony. She will also perform with Tonhalle-Orchester Zürich and St Petersburg Philharmonic and will tour with Orchestre de Paris, Il Giardino Armonico, the Rotterdam Philharmonic Orchestra and the Dresdner Philharmonie with whom she is Artist in Residence this season. Brussels’ Palais des Beaux Arts will also welcome her as their resident artist. To conclude 2015/16, Gabetta will join the Royal Concertgebouw Orchestra Amsterdam on a European Tour with performances at Lucerne Festival, Grafenegg Festival as well as Salzburger Festspiele.

Sol Gabetta maintains an intensive chamber music activity, performing worldwide in venues such as Wigmore Hall in London, Palau de la Música Catalana in Barcelona and the Théâtre des Champs-Élysées in Paris, with distinguished partners including Patricia Kopatchinskaja and Bertrand Chamayou. Her passion for chamber music is evident in the Festival ‘Solsberg’ which she founded in Switzerland.

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Y UK I K A S A I DIREC TOR AND VIOLIN

Yuki Kasai was born in Basel in 1979 and began violin lessons at the age of five. She was a student of Rafael Oleg at the Basel Music Academy and was a post-graduate student of Antje Weithaas at the Hanns Eisler Academy of Music in Berlin.

Other important influences were violinist Sandor Zöldy, along with chamber music lessons with Gerard Wyss and Hatto Beyerle, and masterclasses with Lorand Fenyves and Ferenc Rados.

Photo by Giorgia Bertazzi

Yuki Kasai has received many prizes, including the Hans Huber Foundation Basel (2002) and the Migros-Kulturprozent Scholarship (2003 and 2004). In 2002 she was a prize winner of the 8th International Mozart Competition in Salzburg.

Standing in for the regular violinist of the Trio Castell, in 2004 she won the chamber music competition at the Alice Samter Foundation.

A passionate chamber musician, Yuki Kasai has appeared at many music festivals, including Mecklenburg-Vorpommern; Rheingau; Ultraschall Festival for New Music in Berlin; Forget in Quebec; Sommets Musicaux de Gstaad; International Musicians Seminar, Prussia Cove. She has appeared in concerts at the Wigmore Hall, performing with such musicians as Stephen Isserlis, Pekka Kuusisto and Joshua Bell. With the Italian bassoonist Sergio Azzolini, who introduced her to the variety and vivacity of performing Baroque music on period instruments, she has appeared in concerts in Germany, Switzerland and Italy.

In 2006, Yuki Kasai was appointed Leader of the Kammerakademie Potsdam and the Ensemble Oriol Berlin. She also regularly plays with the Chamber Orchestra of Europe and is often Guest Leader of the Deutsche Kammerphilharmonie Bremen, the Ensemble Resonanz in Hamburg and Camerata Bern.

She has been leader of the Basel Chamber Orchestra since 2011.

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B A SEL CH A MBER ORCHE S T R A

Photo by Christian Flierl

In the 30 years of its existence, the Basel Chamber Orchestra – in 2015 receiving its 3rd ECHO Klassik award – has developed into one of the leading chamber orchestras on the international music scene. Nowadays invitations to the most important concert arenas and festivals of the European classical music scene are just as much part of the schedule as the orchestra’s own subscription concerts in Basel. Diverse CD recordings with famous labels like Sony, Deutsche Harmonia Mundi, Warner Classics and OehmsClassics are evidence of the excellent quality of the orchestra.

The Basel Chamber Orchestra has a predilection for playing under the musical direction of its own concertmaster. The orchestra’s collaboration with its principal guest conductor Giovanni Antonini is especially fruitful. The highpoint of its collaboration with Antonini is the Beethoven Cycle. Symphonies 1–8 have already been recorded by Sony; the recording of Symphonies 3 and 4 received the Ensemble of the Year 2008 award at the ECHO Klassik Awards.

Between now and 2032, the Basel Chamber Orchestra under Giovanni Antonini’s direction, together with the Italian ensemble

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“One of the most exciting formations to be touring on the international orchestra scene.”

FONO FORUM

‘Il Giardino Armonico’, will take turns at performing all of Joseph Haydn’s 107 symphonies and recording them on CD. In addition, the Orchestra has a close relationship with conductors such as Trevor Pinnock, Heinz Holliger, Paul Goodwin and Mario Venzago. The list of soloists who have performed together with the orchestra is renowned: Emmanuel Pahud, Sol Gabetta, Andreas Scholl, Kristian Bezuidenhout, Matthias Goerne, Sabine Meyer, Angela Hewitt, Renaud Capuçon, Thomas Zehetmair, Sandrine Piau and many more.

The 2015/2016 season kicked off with performances of A Midsummer Night’s Dream under the baton of Trevor Pinnock, with Klaus Maria Brandauer as guest narrator, amongst other places at the Dresden Frauenkirche and the Lucerne Festival.

The orchestra will go on concert tours with Sir András Schiff and Heinz Holliger to the renowned George Enescu Festival in Bucharest and with Daniel Hope to South America.

