#ACO16
PRINCIPAL PARTNER
Join Richard Tognetti and the ACO as they take on the holy trinity of Western music – Bach, Mozart and Beethoven – in a concert featuring Beethoven’s epic Grosse Fuge, Mozart’s majestic Turkish Violin Concerto, and Bach’s influential masterpiece The Art of Fugue. BACH Contrapunctus 1–4 from The Art of Fugue MOZART Violin Concerto No.5 in A major ‘Turkish’ BEETHOVEN (arr. strings) String Quartet in B-flat major, Op.130 BEETHOVEN (arr. strings) Grosse Fuge, Op.133 Richard Tognetti Director & Violin
5-21 MAY ADEL AIDE, BRISBANE, CANBERR A MELBOURNE, NEWCASTLE, PERTH SYDNE Y, WOLLONGONG
PRINCIPAL PARTNER
NATIONAL TOUR PARTNER
BOOK NOW ACO.COM.AU | 1800 444 444 (NO BOOKING FEES)
Proudly supports the
and the performance of The Reef, celebrating Australian excellence on the world stage.
PROUDLY SUPPORTING THE
Major Partner of the New York premiere of The Reef. Celebrating Australian excellence on the world stage.
PRE OR POST THEATRE MENU
$45 Includes: Main Course & A Glass of Wine
PHONE BOOKINGS:
+61 2 9229 7788
ONLINE BOOKINGS:
www.gpogrand.com
ADDRESS:
Ground Floor, No. 1 Martin Place, Sydney
OPENING HOURS:
Mon-Sat 12pm-3pm, Mon-Sat 6pm-10pm
@gpogrand
@gpogrand @gpogrand
POHO FLOWERS
/IntermezzoItalianRestaurant
Potts Point, Sydney
www.pohoflowers.com.au
Glyndebourne 2016
July 16-23, 2016 $5,850 pp, twin share (land content only) $1,189 single supplement Be quick – Maximum of 12 participants Academy Travel invites you to the UK’s most prestigious summer opera festival, held on the Glyndebourne estate in the Sussex Downs, south of London. Enjoy world-class productions with leading singers and the London Philharmonic Orchestra in the pit. Academy Travel is a corporate sponsor of Glyndebourne, giving us access to the best tickets to sold-out performances.
> Rossini’s The Barber of Seville > Mozart’s The Marriage of Figaro > Janacek’s The Cunning Little Vixen The tour program includes a night in London, six nights in the Sussex Downs, pre-performance talks by music educator Robert Gay, many meals, and excursions to Sissinghurst Castle and other local attractions.
academytravel.com.au
02 9235 0023
Glyndebourne’s colourful production of Janacek’s The Cunning Little Vixen. Photography by Bill Cooper
Glyndebourne opera festival week
› EXPERT TOUR LEADERS › MAXIMUM 20 IN A GROUP › CAREFULLY PLANNED ITINERARIES
tailored small group Journeys
N AT ION A L T OUR PA R T NER
The ACO is one of the world’s most unique, vibrant and distinguished touring ensembles. By the end of 2016, the ACO will have toured eight times in Australia and twice internationally. I am pleased to say that Virgin Australia recently extended its relationship with the ACO as Principal Partner until 2018. We are delighted to assist the Orchestra in sharing its music with Australia and the world through our extensive domestic and international network. In addition to our ongoing support for the ACO as Principal Partner, Virgin Australia is the National Tour Partner of Cinemusica. This tour brings together two great Australian arts companies – the ACO and Synergy Percussion. We are pleased to present a program that shares our values of innovation and collaboration. We hope you enjoy this performance and look forward to welcoming you on board soon.
John Borghetti
PRINCIPAL PARTNER
Chief Executive Officer Virgin Australia
7
ENG AGE W I T H US SOCIALLY
We’d love to hear from you – join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don’t forget the hashtag #ACO16. @a_c_o facebook.com/AustralianChamberOrchestra @AustChamberOrchestra
ACO BLOG
Visit the ACO Blog for up-to-date Orchestra news, interviews and insights. aco.com.au/blog
LOOK
Watch us Live in the Studio, go behind-the-scenes and watch ACO concert footage on YouTube. youtube.com/AustralianCO
8
LISTEN
Join us for a Spotify Session, hear concert tasters and playlists, and revisit past concerts on Spotify. aco.com.au/Spotify
YOUR SAY
Did you enjoy the concert? What was your favourite piece? Is this your first ACO experience? We love to hear what you think about our concerts and recordings or anything else you’d like to tell us. aco@aco.com.au
R ADIO
ACO concerts are regularly broadcast on ABC Classic FM. Cinemusica will be broadcast on Saturday 23 April at 8pm.
ME S S AGE F ROM T HE M A N A GING DIR E C T OR
Continuing the ACO’s strong tradition of fresh partnerships and a magpie’s eye for repertoire, Cinemusica brings the ACO together with Synergy Percussion. Many of Richard Tognetti’s previous collaborations – The Reef, The Glide, The Crowd and Musica Surfica – have explored the junction between music and cinema with live performances accompanied by carefully edited on-screen footage. Now Cinemusica takes the soundtrack of the silver screen out of its usual context, to shine a spotlight on some much loved cinema classics. Along with a national touring schedule packed to the brim with exciting guest artists, the ACO will continue its global presence when we take the outstanding Weimar Cabaret with Barry Humphries and Meow Meow to festivals in Edinburgh and Tanglewood, as well as presenting four performances in London. The Orchestra has also just returned from a two-week tour of the US performing Richard’s live music/surf film project The Reef, to standing ovations and enthralled audiences. Such ventures are made all the easier by the excellent support of our Principal Partner, Virgin Australia, also tour partner of Cinemusica. Now in the fourth year of our partnership, Virgin continues to ensure we are very well looked after in our travels across the country and abroad. Lastly, on a personal note, it is with a great sense of pride and keen anticipation that I take on the role as Managing Director of the Australian Chamber Orchestra. The ACO is one of the cornerstones of our country’s cultural distinctiveness and its Artistic Director, Richard Tognetti, is certainly one of the finest performers and artistic leaders Australia has ever produced. I look forward to seeing the Orchestra continue to take bold artistic steps, safe in the knowledge that there is an experienced and dedicated team to support them all the way. Richard Evans Managing Director 9
“Life is no brief candle to me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.� GEORGE BERNARD SHAW Please consider supporting the ACO with a gift in your will and make sure the ACO plays on for future generations. Your bequest will make a difference. For more information on our Continuo Circle please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au ACO.COM.AU
CINEMUSIC A ACO & SY NERGY PERCUS SION Richard Tognetti Director & Violin Timothy Constable Percussion Joshua Hill Percussion Bree van Reyk Percussion Bobby Singh Tabla XENAKIS Voile THOMAS NEWMAN (arr. Meurant) American Beauty (selections) HERRMANN Psycho: A Narrative for String Orchestra XENAKIS Psappha Interval TIMOTHY CONSTABLE Cinemusica – Two Movements for Percussion & Strings WORLD PREMIERE BARTÓK Music for Strings, Percussion and Celesta, Sz.106 Approximate durations (minutes): 5 – 8 – 15– 12 – INTERVAL – 10 – 27 The concert will last approximately two hours, including a 20-minute interval.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 11
W H AT YOU A R E A BOU T T O HE A R ‘The eye takes a person into the world. The ear brings the world into a human being.’ From the inception of motion pictures when the Lumière Brothers, Auguste and Louis, premiered Workers Leaving the Lumière Factory in December 1895, music has been integral to movies. Camille Saint-Saëns is believed to have been the first composer ever to write an original film score, for The Assassination of the Duke of Guise – an 18-minute silent movie directed by André Calmettes and Charles Le Bargy and written by Henri Lavedan. But it wasn’t until 1933 and the proliferation of ‘talkies’ when Max Steiner wrote the score to King Kong that music in film became a thing. Film composers began to use the very classical scoring technique of the ‘leitmotif’ to signify particular characters or events on the screen. The ubiquity of Wagner as the model for movie composers exists even today, particularly in
PICTURED: Psycho score.
mega blockbusters where it is de rigueur to have these musical signposts to announce who is on the screen and if they are good or bad or somewhere in between. A successful musical score will manipulate how we feel about the characters in a movie, what we think of the situation they are in, the importance of the scene in relation to others in the film, the progress of the story, etc: in short, the music creates mood. Take for example the shower scene from Psycho. Would this scene yield the same emotional response were it to be
12
‘The eye takes a person into the world. The ear brings the world into a human being.’