Since 2013 Clariant International Ltd. has been presenting sponsor of the Basel Chamber Orchestra.

The Basel Chamber Orchestra is supported by Pro Helvetia, the Swiss Arts Council.

25

MUSICI A NS ON S TA GE BASEL CH A MBER ORCHE S TR A Concertmaster and Leader Yuki Kasai Violin 1 Mirjam Steymans-Brenner Matthias Müller Barbara Bolliger Yukiko Tezuka Betina Pasteknik Violin 2 Anna Faber Valentina Giusti Tamàs Vásárhelyi Cordelia Fankhauser Vincent Durand Viola Mariana Doughty Bodo Friedrich Robert Woodward Anne-Françoise Guezingar

26

Cello Martin Zeller Georg Dettweiler Hristo Kouzmanov Double Bass Sophie Luecke Kristof Attila Zambo Oboe Matthias Arter Mirjam Hüttner Horn Konstantin Timokhine Mark Gebhart

ACO BEHIND T HE S CENE S BOARD

EDUCATION

MARKETING

Guido Belgiorno-Nettis am Chairman

Phillippa Martin Ac O 2 & ACO VIRTUAL Manager

Derek Gilchrist Marketing Manager

Angus James Deputy

Zoe Arthur Acting Education Manager

Mary Stielow National Publicist

Bill Best John Borghetti Liz Cacciottolo Judith Crompton John Grill ao Heather Ridout ao Andrew Stevens John Taberner Peter Yates am Simon Yeo

Caitlin Gilmour Education Assistant

Hilary Shrubb Publications Editor

FINANCE

Leo Messias Marketing Coordinator

Richard Tognetti ao Artistic Director

Maria Pastroudis Chief Financial Officer Steve Davidson Corporate Services Manager Yvonne Morton Accountant

Cristina Maldonaldo Communications Coordinator Chris Griffith Box Office Manager Dean Watson Customer Relations Manager

ADMINISTRATIVE STAFF

Shyleja Paul Assistant Accountant

EXECUTIVE OFFICE

DEVELOPMENT

Deyel Dalziel-Charlier Box Office & CRM Database Assistant

Jessica Block Deputy General Manager

Rebecca Noonan Development Manager

Christina Holland Office Administrator

Alexandra Cameron-Fraser Strategic Development Manager

Jill Colvin Philanthropy Manager

Robin Hall Subscriptions Coordinator

Helen Maxwell Executive Assistant to Mr Tognetti ao

Penelope Loane Investor Relations Manager

INFORMATION SYSTEMS

ARTISTIC & OPERATIONS

Tom Tansey Events Manager

Luke Shaw Head of Operations & Artistic Planning Anna Melville Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

Tom Carrig Senior Development Executive Ali Brosnan Patrons Manager Sally Crawford Development Coordinator

Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer 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 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au

27

V ENUE SUPP OR T

QUEENSLAND PERFORMING ARTS CENTRE

AUSTRALIAN NATIONAL UNIVERSITY

Cultural Precinct,

Llewellyn Hall School of Music

Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101 Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au

William Herbert Place (off Childers Street), Acton, Canberra VENUE HIRE INFORMATION Telephone (02) 6125 2527 Email music.venues@anu.edu.au

Christopher Freeman am Chair John Kotzas Chief Executive

ARTS CENTRE MELBOURNE

SYDNEY OPERA HOUSE

PO Box 7585, St Kilda Road,

Bennelong Point,

Melbourne VIC 8004

GPO Box 4274, Sydney NSW 2001

Telephone (03) 9281 8000

Telephone (02) 9250 7111

Box Office 1300 182 183

Box Office (02) 9250 7777

Web artscentremelbourne.com.au

Email

Tom Harley President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer

infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer

In case of emergencies . . .

Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.

28

S OL G A BE T TA

BASEL CHAMBER ORCHESTR A TOUR DATES & PRE-CONCERT TALKS

Pre-concert talks take place 45 minutes before the start of every concert.

Sun 22 Nov, 2.30pm Melbourne Arts Centre Pre-concert talk by Caroline Almonte

Fri 27 Nov, 8pm Canberra Llewellyn Hall Pre-concert talk by Ken Healey am

Mon 23 Nov, 8pm Melbourne Arts Centre Pre-concert talk by Caroline Almonte

Sun 29 Nov, 2pm Sydney Opera House Pre-concert talk by Ken Healey am

Wed 25 Nov, 8pm Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills

The foyer fanfare for this concert is Skyscrapers, composed by John Rotar (age 19) from the University of Queensland.

This is a youth creativity project by the Sydney Opera House and Artology.

Pre-concert speakers are subject to change.

This is a PLAYBILL / SHOWBILL publication.

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

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

Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at print@playbill.com.au for a quote on your printing work.