PICTURED: Scenes from Kubrick’s The Shining.
accompanied by, say the Blue Danube waltz? I think not. The sheer psychic terror of Janet Leigh in the shower, desperately struggling with her assailant, lives on, forever. Martin Scorcese, who used music by Ligeti, Penderecki, Feldman, Cage, Schnittke, Harrison, Adams and Scelsi for Shutter Island said: ‘A lot of music is used in movies today just to establish a time and a place and I think that is lazy . . . I want to take advantage of the emotional impact of music.’ Both Bernard Herrmann and Thomas Newman’s music expertly take advantage of music’s expressive impact. They both convey atmosphere and fleeting emotions. There is nothing leitmotivic about their approach to scoring. Newman’s elliptical approach to scoring is used to stunning effect in American Beauty, in its searing portrayal of suburbia. And Herrmann seeks to amplify the emotional punch of Psycho with his throbbing score for strings. Herrmann once said that Hitchcock ‘only finishes a picture 60%. I have to finish it for him.’ And speaking directly on this film, Hitchcock agreed: ‘33% of the effect of Psycho was due to the music.’ I have a friend who is a passionate music lover tell me about his experience with Bartók. He initially found his music inscrutable, impenetrable perhaps, and emotionally perplexing. Then he saw The Shining, and something was unlocked on a very visceral level. And it didn’t just open up Music for strings, but all of Bartók’s oeuvre. The visual representation of the music drew it into sharp focus. These sorts of associations enrich the listening experience. 13
‘In my music there is all the agony of my youth, of the resistance . . .’ XENAKIS Not all of the music on this program was used in films – Xenakis’ Psappha was used in a short film called Orson Welles’s the Other Side of the Wind: A Film by Orson Welles written and directed by Felix Else, but I’m not sure how widespread its box office release was . . . There could be some benefit to visual aids in understanding Xenakis’ music. The last time we performed Xenakis, a woman came up to me afterwards and said she felt as though she’d been exfoliated, such was the emotional intensity. His music is completely possessed by emotion. ‘In my music there is all the agony of my youth, of the resistance . . . From this was born my conception of the massing of sound events.’ Timothy Constable has written the eponymous work for this tour. His Cinemusica seeks to link some of the works, particularly the Newman and Bartók, both of which feature the ACO and Synergy together. Timothy said that there are not many pieces out there for this combination of instruments, especially that ‘feature both instrumental ensembles equally’. It has been 30 years since these two groups have collaborated and Timothy has composed a fantastically cinematic work to celebrate this reunion. In the 1950s, there was a movement to exclude music from films. The argument was that there’s no soundtrack to everyday existence. This idea resurfaced again with the Dogma films, and a few others, most notably the Coen Brothers’ No Country For Old Men – a filmic triumph with its sparse use of music, relying instead on the menace of Chigurh to create terror. But this is the exception not the rule. Music conspires with film in the best possible way. Bernard Herrmann described this union: ‘I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.’ Richard Tognetti
14
A BOU T T HE MUSIC Cinemusica? Certainly the music of Thomas Newman and Bernard Herrmann is closely associated with films. If you want to stretch the analogy further: Xenakis was inspired by the intensity of Ancient Greek drama; and there is a theatricality to the antiphonal (dialoguing choirs) stage set-up of Bartók’s Music for Strings, Percussion and Celesta. (Bartók’s work is used to chilling effect in The Shining and to dramatic effect in Being John Malkovich.)
PICTURED: Iannis Xenakis
IANNIS XENAKIS Born Braïla 1922. Died Paris 2001. VOILE Composed 1995. PSAPPHA Composed 1975.
But there are many ways in which the pieces in this program speak to each other. Bartók’s innovative combination of strings and percussion was on Timothy Constable’s mind when composing his own Cinemusica. And this repertoire makes us think about the way music arises from its sources. ‘Underpinnings’ could accurately serve as an ‘umbrella’ term for this concert – though not as catchy as ‘cinemusica’… Xenakis’ life could easily be the plot of a film. A young Greek opposes the Nazi occupation of his country and joins the Communist resistance to British attempts in 1944 to re-establish the monarchy. He is wounded by shrapnel from a British tank which causes a facial injury visible in photographs for the rest of his life. Escaping to France, he is sentenced to death in absentia but becomes a member of the group of architects and engineers clustered around the great Le Corbusier, and helps in the design of the priory of Sainte Marie de La Tourette (the window patterning of which is based on mathematical formulae that will underlie his music) and the Philips Pavilion at the 1958 Brussels World Fair (whose swirls are visual analogues to his music). Yearning to return to music after a youth cut short by war, Xenakis seeks lessons with Honegger and Milhaud, but only Messiaen truly sees his potential. His engineering training comes in handy. As Tom Service said in The Guardian in 2013, ‘[his] physical and mathematical understanding of the way individual particles interact with each other and create a larger mass . . . would produce one of the most fertile and prophetic aesthetic explorations in musical history...’ Xenakis’ musical theories are possibly the best-known aspect of his legacy and the formulae in his books of theory look forbidding. But all musical traditions make selections from the complete array of acoustic phenomena in nature. Xenakis considered traditional Western sources (even serialism) inadequate for his purposes. He dug deeper for foundations, looking for sonic possibilities in random theory, overall structural control in the law of large numbers. 15
As a result listeners might feel they are experiencing seismic events. Xenakis’ music is rooted ‘in richer and older phenomena even than musical history: the physics and patterning of the natural world, of the stars, of gas molecules, and the proliferating possibilities of mathematical principles’ but also deep in his own experience – the sonic events that comprise gunfire or the river of shouted slogans in a political demonstration. Xenakis must also have gleaned laws of ineluctable truth from the Greek drama he loved all his life. It’s music born from the spirit of tragedy (to reverse the Nietzschean slogan). As Michael Struck-Schloen once pointed out, string timbre provided Xenakis with a direct aural equivalent to the graphic depictions of sound he used as an alternative to conventional notation. The five-minute Voile comprises dense clusters, sharp attacks, the patterning of staggered entries, but a section near the middle derives its power from an ironic tunefulness as much as its unexpectedness. Xenakis’ lifelong interest in Greek literature is reflected in his 1975 Psappha, the title being a variant of Sappho, the name of the female poet whose metrical schemes influenced the piece.
PICTURED: Score of Xenakis’ Psappha.
The score is written as a graph or grid, making up 2,369 segments. It’s a work for percussion alone but Xenakis expresses no preference for instruments except to ask for three groups of woods and/or skins and three groups of metallic instruments. The precise choice of instruments and ergonomic layout is up to the player (or players, in this case) because Xenakis is mostly concerned with rhythm and duration (the instances of notes). Mathematical formulae underlie Xenakis’ music in ways that may be hard for the concertgoer to understand; the music of Thomas Newman and Bernard Herrmann arises from film and is correspondingly easier to interpret, or is it? 16
PICTURED: Thomas Newman
‘My name is Lester Burnham,’ says Kevin Spacey’s character in American Beauty. ‘I’m forty-two years old. In less than a year I’ll be dead.’
THOMAS NEWMAN Born Los Angeles 1955.
There is an inevitability to the plot of American Beauty which burns, not with the downward perdition of Greek tragedy, but cheerily underneath the whimsical quirkiness of American suburbanites. Losing his job gives Lester the excuse to throw over his stifling suburban existence, an act of rebellion which causes havoc for his wife, Carolyn, and daughter Jane, dealing with her own teenage angst.
AMERICAN BEAUTY (selections) Composed 1999. Arranged by Cyrus Meurant. I. Angela Undress II. Dead Already III. American Beauty
But the film exhorts us not so much to rebel, as to look deeper for unsuspected beauty. The core scene is probably Jane’s boyfriend Ricky Fitts’ home movie of a plastic bag floating in the breeze on a day ‘when it’s only a minute away from snowing . . . I realised that there was this entire life behind things.’ Alan Ball wrote his screenplay ‘on spec’ as a way of introducing himself around Los Angeles after moving from New York. Producers Dan Jinks and Bruce Cohen saw its potential and took the script to Dreamworks, whose belief in the movie also extended to giving distinguished theatre director, Sam Mendes, his first break in movies. The result was a classic, winning five Oscars in 2000. There is something perfect about the balance of tone in this film. The characterisations, particularly that of Annette Bening’s ‘Carolyn’, stay just shy of ‘over the top’. The multiple ‘points of view’ give the film a unique richness. And there are also striking, music-like, ‘time-warps’ – Lester’s slow-motion fantasy in the middle of half-time basketball entertainment, the fact that we know from the beginning that Lester will die. The soundtrack is a blend of dedicated composition and pre-existing music called for by the plot. The original music however is by Thomas Newman, a member of probably the most accomplished family in movie-music history (his father Alfred wrote the 20th Century Fox Fanfare, among other things).