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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–1510 — 17676 — 1/221115 29

ACO MEDICI PROGR A M 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

CORE CHAIRS

GUEST CHAIRS

The late AMINA BELGIORNO-NETTIS

VIOLIN

Brian Nixon Principal Timpani

PRINCIPAL CHAIRS

Glenn Christensen Terry Campbell ao & Christine Campbell

Richard Tognetti ao Artistic Director & Lead Violin

Aiko Goto Anthony & Sharon Lee Foundation

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

Mark Ingwersen Ian Wallace & Kay Freedman

Helena Rathbone Principal Violin

Liisa Pallandi The Melbourne Medical Syndicate

Kate & Daryl Dixon

Ike See Di Jameson

Satu Vänskä Principal Violin Kay Bryan Christopher Moore Principal Viola peckvonhartel architects Timo-Veikko Valve Principal Cello Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation

Ilya Isakovich The Humanity Foundation

VIOLA Alexandru-Mihai Bota Philip Bacon am Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Clayton Family

ACO L IF E PAT RONS IBM

Mr Martin Dickson am & Mrs Susie Dickson

Mr Robert Albert ao & Mrs Libby Albert

Dr John Harvey ao

Mr Guido Belgiorno-Nettis am

Mrs Alexandra Martin

Mrs Barbara Blackman ao

Mrs Faye Parker

Mrs Roxane Clayton

Mr John Taberner & Mr Grant Lang

Mr David Constable am

Mr Peter Weiss ao

30

Mr Robert Albert ao & Mrs Libby Albert FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett

ACO BEQ UE S T PAT RONS For more information on making a bequest, please call Jill Colvin, Philanthropy Manager, on 02 8274 3835.

The late Charles Ross Adamson

Peter Evans

The late Josephine Paech

The late Kerstin Lillemor Andersen

Carol Farlow

The late Richard Ponder

The late Mrs Sybil Baer

Suzanne Gleeson

Ian & Joan Scott

Steven Bardy

Lachie Hill

The late Mr Geoffrey Francis Scharer

Dave Beswick

The late John Nigel Holman

The Estate of Scott Spencer

Ruth Bell

Penelope Hughes

Leslie C Thiess

The Estate of Prof Janet Carr

The late Dr S W Jeffrey am

G.C. & R. Weir

Sandra Cassell

Estate of Pauline Marie Johnston

Margaret & Ron Wright

The late Mrs Moya Crane

The late Mr Geoff Lee am oam

Mark Young

Mrs Sandra Dent

Mrs Judy Lee

Anonymous (12)

Leigh Emmett

The late Shirley Miller

The late Colin Enderby

Selwyn M Owen

ACO GENER A L PUR P O SE PAT RONS ACO General Purpose Patrons support the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Ali Brosnan, Patrons Manager on 02 8274 3830 Andrew Andersons

Michael Horsburgh am & Beverley Horsburgh Dr Jason Wenderoth

John & Lynnly Chalk

Penelope Hughes

Brian Zulaikha

Dr Jane Cook

Mike & Stephanie Hutchinson

Anonymous (2)

Paul & Roslyn Espie

Professor Anne Kelso ao

Jennifer Hershon

Douglas & Elisabeth Scott

Peter & Edwina Holbeach

Jeanne-Claude Strong

ACO NE X T ACO Next is an exciting new philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering a unique musical and networking experience. For more information, please call Ali Brosnan, Patrons Manager, on 02 8274 3830.

MEMBERS Clare Ainsworth Herschell

Royston Lim

Jessica Read

Justine Clarke

William Manning

Louise & Andrew Sharpe

Este Darin-Cooper & Chris Burgess

Rachael McVean

Emile & Caroline Sherman

Catherine & Sean Denney

Barry Mowzsowski

Michael Southwell

Alexandra Gill

Paris Neilson & Todd Buncombe

Karen & Peter Tompkins

Rebecca Gilsenan & Grant Marjoribanks

James Ostroburski

Joanna Walton & Alex Phoon

Adrian Giuffre & Monica Ion

Nicole Pedler

Nina Walton & Zeb Rice

Aaron Levine

Michael Radovnikovic

Peter Wilson & James Emmett 31

ACO T RUS T S & F OUNDAT IONS

Holmes à Court Family Foundation

The Neilson Foundation

The Ross Trust

ACO INS T RUMEN T F UND 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.

The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen. For more information, please call Penelope Loane, Investor Relations Manager on 02 8274 3878.

Peter Weiss ao PATRON, ACO Instrument Fund BOARD MEMBERS Bill Best (Chairman) Jessica Block