17
Newman’s music is always marked by a precise sense of sound, uncanny choices of instrumentation. Full orchestra is used in some soundtracks; American Beauty is immediately recognisable by its ensemble of marimba, out-of-tune mandolin, tabla...And it manages the right tone of wry comment...
PICTURED: The iconic picture from American Beauty.
PICTURED: Alfred Hitchcock and Bernard Herrmann.
18
And simply! ‘American Beauty’, the floating bag scene, features the piano in a simple organum. ‘Dead Already’ consists basically of a marimba riff with very slight variations. ‘Angela Undress’ underlies the scene where teenage ‘siren’ Angela tells Lester that it’s her first time and, though he’s pursued her through much of the film, he suddenly realises he can’t permit himself to have sex with her. The piano part is basically a three-part texture with the odd piquant dissonance – strikingly simple – but anybody who has seen the film brings the emotional complexity of that scene to their listening. Almost alchemically the music is charged with meaning. Some critics have argued that American Beauty’s original music doesn’t live outside the film, but in a sense it does – even if it’s not usually found in a concert. Perhaps, as Ricky Fitts says, the music points to ‘the entire life behind things’.
BERNARD HERRMANN Born New York 1911. Died Los Angeles 1975.
Of course film music isn’t Richard Strauss, as Bernard Herrmann once scoffed. Because if it was Strauss you wouldn’t pay attention to the film.
PSYCHO: A NARRATIVE FOR STRING ORCHESTRA
But Herrmann underrated the importance of his own music in film, and particularly those films he worked on with Alfred Hitchcock, such as Psycho.
Composed 1960.
If he’d been born even 50 years earlier, Herrmann might have established a career in the concert hall or opera house. His Wuthering Heights was recorded in 1966 with soprano, Morag Beaton, later to be a regular with the then-Australian Opera. But the New Yorker went into more contemporary media – joining CBS Radio, albeit as a conductor who introduced symphonic repertoire over the airwaves, and has gone down in history as one of the great film composers, writing for Orson Welles, Truffaut, Scorsese and Brian de Palma. Hitchcock and Herrmann started working together after Hitchcock had finished the 1954 comedy, To Catch a Thief. Alfred and Alma Hitchcock hosted Bernard and his wife, Lucy, at their home in Bel Air. But the friendship was more one of artistic compatibility (and complement). Herrmann’s music provided the emotional heat of the dramas Hitchcock objectively but incisively pictured.
PICTURED: Alfred Hitchcock and Janet Leigh on the set of Psycho.
Hitchcock had the more puritanical temperament. Spoiler alert: the villain of Psycho is the murderous psychopath Norman Bates obsessed with preserving a post-mortem relationship with his mother. But Hitchcock’s censuring gaze is reserved for the thief Marion Crane who will be knifed by Norman before she can return the money. Clearly for Hitchcock, no amount of guilt can expiate a crime. Hitchcock was disappointed in the film he created from Paul Stefano’s screenplay (based on Robert Bloch’s sensationalist 19
novel). He wanted to cut it for TV. But Herrmann told Hitchcock to ‘leave it to me.’ Hitchcock returned from holiday to a score which elevated the movie to ‘classic’ status. Examples of what Herrmann had done? The incisive string music for the credits promises a creepy story to follow, but Herrmann makes it serve a stunning dramatic purpose as well. Thirty minutes in, Marion Crane drives through inland California, with stolen money in her trunk. The visuals consist of close-ups of Marion’s face, the changing road ahead; the scene lacks foreboding. Herrmann brought back the opening music to tell the audience that something awful would happen to Marion. Psycho’s shower scene is justly famous. Hitchcock had originally demanded ‘no music’. When Herrmann played the scene with his stabbing violin glissandos, Hitchcock was impressed, calling his original stipulation ‘an improper suggestion’. The murder in the shower is now one of moviedom’s iconic images. But try to ‘un-hear’ Herrmann’s screeching violins.
PICTURED: Timothy Constable
TIMOTHY CONSTABLE Born Sydney 1983. CINEMUSICA – TWO MOVEMENTS FOR PERCUSSION & STRINGS Composed 2016, for Bree and Joshua. I. The Lost Chords/Joshua’s Diabolical Staircase II. Blues for Bobby
Herrmann made it into a concert suite in the 1960s. Even in the concert hall people may associate the music with remembered images but the music is listenable in its own right. Herrmann’s use of strings alone (a limited palette in deference to the film’s black and white) forces from him a convincing range of string colours. Even if some of Herrmann’s ideas had originated in earlier concert works, we can concede there are instances where film music assumes a life of its own in the concert hall, regardless of what Herrmann may have said about Strauss. ‘You’re on the right track’, said Synergy’s Artistic Director, Timothy Constable when I outlined my thoughts on this program. (Constable’s comments on his own work are included in this booklet too.) I asked him to elaborate on how it relates to this program’s ‘themes’. You said in your note that this program elicited something divergent from your usual style? What I was getting at was that I was actually trying consciously to link the works. I was trying to draw some connective threads between disparate styles, particularly the Bartók and the Newman which are the other works which involve both groups playing together. Bartók went back to baroque forms in his later work. Why do you think you’re more comfortable with a form such as chamber symphony? It’s one of those things. Even though there’s going to be a physical structure in place where the three percussionists are out front, I’m just more comfortable sharing the material right throughout the band. All I’m saying is that it’s not like a percussion concerto with string orchestra backing.
20
There were also logistical constraints around mounting another work directly before the Bartók and trying to observe a staging structure that allows us to move relatively easily between the two. And I thought, well Bartók’s antiphonal effect is a damn good idea so I’ll write something that can work in that configuration. One abiding stylistic thing of mine is the hocket [interlocking] and variants on that technique. That sort of symmetry of right and left is very intrinsic to percussion because we’ve got these two hands and we’re always dealing with that right and left duality. As regards the stereo thing, I’ve got myself in the middle and then Bree and Josh out to the side. And from there it’s just natural to follow Bartók’s layout. You talk about ‘withholding an element’ in relation to film music? Can you elaborate in the case of the two film pieces on this program and your own? Less for the Herrmann but I think Newman represents our postMinimalist world as well as anybody. There’s still that old-guard of big action films full of heavy, dense scores. (There seems to be some implicit understanding that the music is going to be mixed so far back from all the sound-effects that you can rail away down in the background there.) But in the case of Newman and some of my favourite contemporary film scores, the musical elements can be quite forward relative to the dialogue and foley (sound effects). But the music itself is essentialised and doesn’t, on one hand, draw too much attention; on the other, tells a lot of story with deliberately fewer elements. That’s all that I was getting at. Not Minimalism, per se; just that notion of restraint. BÉLA BARTÓK Born Nagyszentmiklós 1881. Died New York 1945. MUSIC FOR STRINGS, PERCUSSION AND CELESTA, SZ.106 Composed 1936. I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto
At one stage Iannis Xenakis had wanted to be the Greek Bartók, uniting the folk music of his homelands with Western classical music. Bartók didn’t delve like Xenakis into statistical and acoustic phenomena, but his research into the folk music of his region led to a completely original style. Bartók was discontented with the musical materials he had inherited as a music student in Budapest around the turn of the 20th century. As a proud Hungarian he recoiled from the Germanic associations of the classical-romantic tonal system. It was the traditional singing of a Transylvania-born maid Lidi Dósa, overheard at a Hungarian holiday resort in late 1904, that turned him onto the folk music of his own region. Bartók set out to record the music of Eastern Europe, often in the company of compatriot Zoltán Kodály. Funnily enough, his voluminous collections of Slovakian and Romanian songs outweighed the purely Hungarian offerings, and what started out as an exercise in nationalism ended up as a quest to demonstrate universal principles of music-making. His folksong collecting activities went as far east as Turkey (in the same year that he wrote the ‘Music for Strings’) and as far west as 21
PICTURED: Bartók at the piano, 1936.