SONATA $25,000 – $49,999

INVESTORS

ENSEMBLE $10,000 – $24,999

Stephen & Sophie Allen

Lesley & Ginny Green

John & Deborah Balderstone

Peter J Boxall ao & Karen Chester

Guido & Michelle Belgiorno-Nettis Bill Best

John Leece am

SOLO $5,000 – $9,999

Andrew Stevens

PATRON $500 – $4,999

Sam Burshtein & Galina Kaseko

John Taberner

Michael Bennett & Patti Simpson

Carla Zampatti Foundation

Leith & Darrel Conybeare

Sally Collier

Dr Jane Cook

Michael Cowen & Sharon Nathani

VISIONARY $1m+

Geoff & Denise Illing

Marco D’Orsogna

Peter Weiss ao

Luana & Kelvin King

Garry & Susan Farrell

Jane Kunstler

Gammell Family

John Landers & Linda Sweeny

Edward Gilmartin

Genevieve Lansell

Tom & Julie Goudkamp

Bronwyn & Andrew Lumsden

Philip Hartog

Patricia McGregor

Brendan Hopkins

OCTET $100,000 – $199,999

Trevor Parkin

Angus & Sarah James

John Taberner

Elizabeth Pender

Daniel and Jacqueline Phillips

Robyn Tamke

Ryan Cooper Family Foundation

Anonymous (2)

Andrew & Philippa Stevens

PATRONS

LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 The late Amina Belgiorno-Nettis Naomi Milgrom ao

QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous

32

Benjamin Brady

Dr Lesley Treleaven Ian Wallace & Kay Freedman

ACO SPECI A L C OMMIS SIONS & SPECI A L PRO JE C T S SPECIAL COMMISSIONS PATRONS Peter & Cathy Aird

THE REEF NEW YORK PRODUCERS’ SYNDICATE

Gerard Byrne & Donna O’Sullivan

Executive Producers

Philip Bacon ao

Mirek Generowicz

Tony & Michelle Grist

Kay Bryan

Peter & Valerie Gerrand

Lead Producers

Dr Ian Frazer ac & Mrs Caroline Frazer

G Graham

Jon & Caro Stewart Foundation

Dr Edward Gray

Anthony & Conny Harris Rohan Haslam John Griffiths & Beth Jackson Andrew & Fiona Johnston Lionel & Judy King David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson Alison Reeve Augusta Supple Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi Anonymous (1) INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in 2015: Linda & Graeme Beveridge

Major Producers Danielle & Daniel Besen Foundation

ACO ACADEMY BRISBANE LEAD PATRONS

Wayne Kratzmann Bruce & Jocelyn Wolfe

Janet Holmes à Court ac

PATRONS

Charlie & Olivia Lanchester

Andrew Clouston

Producers Richard Caldwell Warren & Linda Coli Graham & Treffina Dowland Steve Duchen & Polly Hemphill Wendy Edwards Gilbert George Tony & Camilla Gill

Michael Forrest & Angie Ryan Ian & Cass George Professor Peter Høj Helen McVay Shay O’Hara-Smith Brendan Ostwald Marie-Louise Theile Beverley Trivett

Max Gundy (board member ACO US) & Shelagh Gundy

MELBOURNE HEBREW CONGREGATION PATRONS

Patrick Loftus-Hills (board member ACO US) & Konnin Tam Sally & Steve Paridis (board members ACO US)

LEAD PATRONS

Peter & Victoria Shorthouse Alden Toevs & Judi Wolf Major Partner

PATRONS

Jan Bowen

Marc Besen ac & Eva Besen ao

Bee & Brendan Hopkins

Leo & Mina Fink Fund

Delysia Lawson Mike Thompson

Drs Victor & Karen Wayne Corporate Partner Manikay Partners

EMANUEL SYNAGOGUE PATRONS CORPORATE PARTNERS Adina Apartment Hotels Meriton Group LEAD PATRON The Narev Family PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

33

ACO N AT ION A L EDUC AT ION PROGR A M The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is 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.

If you would like to make 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 ali.brosnan@aco.com.au Donor list current as at 9 October 2015 PATRONS

Jim & Averill Minto

Tony & Michelle Grist

Marc Besen ac & Eva Besen ao

Louise & Martyn Myer Foundation

Liz Harbison

Janet Holmes à Court ac

Jennie & Ivor Orchard

Kerry Harmanis

Bruce & Joy Reid Trust

Annie Hawker

Mark & Anne Robertson

Fraser Hopkins

Margie Seale & David Hardy

Dr Wendy Hughes

Tony Shepherd ao

I Kallinikos

Peter & Victoria Shorthouse

Keith & Maureen Kerridge

Anthony Strachan

Mrs Judy Lee

John Taberner & Grant Lang

Lorraine Logan

Leslie C. Thiess

Macquarie Group Foundation

Alden Toevs & Judi Wolf

David Maloney & Erin Flaherty

The Hon Malcolm Turnbull mp

Julianne Maxwell

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 Belgiorno-Nettis am Luca Belgiorno-Nettis am Andre Biet Leigh & Christina Birtles Liz Cacciottolo & Walter Lewin Rod Cameron & Margaret Gibbs

& Ms Lucy Turnbull ao

Pam & Ian McDougall

David & Julia Turner

Brian & Helen McFadyen

E Xipell

P J Miller

Peter Yates am & Susan Yates

The Myer Foundation

Peter Young am & Susan Young

peckvonhartel architects

Anonymous (2)