North Africa, where in a dingy inn he had a vision of a world map showing the connections between national songs. At first the influence of folk styles on Bartók’s style was superficial. Bluebeard’s Castle contains folk-like parlando voice parts but it is orchestrated like the music of Richard Strauss. Eventually, Bartók came up with a repertoire of scales, system of harmonic derivation and manner of elaborating form that arose from clues in folk music not the conventions of Western tonality. By the time of Music for Strings, Percussion and Celesta, however, Bartók was seeking a rapprochement with Western tradition, especially the music of Bach, as confirmation of his belief in the universality of music. Music for Strings, Percussion and Celesta was one of two commissions from Paul Sacher for Sacher’s Basel Chamber Orchestra in 1936. Sacher asked Bartók for ‘a piece for strings alone or with some other orchestral instruments’. Bartók’s reply on 23 June indicated that he was thinking of writing for strings plus piano, celesta, harp, xylophone and percussion and he hoped that such a combination would not cause difficulties. Bartók had long been fascinated by the sort of instrumental combinations introduced by people like Stravinsky in his Concerto for Piano and Winds. His innovation in the ‘Music for
22
Strings’ was to combine percussion with strings which were customarily associated with romantic warmth (at least this many decades before Psycho.) A love of Bach could be thought to inspire the opening of this work. But the expanding nature of fugue also expresses Bartók’s sense of ‘organic growth’. The work begins very simply with a chromatic figure in the violas (a chromaticism that Herrmann alludes to in Psycho when Marion suggests that Norman put his mother in a home). This melody expands and is added to (top and bottom) as more and more instruments enter. Finally, the apex is reached, with forte ringing out of the note E-flat, tonally the furthest remove from the opening note of ‘a’. ‘Apex’ is an apt word. One of Bartók’s customary forms was the arch. But it’s an arch in sound. The post-climax music is not an exact mirror of the opening. Real time demands abbreviation. There is some obeying of natural law here but it was probably instinctive: Bartók didn’t have Xenakis’ engineering degree. In the second movement, Bartók’s ingenious layout of forces becomes more obvious, with antiphonal use of groups. This sonata-form movement possesses some of the character of traditional Magyar dance. Although not as scientifically penetrating as Xenakis, Bartók too sought an identification with nature in much of his music. The third movement is one of Bartók’s ‘night musics’ – a term used to describe Bartók’s frequent slow-movement evocations of the insect-like mosaics of sound, flurries and arabesques you might hear in the night air. In the finale of this work, the four ‘breaths’ of the opening’s fugue provide the material for the episodes between returns of the rondo subject. The emotionally-satisfying climax is provided by expansion of the chromatically-wound fugal subject of the first movement into a diatonic statement. ‘Nothing forces us to acquire knowledge as effectively as pain,’ to paraphrase Aeschylus. And this could apply to the dramatic plots of American Beauty and Psycho and even the lives of Xenakis and Bartók (who defied, then fled Nazi-aligned Hungary in 1940). But the end-result of the Greek drama was actually catharsis, one self-aware step beyond ruin. The diatonic climax of Bartók’s Music for Strings, Percussion and Celesta provides that, as does the eruption into odd melody in Voile. But they probably spring as much, if not more, from their composers’ immersion in the wellsprings of their musical environments, than a desire to accompany a film or fulfil a tragic vision. Gordon Kalton Williams © 2016
23
TIMOTHY CONSTABLE TALKS ABOUT HIS WORK, CINEMUSICA Such a powerful instrumental combination, such a delightful timbral playground for a composer, and yet (I remain surprised) not so many pieces out there for it, that is, that feature both instrumental ensembles equally. The perfect commission, then. Being the last piece of the puzzle in quite a kaleidoscopic program inclined me to draw connections between the other works and, it must be said, elicited something quite divergent from my usual style. It also influenced my instrumental choices for the percussion – I would never write for xylophone, but when you need one in the Bartók immediately afterwards… The opening chords, borrowed from a hiphop piece I was writing in late 2015, felt like the ritornello for a percussion concerto grosso, but then as I continued spinning the piece out, it just became a chamber symphony – a form I’m much more at ease with. The ‘business out front, party out back’ diptych structure is one I’ve been into recently, and was further delineated in this case by my writing the first part (The Lost Chords/Joshua’s Diabolical Staircase) at the end of 2015, and the second (Blues for Bobby) in January 2016. Where the first part testifies to a knotted, thoughtful, end-of-year angst, the second is cast in broad and optimistic brushstrokes, natural in a Sydney January. I’ve had a lot of people comment that my music is ‘cinematic’, so I figured that that would just take care of itself. I am drawn to music that deliberately withholds an element, so that the listener, or the imagery of the film, can complete the picture. In the best ‘minimal’, ‘instrumental’ electronic dance music for example, there is plenty of space for you to sing your own song as you groove; or a cadence with no 3rd – again, its your choice how much optimism you want the piece to carry to its conclusion. Using percussion instruments which occur elsewhere in the program – vibraphone, xylophone, timpani, bass drum etc. – placed a useful limit on the composing process (since the possibilities are otherwise so endless) and helped me get started. There are of course a few small exceptions – Sixxen bars, steel tools, music box and the like – and each carries a significance and specificity to the Synergy sound-world. 24
R ICH A R D T OGNE T T I ARTISTIC DIREC TOR & VIOLIN
‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’ THE DAILY TELEGRAPH (UK) Australian violinist, conductor and composer Richard Tognetti was born in Canberra and raised in Wollongong. He has established an international reputation for his compelling performances and artistic individualism.
Photo by Jack Saltmiras
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 Bach releases available as a 5CD Box set: ABC Classics 476 6168) VIVALDI The Four Seasons BIS SACD-2103 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
He began his studies in his home town with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia. Richard performs on period, modern and electric instruments and 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 Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras. Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes; and created The Red Tree, inspired by Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica. Richard 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. He has given more than 2500 performances with the Australian Chamber Orchestra. 25
SYNERGY PERCUSSION Synergy percussion has the dual distinction of being Australia’s oldest and foremost contemporary music ensemble. A world of sound with percussion at its heart, the group celebrated 40 years of concerts, collaborations, recordings and commissions in 2014. Over four decades of huge cultural change, Synergy Percussion has remained vital and fiercely committed to defying expectations of what percussion music might aptly express. Core members Timothy Constable, Bree van Reyk and Joshua Hill are all award-winning and internationally acclaimed exponents of new music in their own right, equally at home on world-music stages, contemporary/ experimental art venues, pop concerts and recital halls. Photo by Karen Steains
Artistic Director Timothy Constable Business Director Lee McIver Artistic Administrator Tim Hansen Patron Carl Vine ao
The Ensemble’s expansive vision of percussion, together with the exceptionally wide musical experience of the members, past and present, has allowed the group to work together with a diverse and exemplary family of artists from around the world. Collaborators include Fritz Hauser, Hossam Ramzy, Omar Faruk Tekbilek, Aly N’Diaye Rose, Trilok Gurtu, Jose Vicente, Kazue Sawai, Dave Samuels, Evelyn Glennie, Riley Lee, Taikoz, Michael Kieran Harvey, Sydney Dance Company, Meryl Tankard and Regis Lansac, Akira Isogawa, Grainger String Quartet, William Barton, and the Leigh Warren Dancers, the Sydney and Melbourne Symphony Orchestras among many others. Well over 50 commissions of Australian and international composers has helped create an Australian percussion sonic identity, and contributed to the canon more generally. Notable commissions include Steve Reich’s Mallet Quartet (2009), the most significant percussion work of the composer’s since his 1971 work Drumming; Anthony Pateras’ beauty will be amnesiac or will not be at all (2013), the most ambitious Australian concert work for percussion; Nigel Westlake’s Omphalo Centric Lecture (1984), statistically the most-performed classical percussion ensemble piece in the world; Ross Edwards’ Prelude and Dragonfly Dance; Peter Sculthorpe’s Sun Song, and Djilile; and Gerard Brophy’s Book of Clouds. The group also commissions internally, and works by ensemble members have been performed internationally to high acclaim. synergypercussion.comPhoto by
26
TIMOTHY CONSTABLE PERCUSSION
Timothy Constable is an award-winning percussionist, composer and director, widely regarded as one of the finest percussionists of his generation. He is the Artistic Director of Synergy Percussion, and a member of the Sydney Symphony Orchestra. A compelling, creative and sensitive performer, he has performed as concerto and chamber music soloist at the majority of Australian classical music festivals, in New Zealand, Sweden, Switzerland, Poland, UK, Ireland, Senegal, USA, China, Korea, Nepal and South-East Asia.
Photo by Karen Steains
He is committed to both new and ancient music, with a large body of World/Australasian premieres to his name, including Steve Reich’s Mallet Quartet, György Ligeti’s Síppal, dobbal, nádihegedüvel, Anthony Pateras’ beauty will be amnesiac or will not be at all, Flesh and Ghost, works by Simon Holt, Lisa Lim, Arvo Pärt and Gerard Brophy among many others. In the realm of ancient music, he has undertaken detailed study with Senegalese master drummer Aly N’Dyiaye Rose, and Korean Jangoo with Kim Yeong-Taek and Kim Chong-Hee.
JOSHUA HILL
PERCUSSION
Joshua Hill completed his undergraduate and post-graduate study at the Sydney Conservatorium of Music. He also studied Korean Traditional Music at the National Gugak Centre in Seoul. Joshua is a core member of Australia’s premier percussion ensemble Synergy Percussion. He has also performed and recorded with many of Australia’s orchestras and ensembles including the Sydney Symphony Orchestra, The Australian Opera and Ballet Orchestra, Australian Chamber Orchestra, Canberra Symphony, Ensemble Offspring, Symphony Australis, Australian Baroque Brass, Taikoz, NSW Police Band and the Australian Air Force Air Command Band. Photo by Karen Steains
Joshua has also been a part of many recordings for anime, computer games and soundtracks for feature films. 27
BREE VAN RE YK PERCUSSION
Bree van Reyk is an Australian percussionist, drummer, composer and sound artist. She has toured and recorded extensively with the likes of Paul Kelly, Holly Throsby, Sarah Blasko, Lior, Katie Noonan, Darren Hanlon, and many other songwriters and ensembles. Bree is a long-standing member of Ensemble Offspring. She is associate director of Synergy Percussion and was 2015 Artist in Residence at Campbelltown Arts Centre, where she created In Stereo with Brussels-based artist Kate McIntosh, and MASSIVE BAND with 100 high school girls and women musicians.
Photo by Karen Steains
With visual artist Lauren Brincat, Bree has created new works for AGNSW, MCA, GOMA, MOFO, Next Wave and Performance Space with a particular focus on large-scale performative works including 2014’s No Performance Today which featured the NSW Police Band, and 2013’s Blood & Fire with 50 tambourine players. As a composer Bree has been commissioned by Shaun Parker Company, Bell Shakespeare, Sydney Dance Company, the MCA, NOMAD Percussion, and fashion designer Bianca Spender.
BOBBY SINGH TABLA
Born and raised in England, Bobby Singh spent a great deal of his childhood in Mumbai studying at Sangeet Mahabharati, an institute of music started by the great tabla maestro Pandit Nikhil Ghosh. Recognised with a great talent at a young age, Bobby became a student of Ghosh’s senior disciple Aneesh Pradhan, one of the most sought after tabla players in the world. Through Aneesh’s guidance, Bobby was nurtured into a mature and internationally renowned tabla player, both in traditional Indian classical music and cross cultural genres.
Photo by Matthew Cooper
28
Bobby is well known nationally and internationally for his exceptional ability to blend the traditional tabla style with a modern twist. Now a resident of Australia, he spends most of his time between India and Sydney. Bobby has received numerous awards and accolades, and has performed with some of the finest musicians including Greg Sheehan, David Hirschfelder, John Butler Trio, Sandy Evans, Pandit Ashok Roy, Shubha Mudgal, Joseph Tawadros and Slava Grigoryan, among many others.
AUS T R A L I A N CH A MBER ORCHE S T R A Richard Tognetti Artistic Director & Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Maja Savnik Violin Ike See Violin Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass PART-TIME MUSICIANS Zoë Black Violin Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello
‘If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK) From its very first concert in November 1975, the Australian Chamber Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble. Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 20 players (four part-time), giving more than 100 performances in Australia each year, as well as touring internationally. From red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland. The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries, and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank. The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards, and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.
29
MUSICI A NS ON S TAGE
Richard Tognetti ao 1 Artistic Director & Violin
Helena Rathbone 2 Principal Violin
Satu Vänskä 3 Principal Violin
Glenn Christensen Violin
Chair sponsored by Michael Ball ao & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts
Chair sponsored by Kate & Daryl Dixon
Chair sponsored by Kay Bryan
Chair sponsored by Terry Campbell ao & Christine Campbell
Aiko Goto Violin
Mark Ingwersen 4 Violin
Ilya Isakovich Violin
Liisa Pallandi Violin
Chair sponsored by Anthony & Sharon Lee Foundation
Chair sponsored by Ian Wallace & Kay Freedman
Chair sponsored by The Humanity Foundation
Chair sponsored by The Melbourne Medical Syndicate
Maja Savnik Violin
Ike See Violin
Zoe Black Violin
Thibaud Pavlovic-Hobba Violin
Chair sponsored by Di Jameson
30
Alexandru-Mihai Bota Viola
Nicole Divall Viola
Chair sponsored by Philip Bacon am
Chair sponsored by Ian Lansdown
Melissa Barnard Cello
Julian Thompson 6 Cello
Chair sponsored by Martin Dickson am & Susie Dickson
Chair sponsored by The Grist & Stewart Families
Caroline Henbest Viola
Chair sponsored by Peter Weiss ao
Daniel Yeadon Cello
Violin Doretta Balkizas Madeleine Boud Amy Brookman Madeleine Jevons
Cello Paul Stender Anna Pokorny
Viola Manuel Hofer guest principal
Courtesy of Orpheus Chamber Orchestra
Courtesy of Stuttgart Chamber Orchestra
Lisa Grosman Andrew Jezek
Players dressed by WILLOW and SABA
Timo-Veikko Valve 5 Principal Cello
Double Bass Jordan Frazier
Maxime Bibeau 7 Principal Bass Chair sponsored by Darin Cooper Foundation
Celeste Neal Peres da Costa Courtesy of Conservatorium of Music, University of Sydney
Harp Julie Raines
Piano Benjamin Martin 1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 3 Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. 4 Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 5 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. 6 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 7 Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from a private Australian benefactor. 31
ACO BEHIND T HE S CENE S BOARD Guido Belgiorno-Nettis am Chairman Liz Cacciottolo Deputy Bill Best John Borghetti Judith Crompton John Grill ao Anthony Lee Heather Ridout ao Carol Schwartz am Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo
Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant Bob Scott Sound Engineer EDUCATION Phillippa Martin ACO Collective & ACO Virtual Manager
MARKETING Derek Gilchrist Marketing Manager Mary Stielow National Publicist Hilary Shrubb Publications Editor Leo Messias Marketing Coordinator Cristina Maldonaldo Communications Coordinator Chris Griffith Box Office Manager
Zoe Arthur Acting Education Manager
Dean Watson Customer Relations Manager
Caitlin Gilmour Education Assistant
Christina Holland Office Administrator
FINANCE
INFORMATION SYSTEMS
EXECUTIVE OFFICE
Steve Davidson Corporate Services Manager
Ken McSwain Systems & Technology Manager
Richard Evans Managing Director
Fiona McLeod Chief Financial Officer
Emmanuel Espinas Network Infrastructure Engineer
Jessica Block Deputy General Manager
Yvonne Morton Accountant
Alexandra Cameron-Fraser Strategic Development Manager
Shyleja Paul Assistant Accountant
Helen Maxwell Executive Assistant to Mr Evans & Mr Tognetti ao
DEVELOPMENT
ARTISTIC DIRECTOR Richard Tognetti ao ADMINISTRATIVE STAFF
ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Anna Melville Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator
32
Rebecca Noonan Development Manager Jill Colvin Philanthropy Manager Penelope Loane Investor Relations Manager Tom Tansey Events Manager
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
Tom Carrig Senior Development Executive
Telephone (02) 8274 3800 Box Office 1800 444 444
Sally Crawford Patrons Manager
Email aco@aco.com.au Web aco.com.au
V ENUE SUPP OR T Australian National University ADELAIDE TOWN HALL
QUEENSLAND PERFORMING ARTS
AUSTRALIAN NATIONAL UNIVERSITY
128 King William Street,
CENTRE
Llewellyn Hall School of Music
Adelaide SA 5000
Cultural Precinct,
GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) 8203 7590
Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101
Email townhall@adelaidecitycouncil.com
Telephone (07) 3840 7444
Web adelaidetownhall.com.au
Box Office 131 246
Martin Haese Lord Mayor Peter Smith Chief Executive Officer
William Herbert Place (off Childers Street), Acton, Canberra VENUE HIRE INFORMATION Telephone (02) 6125 2527 Email music.venues@anu.edu.au
Web qpac.com.au Christopher Freeman am Chair John Kotzas Chief Executive
ARTS CENTRE MELBOURNE
SYDNEY OPERA HOUSE
CITY RECITAL HALL
PO Box 7585,
Bennelong Point
A City of Sydney Venue
GPO Box 4274, Sydney NSW 2001
2–12 Angel Place,
St Kilda Road, Melbourne VIC 8004 Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au Tom Harley President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer
Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust
Sydney NSW 2000 GPO Box 3339, Sydney NSW 2001 Telephone (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Elaine Chia General Manager
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.