Elizabeth Pender John Rickard

Mark Carnegie

DIRETTORE $5,000 – $9,999

Stephen & Jenny Charles

The Abercrombie Family Foundation

The Cooper Foundation

Geoff Ainsworth & Jo Featherstone

Rowena Danziger am & Ken Coles am

Geoff Alder

Irina Kuzminsky & Mark Delaney

Bill & Marissa Best

Ann Gamble Myer

Veronika & Joseph Butta

Daniel & Helen Gauchat

Elizabeth Chernov

Andrea Govaert & Wik Farwerck

Clockwork Theatre Inc

Dr Edward C. Gray

Victor & Chrissy Comino

Kimberley Holden

Leith & Darrel Conybeare

Angus & Sarah James

David Craig

PJ Jopling am qc

Liz Dibbs

Miss Nancy Kimpton

Ellis Family

Bruce & Jenny Lane

Bridget Faye am

MAESTRO $2,500 – $4,999

Prudence MacLeod

Ian & Caroline Frazer

Michael Ahrens

Anthony & Suzanne Maple-Brown

Chris & Tony Froggatt

David & Rae Allen

Alf Moufarrige

Kay Giorgetta

Ralph Ashton

34

Andrew Roberts Paul Schoff & Stephanie Smee Greg Shalit & Miriam Faine Jann Skinner Joyce Sproat & Janet Cooke Jon & Caro Stewart Mary-Anne Sutherland John Vallance & Sydney Grammar School Westpac Group Shemara Wikramanayake Cameron Williams Anonymous (8)

Will & Dorothy Bailey Charitable Gift

Annette Adair

Gail Harris

Doug & Alison Battersby

Lind Addy

Bettina Hemmes

The Beeren Foundation

Samantha & Aris Allegos

Michael Horsburgh am & Beverley Horsburgh

Berg Family Foundation

Jane Allen

Monique D’Arcy Irvine & Anthony Hourigan

Jenny Bryant

Matt Allen

Merilyn & David Howorth

Neil & Jane Burley

Lyn Baker & John Bevan

Penelope Hughes

Gilbert Burton

Adrienne Basser

Launa & Howard Inman

Kathryn Chiba

Barry Batson

Colin Isaac & Jenni Seton

Caroline & Robert Clemente

Ruth Bell

Phillip Isaacs oam

Alan Fraser Cooper

David & Anne Bolzonello

Will & Chrissie Jephcott

Robert & Jeanette Corney

Brian Bothwell

Brian Jones

Kate & Daryl Dixon

Michael & Tina Brand

Bronwen L Jones

Anne & Thomas Dowling

Vicki Brooke

Josephine Key & Ian Breden

Suellen & Ron Enestrom

Diana Brookes

In memory of Graham Lang

Euroz Securities Limited

Dr Catherine Brown-Watt psm

Airdrie Lloyd

Jane & Richard Freudenstein

Jasmine Brunner

Robin & Peter Lumley

John Gandel ao & Pauline Gandel

Sally Bufé

Diana Lungren

Megan Grace

Gerard Byrne & Donna O’Sullivan

Magellan Logistics Pty Ltd

Warren Green

Ivan Camens

Greg & Jan Marsh

Nereda Hanlon & Michael Hanlon am

Terry Campbell ao & Christine Campbell

Janet Matton

Ray Carless & Jill Keyte

Kevin & Deidre McCann

Roslyn Carter

Ian & Pam McGaw

Andrew Chamberlain

J A McKernan

Julia Champtaloup & Andrew Rothery

Diana McLaurin

Patrick Charles

Phil & Helen Meddings

Angela and John Compton

Roslyn Morgan

Laurie & Julie Ann Cox

Suzanne Morgan

Carol & Andrew Crawford

Glenn Murcutt ao

Judith Crompton

Baillieu Myer ac

J & P Curotta

Dennis & Fairlie Nassau

Ian Davis

Nola Nettheim

Michael & Wendy Davis

Anthony Niardone

Stephen Davis

Paul O’Donnell

Defiance Gallery

Ilse O’Reilly

Martin Dolan

James Ostroburski & Leo Ostroburski

Dr William F Downey

Anne & Christopher Page

Emeritus Professor Dexter Dunphy am

Prof David Penington ac

Leigh Emmett

G. V. Pincus

Peter Evans

Lady Primrose Potter ac

Julie Ewington

Beverley Price

Elizabeth Finnegan

Mark Renehan

Bill Fleming

Mrs Tiffany Rensen

Reg Hobbs & Louise Carbines Gavin & Christine Holman Simon & Katrina Holmes à Court Mark Johnson Ros Johnson John Karkar qc The Alexandra & Lloyd Martin Family Foundation Peter Mason am & Kate Mason Paul & Elizabeth McClintock Jane Morley Sandra & Michael Paul Endowment Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard The Sandgropers D N Sanders Jennifer Senior & Jenny McGee Petrina Slaytor John & Josephine Strutt Ralph Ward-Ambler am & Barbara Ward-Ambler Simon Whiston Anna & Mark Yates Anonymous (3)

Elizabeth Flynn

Dr S M Richards am & Mrs M R Richards

Don & Marie Forrest

Warwick & Jeanette Richmond

Anne & Justin Gardener

In memory of Andrew Richmond

VIRTUOSO $1,000 – $2,499

Kerry Gardner

Josephine Ridge

Jennifer Aaron

Matthew Gilmour

Roadshow Entertainment

AJ Ackermann

Colin Golvan qc

Em. Prof. A. W. Roberts am

Aberfoyle Partners

Fay Grear

J. Sanderson

Alceon Group

In memory of José Gutierrez

In memory of H. St. P. Scarlett 35

Lucille Seale

Stephen Chivers

Ms Sarah R Lambert

Gideon & Barbara Shaw

Olivier Chretien

Prof Kerry A Landman

Dr Margaret Sheridan

ClearFresh Water

Philip Lawe Davies

Diana & Brian Snape am

Paul Cochrane

TFW See & Lee Chartered Accountants

Maria Sola

Warren & Linda Coli

Wayne & Irene Lemish

Dr P & Mrs D Southwell-Keely

Sally Collier

David & Sandy Libling

Keith Spence

P. Cornwall & C. Rice

Dimitra Loupasakis

Ross Steele am

Annabel Crabb

Megan Lowe

Geoffrey Stirton & Patricia Lowe

Sam Crawford Architects

Dr & Mrs Donald Maxwell

Dr Charles Su & Dr Emily Lo

Marie Dalziel

H E McGlashan

Tamas & Joanna Szabo

Jill Davies

Suzanne Mellor

Victoria Taylor

Mari Davis

Tempe Merewether

Jane Tham & Philip Maxwell

Kath & Geoff Donohue

Cameron Moore & Cate Nagy

Robert & Kyrenia Thomas

In memory of Raymond Dudley

Simon Morris & Sonia Wechsler

Anne Tonkin

Margaret Dunstan

Elizabeth Manning Murphy

Matthew Toohey

M T & R L Elford

Dr G Nelson

Angus Trumble

Christine Evans

J Norman

Ngaire Turner

Penelope & Susan Field

Graham North

Kay Vernon

Jean Finnegan & Peter Kerr

Robin Offler

Rebecca & Neil Warburton

Michael Fogarty

Deborah Pearson

John Wardle

Brian Goddard

Robin Pease

Marion W Wells

Eddy Goldsmith & Jennifer Feller

Michael Peck

Gillian Woodhouse

George H. Golvan qc & Naomi Golvan

Kevin Phillips

Harley Wright & Alida Stanley

Arnoud Govaert

Bernard Hanlon & Rhana Pike

Don & Mary Ann Yeats am

Grandfather’s Axe

Rosie Pilat

William Yuille

Katrina Groshinski & John Lyons

Michael Power

Rebecca Zoppetti Laubi

Annette Gross

Beverly & Ian Pryer

Anonymous (20)

Lesley Harland

Angela Roberts

Alan Hauserman & Janet Nash

GM & BC Robins

Gaye Headlam

Robin Rowe

Mrs C A Allfrey

Kingsley Herbert

Mrs J Royle

Elsa Atkin am

Dr Penny Herbert in memory of

Garry Scarf & Morgie Blaxill

CONCERTINO $500 – $999

Rita Avdiev

Dunstan Herbert

Boris & Jane Schlensky

A. & M. Barnes

Lachie Hill

Tessa Barnett

Marian Hill

John C Sheahan qc

Robin Beech

Sue & David Hobbs

Andrew & Rhonda Shelton

Elizabeth Bolton

Geoff Hogbin

Sherborne Consulting

In memory of Peter Boros

Prof Angela Hull ao

Florine Simon

C Bower

Dr & Mrs Michael Hunter

Mary Stephen

Denise Braggett

Mary Ibrahim

Professor Fiona Stweart

Mrs Pat Burke

Dr Vernon & Mrs Margaret Ireland

Judy Ann Stewart

Hugh Burton-Taylor

Owen James

In memory of Dr Aubrey Sweet

Heather Carmody

Barry Johnson & Davina Johnson oam

Barbara Symons

J. M. Carvell

Caroline Jones

Gabrielle Tagg

Nada Chami

Mrs Angela Karpin

Arlene Tansey

Fred & Angela Chaney

Bruce & Natalie Kellett

David & Judy Taylor

Fred & Jody Chaney

Graham Kemp & Heather Nobbs

G C & R Weir

Dr Roger Chen

Jacqueline & Anthony Kerwick

Sally Willis

Colleen & Michael Chesterman

Karin Kobelentz & Miguel Wustermann

Brian Zulaikha

Richard & Elizabeth Chisholm

Wendy Kozica & David O’Callaghan qc

Anonymous (24)

36

Berek Segan obe am & Marysia Segan

ACO CH A IR M A N’S COUNCIL The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis am Chairman, Australian Chamber Orchestra & Executive Director, Transfield Holdings Aurizon Holdings Limited Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management Mr John Borghetti Chief Executive Officer, Virgin Australia Mr Matt Byrne Director, ROVA Media Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Stephen & Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Dr Bob Every ao Chairman, Wesfarmers Ms Tracey Fellows Chief Executive Officer, REA Group Mr Bruce Fink Executive Chairman, Executive Channel Network

Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel Mr Richard Freudenstein Chief Executive Officer, FOXTEL Ms Ann Gamble Myer Mr Daniel Gauchat Principal, The Adelante Group Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas Mr John Grill ao Chairman, WorleyParsons Mr Grant Harrod Chief Executive Officer, LJ Hooker Mr Richard Herring Chief Executive Officer, APN Outdoor Mrs Janet Holmes à Court ac

Ms Naomi Milgrom ao Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige Chief Executive Officer, Servcorp Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects Mr Mark Robertson oam & Mrs Anne Robertson Ms Margie Seale & Mr David Hardy Mr Glen Sealey General Manager, Maserati Australia & New Zealand Mr Tony Shepherd ao Ms Anne Sullivan Chief Executive Officer, Georg Jensen

Mr Simon & Mrs Katrina Holmes à Court Observant

Mr Paul Sumner Chief Executive Officer, Mossgreen Pty Ltd

Mr John Kench Chairman, Johnson Winter & Slattery

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

Ms Catherine Livingstone ao Chairman, Telstra

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Mr Andrew Low

Mr David & Mrs Julia Turner

Mr David Mathlin

Ms Vanessa Wallace & Mr Alan Liddle

Ms Julianne Maxwell

Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd

Mr Michael Maxwell Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank

Mr Peter Young am & Mrs Susan Young

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ACO GOV ER NMEN T PA R T NER S THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT

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

The ACO is supported by the NSW Government through Arts NSW.

QUEENSLAND REGIONAL TOURING PARTNER

The ACO’s Queensland regional touring is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.

ACO COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE

MELBOURNE DEVELOPMENT COUNCIL

EVENT COMMITTEES

Heather Ridout ao (Chair) Director, Reserve Bank of Australia

Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd

SYDNEY

Debbie Brady

Sandra Ferman

Paul Cochrane Investment Advisor, Bell Potter Securities

Fay Geddes

Ann Gamble-Myer

Lisa Kench

Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings Bill Best Maggie Drummond Tony Gill Andrea Govaert John Kench Chairman, Johnson Winter & Slattery Jennie Orchard Tony O’Sullivan Peter Shorthouse UBS Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton

38

Colin Golvan qc

John Taberner (Chair) Lillian Armitage Judy Anne Edwards

Julie Goudkamp Elizabeth Harbison Julianne Maxwell Elizabeth McDonald

Shelley Meagher Director, Do it on the Roof

Catherine Powell

James Ostroburski Director, Grimsey Wealth

Liz Williams

Joanna Szabo Simon Thornton Partner, McKinsey & Co.

Nicola Sinclair Lynne Testoni Judi Wolf BRISBANE Philip Bacon Kay Bryan Andrew Clouston Ian & Caroline Frazer Cass George

DISABILITY ADVISORY COMMITTEE

Edward Gray

Amanda Tink Independent Consultant, Amanda Tink Consultancy

Wayne Kratzmann

Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts

Marie-Lousie Theile

Helen McVay Shay O’Hara-Smith Beverley Trivett Bruce and Jocelyn Wolfe

ACO PA R T NER S WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT PRINCIPAL PARTNER

FOUNDING PARTNER

NATIONAL TOUR PARTNERS

FOUNDING PARTNER: ACO VIRTUAL

OFFICIAL PARTNERS

CONCERT AND SERIES PARTNERS

ASSOCIATE PARTNER: ACO VIRTUAL

MEDIA PARTNERS

PERTH SERIES AND WA REGIONAL TOUR PARTNER

EVENT PARTNERS

39

AC O NE W S ACO NE X T COCK TAIL PART Y On Tuesday, 13 October we were thrilled to hold our first special private performance for members of ACO Next, our new program especially geared for young philanthropists and music lovers.

Forty guests were treated to an intimate performance by 11 ACO musicians, led by Richard Tognetti, in the home of ACO supporters Beau Neilson and Jeffrey Simpson. The music was intense and exhilarating, and included the second movement of Schubert’s Death and the Maiden as well as a very energetic set of excerpts from Project Rameau. Following the performance, guests remained to mingle with Richard and the musicians.

PICTURED: BELOW: Monica Ion and Adrian Giuffre.

BELOW RIGHT: Nicole Pedler and Este Darin-Cooper.

BOTTOM: The ACO Photos by Fiora Sacco

40

Our thanks to Beau and Jeffrey for so generously opening up their extraordinary home for such a wonderful event.

ACO Next members directly support ACO Collective and our Emerging Artists’ Program. To find out more about joining, or to find out how to give a membership as a gift, please contact Ali Brosnan, Patrons Manager on 02 8274 3830 or ali.brosnan@aco.com.au

PICTURED: ABOVE: Todd Buscombe, Paris Neilson and Peter Wilson.