33
AC O & SY NERGY PERCUS SION CINEMUSIC A
TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY
Pre-concert talks take place 45 minutes before the start of every concert.
Sat 2 Apr, 6.15pm Sydney – City Recital Hall Pre-concert talk by Ken Healey am
Tue 5 Apr, 7.15pm Sydney – City Recital Hall Pre-concert talk by Ken Healey am
Sun 10 Apr, 1.45pm Melbourne Arts Centre Pre-concert talk by Robert Murray
Sun 3 Apr, 1.15pm Sydney Opera House Pre-concert talk by Ken Healey am
Wed 6 Apr, 6.15pm Sydney – City Recital Hall Pre-concert talk by Ken Healey am
Mon 11 Apr, 6.45pm Melbourne Arts Centre Pre-concert talk by Robert Murray
Mon 4 Apr, 6.15pm Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills
Sat 9 Apr, 7.15pm Canberra Llewellyn Hall Pre-concert talk by Ken Healey am
Tue 12 Apr, 6.45pm Adelaide Town Hall Pre-concert talk by Vincent Plush
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.
Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au
Chairman & Advertising Director Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music Alan Ziegler
OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333. 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–162 — 17785 — 1/020416 34
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
PRINCIPAL CHAIRS
Glenn Christensen Terry Campbell ao & Christine Campbell
Brian Nixon Principal Timpani
Richard Tognetti ao Artistic Director & Lead Violin Michael Ball ao & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts Helena Rathbone Principal Violin
Aiko Goto Anthony & Sharon Lee Foundation Mark Ingwersen Ian Wallace & Kay Freedman
Liisa Pallandi The Melbourne Medical Syndicate
Satu Vänskä Principal Violin
Ike See Di Jameson
Kay Bryan
VIOLA
Principal Viola peckvonhartel architects
Alexandru-Mihai Bota Philip Bacon am
Timo-Veikko Valve Principal Cello
Nicole Divall Ian Lansdown
Peter Weiss ao
Darin Cooper Foundation
FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett
Ilya Isakovich The Humanity Foundation
Kate & Daryl Dixon
Maxime Bibeau Principal Double Bass
Mr Robert Albert ao & Mrs Libby Albert
CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Grist & Stewart Families
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
35
ACO BEQ UE S T PAT RONS Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Philanthropy Manager, on 02 8274 3835. The late Charles Ross Adamson
Peter Evans
Selwyn M Owen
The late Kerstin Lillemor Andersen
Carol Farlow
The late Josephine Paech
The late Mrs Sybil Baer
Suzanne Gleeson
The late Richard Ponder
Steven Bardy
Lachie Hill
Ian & Joan Scott
Dave Beswick
David & Sue Hobbs
The late Mr Geoffrey Francis Scharer
Ruth Bell
The late John Nigel Holman
The Estate of Scott Spencer
The Estate of Prof Janet Carr
Penelope Hughes
Leslie C Thiess
Sandra Cassell
The late Dr S W Jeffrey am
G.C. & R. Weir
The late Mrs Moya Crane
Estate of Pauline Marie Johnston
Margaret & Ron Wright
Mrs Sandra Dent
The late Mr Geoff Lee am oam
Mark Young
Leigh Emmett
Mrs Judy Lee
Anonymous (12)
The late Colin Enderby
The late Shirley Miller
ACO GENER A L SUPP OR T 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 Sally Crawford, Patrons Manager on 02 8274 3830 Andrew Andersons
Peter & Edwina Holbeach
John & Lynnly Chalk
Michael Horsburgh am & Beverley Horsburgh Jeanne-Claude Strong
Dr Jane Cook
Penelope Hughes
Dr Jason Wenderoth
Paul & Roslyn Espie
Mike & Stephanie Hutchinson
Brian Zulaikha
Dr Roy & Gail Geronemus
Professor Anne Kelso ao
Anonymous (2)
Jennifer Hershon
Kevin & Deidre McCann
Douglas & Elisabeth Scott
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 unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830. MEMBERS Clare Ainsworth Herschell
Aaron Levine
Louise & Andrew Sharpe
Justine Clarke
Royston Lim
Emile & Caroline Sherman
Este Darin-Cooper & Chris Burgess
William Manning
Michael Southwell
Amy Denmeade
Rachael McVean
Helen Telfer
Catherine & Sean Denney
Barry Mowzsowski
Karen & Peter Tompkins
Anita George
Paris Neilson & Todd Buncombe
Joanna Walton & Alex Phoon
Alexandra Gill
James Ostroburski
Nina Walton & Zeb Rice
Rebecca Gilsenan & Grant Marjoribanks
Nicole Pedler
Peter Wilson & James Emmett
Adrian Giuffre & Monica Ion
Michael Radovnikovic
John Winning Jr.