RIGHT: Catherine Denney, Aaron Levine and Royston Lim. Photos by Fiora Sacco

PICTURED: LEFT: Philip Georgiou, Ian Belgiorno-Zegna, Beau Neilson and Richard Tognetti.

Photo by Fiora Sacco

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AC O NE W S ACO AT EMANUEL SY NAGOGUE On Monday, 19 October 2015, the ACO performed at Emanuel Synagogue in Woollahra for the first time. Led by Ilya Isakovich, ACO violinist, talented young string players from Emanuel School played Bartók’s Romanian Folk Dances alongside ACO musicians at the start of the concert. Then Richard Tognetti ao took the stage, to lead a beautiful program featuring works by CPE Bach, Schubert and Tchaikovsky, finishing with a haunting rendition of Ravel’s Kaddish. The audience was thrilled to hear the Orchestra in such elegant, intimate surroundings and the applause was rapturous and prolonged.

The ACO’s appearance was made possible through the generous support of Lead Patron: The Narev Family, Corporate Partners: Adina Apartment Hotels and Meriton Group and Patrons: David Gonski ac, Leslie and Ginny Green, The Sherman Foundation and Justin Phillips and Louise Thurgood-Phillips. At David Gonski’s particular request, the concert was dedicated to the wonderful work of Rabbi Kamins over more than 27 years and Rabbi Ninio for more than 17 years, both for the Synagogue and the broader community. All ticket income from the concert went to Emanuel Synagogue, for its far-reaching community programs.

We thank our Patrons and the Synagogue most warmly for their generous support of the first of what we hope will be many concerts in the years to come – we are already working on a date for 2016!

PICTURED: ABOVE TOP LEFT: Allan Vidor.

ABOVE TOP RIGHT: Rabbi Jacqueline Ninio.

ABOVE MIDDLE: Louise Thurgood-Phillips, Kate Abrahams, Kate Narev.

ABOVE: Jessica Block, David Gonski ac, Prof. Gus Lehrer, Richard Tognetti ao.

RIGHT: Ilya Isakovich and students from Emanuel School.

Photos by David Gross

PICTURED: ABOVE: Rabbi Jeffrey Kamins and Richard Tognetti ao.

RIGHT: Richard Tognetti and the ACO. Photos by David Gross 42

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SUPPORT OUR FUTURE INSPIRE THE NE X T

Another new work which attracted wonderful audience reactions all over the country was Brenton Broadstock’s evocative Never Truly Lost, which was fittingly commissioned by Rob and Nancy Pallin in memory of Rob’s father, the legendary adventurer Paddy Pallin and received its premiere in the Mozart Clarinet Concerto program.

Within the Orchestra, we warmly welcomed our newest recruit, the Romanian violist Alexandru-Mihai Bota. Sascha has quickly become one of the Orchestra’s most recognisable personalities. We also welcomed the ACO’s oldest member – an astonishingly wonderful double bass made by Gasparo da Salò in the 1590s, on loan to the ACO from one of our most generous and enlightened benefactors. The double bass joins a growing family of extraordinary instruments which are played by our musicians thanks to wonderful individuals, such as Peter Weiss, visionary sponsors, like the Commonwealth Bank, and the ACO Instrument Fund.

GENER ATION OF MUSICIANS

Playing a major part in the development of the next generation of Australian string players has been an increasing role for us all in the ACO, and in 2013 our emerging artists and regional touring ensemble AcO2 came of age, undertaking a full, 12-concert national tour of all major concert halls as part of our 2013 national concert season. It was exciting for me to lead this group of fine young musicians, and immensely reassuring to know that the country’s musical future is in such talented hands.

My colleagues in the Orchestra rose to the challenge of every program, tour, premiere and collaboration with their signature commitment and exceptional artistry, and I am deeply grateful to all of them for making the life of this Artistic Director musically rewarding. theEducation ACO We celebrate theso 10th anniversary of our While National remains an evenly matched ensemble of musicians, I cannot Program this year and are committed to providing immersive sign off 2013 without thanking some specific individuals music education opportunities for children and young who showed special in 2013, our two musicians across theleadership country. Thanks to especially you, our supporters, Principal Violins Helena Rathbone and Satu Vänskä who we are nurturing the future of Australian music. led full national tours, Aiko Goto who brought her tireless and energy to our newly formed orchestra Itspirit is my vision to continue delivering andyouth expanding our – the ACO Academy, and to Timo-Veikko Valve who curated an important programs, introducing more young people to the intimate series ofof chamber joys and benefits music. concerts in Pier 2/3 at Walsh Bay.

Please join us by supporting our National Education Program.

Richard Tognetti AO RICHARD TOGNETTI ao Artistic Director Artistic Director

To donate please visit ACO.COM.AU/SUPPORT/DONATE For more information please phone Ali Brosnan on (02) 8274 3830 or email patrons@aco.com.au 5

Image: Students and ACO musicians participating in a workshop at Sunshine Harvester School, presented in partnership with the Australian Children’s Music Foundation. Image © Lee Te Hira