John & Lara James
Jessica Read
36
ACO T RUS T S & F OUNDAT IONS
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
AC O 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
Dr William F Downey
Jane Kunstler
Garry & Susan Farrell
John Landers & Linda Sweeny
Gammell Family
Genevieve Lansell
Edward Gilmartin
Bronwyn & Andrew Lumsden
Tom & Julie Goudkamp
Patricia McGregor
Philip Hartog
OCTET $100,000 – $199,999
Trevor Parkin
Brendan Hopkins
John Taberner
Elizabeth Pender
Angus & Sarah James
Robyn Tamke
Daniel & Jacqueline Phillips
Anonymous (2)
Ryan Cooper Family Foundation
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
Benjamin Brady
Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman 37
ACO SPECI A L C OMMIS SIONS & SPECI A L PRO JE C T S 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
SPECIAL COMMISSIONS PATRONS
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
Major Producers Danielle & Daniel Besen Foundation Janet Holmes à Court ac Charlie & Olivia Lanchester Producers Richard Caldwell Warren & Linda Coli Graham & Treffina Dowland Steve Duchen & Polly Hemphill Wendy Edwards Doug Elix Gilbert George Tony & Camilla Gill
ACO ACADEMY BRISBANE LEAD PATRONS
Di Jameson Wayne Kratzmann Bruce & Jocelyn Wolfe PATRONS Andrew Clouston 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
The ACO would like to pay tribute to the following donors who support our international touring activities in 2016:
Rebecca John & Daniel Flores Patrick Loftus-Hills (board member ACO US) & Konnin Tam Sally & Steve Paridis (board members ACO US)
LEAD PATRONS Marc Besen ac & Eva Besen ao
Mr Robert Albert ao & Mrs Libby Albert
Peter & Victoria Shorthouse
Linda & Graeme Beveridge
John Taberner (board member ACO US) & Grant Lang Alden Toevs & Judi Wolf
Anonymous (1) INTERNATIONAL TOUR PATRONS
Jan Bowen Kay Bryan Stephen & Jenny Charles
Major Partner
Daniel & Helen Gauchat Corporate Partner
Delysia Lawson
Lexington Partners
Julianne Maxwell
Manikay Partners
Alf Moufarrige Angela Roberts
SUPPORTER Leo & Mina Fink Fund EMANUEL SYNAGOGUE PATRONS CORPORATE PARTNERS
Yvonne von Hartel am & Robert Peck am peckvonhartel architects
Jim & Averill Minto
Corporate Supporter UBS
Adina Apartment Hotels Meriton Group LEAD PATRON The Narev Family PATRONS David Gonski ac
Mike Thompson
Lesley & Ginny Green
Peter Weiss ao
The Sherman Foundation
MOUNTAIN PRODUCERS’ SYNDICATE
Justin Phillips & Louise Thurgood-Phillips
Major Producers Janet Holmes à Court Warwick & Ann Johnson Producers Peter & Victoria Shorthouse 38
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 Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au Donor list current as at 11 February 2016 PATRONS
Andrew & Andrea Roberts
Lorraine Logan
Marc Besen ac & Eva Besen ao
Mark & Anne Robertson
Macquarie Group Foundation
Janet Holmes à Court ac
Margie Seale & David Hardy
David Maloney & Erin Flaherty
Rosy Seaton & Seamus Dawes
Pam & Ian McDougall
Tony Shepherd ao
Brian & Helen McFadyen
Peter & Victoria Shorthouse
P J Miller
Mr Robert Albert ao & Mrs Libby Albert
Anthony Strachan
The Myer Foundation
Australian Communities Foundation – Ballandry Fund
John Taberner & Grant Lang
peckvonhartel architects
Leslie C. Thiess
John Rickard
Alden Toevs & Judi Wolf
Andrew Roberts
The Belalberi Foundation
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Paul Schoff & Stephanie Smee
Guido & Michelle Belgiorno-Nettis
David & Julia Turner
Luca Belgiorno-Nettis am
E Xipell
Andre Biet
Peter Yates am & Susan Yates
Leigh & Christina Birtles
Peter Young am & Susan Young
EMERGING ARTISTS & EDUCATION PATRONS $10,000+
Daria & Michael Ball Steven Bardy & Andrew Patterson
Liz Cacciottolo & Walter Lewin
Anonymous (2)
Rod Cameron & Margaret Gibbs
Greg Shalit & Miriam Faine Jann Skinner Joyce Sproat & Janet Cooke Jon & Caro Stewart St George Foundation Mary-Anne Sutherland
Stephen & Jenny Charles
DIRETTORE $5,000 – $9,999
Alden Toevs & Judi Wolf
Rowena Danziger am & Ken Coles am
Geoff Ainsworth & Jo Featherstone
John Vallance & Sydney Grammar School
Ann Gamble Myer
Geoff Alder
Geoff Weir
Daniel & Helen Gauchat
Veronika & Joseph Butta
Westpac Group
Andrea Govaert & Wik Farwerck
Elizabeth Chernov
Simon & Amanda Whiston
Dr Edward C. Gray
Leith & Darrel Conybeare
Shemara Wikramanayake
John Grill & Rosie Williams
David Craig
Cameron Williams
Kimberley Holden
Liz Dibbs
Anonymous (8)
Angus & Sarah James
Bridget Faye am
Miss Nancy Kimpton
Ian & Caroline Frazer
Elmer Funke Kupper
A G Froggatt
Michael Ahrens
Irina Kuzminsky & Mark Delaney
Tony & Michelle Grist
David & Rae Allen
Bruce & Jenny Lane
Liz Harbison
Ralph Ashton
Prudence MacLeod
Kerry Harmanis
Will & Dorothy Bailey Charitable Gift
Anthony and Suzanne Maple-Brown
Annie Hawker
Doug & Alison Battersby
Alf Moufarrige
Fraser Hopkins
The Beeren Foundation
Jim & Averill Minto
Dr Wendy Hughes
Berg Family Foundation
John & Anne Murphy
I Kallinikos
Jenny Bryant
Louise & Martyn Myer Foundation
Mrs Judy Lee
Neil & Jane Burley
Jennie & Ivor Orchard
John Kench
Gilbert Burton
Bruce & Joy Reid Trust
Anthony & Sharon Lee Foundation
Kathryn Chiba
MAESTRO $2,500 – $4,999
39
Caroline & Robert Clemente
Michael & Tina Brand
In memory of Graham Lang
Alan Fraser Cooper
Vicki Brooke
Airdrie Lloyd
Robert & Jeanette Corney
Diana Brookes
Colin Loveday
Heather Douglas
Dr Catherine Brown-Watt psm
Robin Lumley
Anne & Thomas Dowling
Jasmine Brunner
Diana Lungren
Michele Duncan
Sally Bufé
Magellan Logistics Pty Ltd
Suellen Enestrom
Gerard Byrne & Donna O’Sullivan
Greg & Jan Marsh
Euroz Securities Limited
Andrew & Cathy Cameron
David Mathlin
Jane & Richard Freudenstein
Terry Campbell ao & Christine Campbell
Janet Matton
John Gandel ao & Mrs Pauline Gandel
Ray Carless & Jill Keyte
Kevin & Deidre McCann
Anna Gauchat
Roslyn Carter
Nicholas McDonald
Robert & Jennifer Gavshon
Andrew Chamberlain
Ian & Pam McGaw
Megan Grace
Julia Champtaloup & Andrew Rothery
Colin McKeith
Warren Green
Patrick Charles
J A McKernan
Nereda Hanlon & Michael Hanlon am
Angela & John Compton
Bruce McWilliam
Reg Hobbs & Louise Carbines
Laurie & Julie Ann Cox
Roslyn Morgan
Gavin & Christine Holman
Carol & Andrew Crawford
Suzanne Morgan
Simon & Katrina Holmes à Court
Judith Crompton
Glenn Murcutt ao
Erica Jacobson
J & P Curotta
Baillieu Myer ac
Mark Johnson
Ian Davis
Stuart Nash
Ros Johnson
Michael & Wendy Davis
Dennis & Fairlie Nassau
The Alexandra & Lloyd Martin Family Foundation
Stephen Davis
Nola Nettheim
Defiance Gallery
Jennifer Senior & Jenny McGee
Anthony Niardone & Glen Hunter
Martin Dolan
Jane Morley
Paul O’Donnell
Dr William F Downey
Sandra & Michael Paul Endowment
Ilse O’Reilly
Daniel Droga
Patricia H Reid Endowment Pty Ltd
James Ostroburksi & Leo Ostroburski
Emeritus Professor Dexter Dunphy am
Perpetual Trustee Company Limited
Anne & Christopher Page
Sharon Ellies
Ralph & Ruth Renard
Prof David Penington ac
Leigh Emmett
The Sandgropers
G.V. Pincus
Peter Evans
D N Sanders
Julia Pincus & Ian Learmonth
Julie Ewington
Petrina Slaytor
Lady Primrose Potter ac
Elizabeth Finnegan
John & Josephine Strutt
Beverley Price
Don & Marie Forrest
Ralph Ward-Ambler am & Barbara Ward-Ambler
Mark Renehan
Anne & Justin Gardener
Mrs Tiffany Rensen
Kerry Gardner
Dr S M Richards am & Mrs M R Richards
Matthew Gilmour Colin Golvan qc
Warwick & Jeanette Richmond in Memory of Andrew Richmond
VIRTUOSO $1,000 – $2,499
In memory of José Gutierrez
Roadshow Entertainment
Jennifer Aaron
Paul Hannan
Em. Prof. A W Roberts am
AJ Ackermann
Gail Harris
J. Sanderson
Aberfoyle Partners
Bettina Hemmes
In Memory of H. St. P. Scarlett
Alceon Group
Christian Holle
Lucille Seale
Annette Adair
Monique D’Arcy Irvine & Anthony Hourigan
Dr. Margaret Sheridan
Linda Addy
Merilyn & David Howorth
Diana & Brian Snape am
Samantha & Aris Allegos
Penelope Hughes
Maria Sola
Jane Allen
Launa & Howard Inman
Dr P & Mrs D Southwell-Keely
Matt Allen
Colin Isaac & Jenni Seton
Keith Spence
Philip Bacon am
Phillip Isaacs oam
Mark Stanbridge
Lyn Baker & John Bevan
Will & Chrissie Jephcott
Ross Steele am
Adrienne Basser
Brian Jones
Geoffrey Stirton & Patricia Lowe
David & Anne Bolzonello
Bronwen L Jones
Dr Charles Su & Dr Emily Lo
Brian Bothwell
Josephine Key & Ian Breden
Tamas & Joanna Szabo
Richard & Suzie White Anonymous (3)
40
Victoria Taylor
Margaret Dunstan
Margaret McNaughton
Jane Tham & Philip Maxwell
M T & R L Elford
Suzanne Mellor
Robert & Kyrenia Thomas
Christine Evans
Tempe Merewether
Anne Tonkin
Eddy Goldsmith & Jennifer Feller
Cameron Moore & Cate Nagy
Matthew Toohey
Penelope & Susan Field
Simon Morris & Sonia Wechsler
Angus Trumble
Jean Finnegan & Peter Kerr
Elizabeth Manning Murphy
Ngaire Turner
Jessica Fletcher
Marie Morton
Kay Vernon
Michael Fogarty
Dr G. Nelson
Rebecca & Neil Warburton
Peter Fredricson
J Norman
John Wardle
Steven Frisken
Graham North
Marion W Wells
Sam Gazal
Robin Offler
Gillian Woodhouse
Dr Roy & Gail Geronemus
John O’Sullivan
Harley Wright & Alida Stanley
Brian Goddard
Robin Pease
Don & Mary Ann Yeats
Marilyn & Max Gosling
Kevin Phillips
William Yuille
Arnoud Govaert
Bernard Hanlon & Rhana Pike
Rebecca Zoppetti Laubi
Jillian Gower
Rosie Pilat
Anonymous (20)
Grandfather’s Axe
Michael Power
Katrina Groshinski & John Lyons
John Prendiville
Annette Gross
Beverly & Ian Pryer
Lesley Harland
John Riedl
Gaye Headlam
Angela Roberts
Kingsley Herbert
GM & BC Robins
Tessa Barnett
Dr Penny Herbert in memory of Dunstan Herbert
Sally Rossi-Ford
Robin Beech
Lachie Hill
Elizabeth Bolton
Marian Hill
In memory of Peter Boros
Sue & David Hobbs
C Bower
Geoff Hogbin
Denise Braggett
Bee Hopkins
Mrs Pat Burke
Prof Angela Hull ao
Hugh Burton-Taylor
Dr & Mrs Michael Hunter
Heather Carmody
Mary Ibrahim
J. M. Carvell
Dr Vernon & Mrs Margaret Ireland
Casimir Skillecorn
Nada Chami
Owen James
Spire Capital
Fred & Angela Chaney
Barry Johnson & Davina Johnson oam
Fionna Stack
Fred & Jody Chaney
Caroline Jones
Professor Fiona Stewart
Dr Roger Chen
Angela Karpin
Georgina Summerhayes
Colleen & Michael Chesterman
Bruce & Natalie Kellett
In memory of Dr Aubrey Sweet
Richard & Elizabeth Chisholm
Graham Kemp & Heather Nobbs
Barbara Symons
Olivier Chretien
Jacqueline & Anthony Kerwick
Gabrielle Tagg
ClearFresh Water
Karin Kobelentz & Miguel Wustermann
Arlene Tansey
Paul Cochrane
Ms Sarah R Lambert
David & Judy Taylor
Warren & Linda Coli
Prof Kerry A Landman
G C & R Weir
Sally Collier
Philip Lawe Davies
Taryn Williams
P. Cornwell & C. Rice
TFW See & Lee Chartered Accountants
Sally Willis
Annabel Crabb
David & Sandy Libling
Brian Zulaikha
Sam Crawford Architects
Dimitra Loupasakis
Anonymous (24)
Marie Dalziel
Megan Lowe
Jill Davies
Rob Mactier
Mari Davis
Dr & Mrs Donald Maxwell
Kath & Geoff Donohue
Kathleen McFarlane
In Memory of Raymond Dudley
H E McGlashan
CONCERTINO $500 – $999 Mrs C A Allfrey Elsa Atkin am Rita Avdiev A. & M. Barnes
Robin Rowe Mrs J Royle Christine Salter Garry Scarf & Morgie Blaxill Boris & Jane Schlensky Rena Shein Sherborne Consulting Florine Simon
41
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 Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr John Borghetti Chief Executive Officer, Virgin Australia Mr Craig Caesar Mrs Nerida Caesar CEO, Veda Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Michael Chaney ao Chairman, Wesfarmers Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Ms Tracey Fellows Chief Executive Officer, REA Group Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel Mr Richard Freudenstein Chief Executive Officer, FOXTEL
42
Ms Ann Gamble Myer
Ms Gretel Packer
Mr Daniel Gauchat Principal, The Adelante Group
Mr Jeremy Parham Head of Langton’s, Langton’s
Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas
Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects
Mr John Grill ao Chairman, WorleyParsons Mr Grant Harrod Chief Executive Officer, LJ Hooker Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant Mr John Kench Chairman, Johnson Winter & Slattery Ms Catherine Livingstone ao Chairman, Telstra Mr Andrew Low
Mr Mark Robertson oam & Mrs Anne Robertson Ms Margie Seale & Mr David Hardy Mr Glen Sealey Chief Operating Officer, Maserati Australasia & South Africa Mr Tony Shepherd ao Mr Peter Shorthouse UBS Wealth Management Mr Paul Sumner Chief Executive Officer, Mossgreen Pty Ltd Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd
Mr David Mathlin
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Ms Julianne Maxwell
Mr David & Mrs Julia Turner
Mr Michael Maxwell
Ms Vanessa Wallace & Mr Alan Liddle
Ms Naomi Milgrom ao
Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige Chief Executive Officer, Servcorp
Mr Peter Young am & Mrs Susan Young
AC O 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.
AC O COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director, Reserve Bank of Australia Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings Bill Best Maggie Drummond Tony Gill 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
MELBOURNE DEVELOPMENT COUNCIL
EVENT COMMITTEES
Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Liz Cacciottolo (Chair)
SYDNEY Jane Adams Lillian Armitage Eleanor Gammell
Debbie Brady
Lucinda Cowdroy
Paul Cochrane Investment Advisor, Bell Potter Securities
Sandra Ferman
Ann Gamble-Myer
Julie Goudkamp
Colin Golvan qc Shelley Meagher Director, Do it on the Roof
JoAnna Fisher Fay Geddes Deb Hopper Lisa Kench Jules Maxwell Karissa Mayo Edwina McCann
James Ostroburski Director, Grimsey Wealth Joanna Szabo Simon Thornton Executive General Manager, Toll IPEC
Elizabeth McDonald Paris Neilson Nicole Sheffield John Taberner Lynne Testoni BRISBANE Philip Bacon
DISABILITY ADVISORY COMMITTEE Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts Richard Evans Managing Director, ACO Alexandra Cameron-Fraser Strategic Development Manager, ACO
Kay Bryan Andrew Clouston Ian & Caroline Frazer Cass George Edward Gray Wayne Kratzmann Helen McVay Shay O’Hara-Smith Marie-Lousie Theile Beverley Trivett Bruce & Jocelyn Wolfe
Dean Watson Customer Relations & Access Manager, ACO 43
AC O PA S ACO PAR TRNER T NERS PRINCIPAL PARTNER
PRINCIPAL PARTNER: ACO COLLECTIVE
NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
44
EVENT PARTNERS
AC O NE W S THE REEF US TOUR The ACO’s unique surf film and live music experience, The Reef, gave its US debut to four highly diverse and appreciative audiences on the east and west coasts in February. The tour started in Los Angeles in the iconic Frank Gehry designed Walt Disney Concert Hall, where an audience of over 1,500 gave The Reef a rousing standing ovation. Our New York performance took place to a sold out house at the 92nd Street Y. Many of our Reef Producers’ Syndicate members travelled from Australia for the performance. PICTURED : ABOVE: New York Reception – Maja Savnik and ACO US Director Sally Paridis. BELOW LEFT: New York Reception – ACO US Director Max Gundy and Shelagh Gundy. BELOW RIGHT: New York Reception – Simon Yeo, Charlie Lanchester and Joseph Nizeti. BOTTOM LEFT: New York Reception – Richard Tognetti and the Australian Consul-General in New York, The Hon Nick Minchin. BOTTOM RIGHT: LA Performance for Tourism WA - Stephen Pigram Shelton Murray and ACO Musicians.
Following the concert, our special guests attended a packed postconcert reception in the Weill Art Gallery at the 92nd Street Y, kindly hosted by Australian Consul General to New York, the Hon. Nick Minchin. The room was buzzing and everyone was on a high after such a stunning performance. After New York, the tour headed to Richmond Virginia, where again The Reef was hugely popular with the audience at The University of Virginia. Back in LA, Tourism Western Australia presented a special private performance of highlights from The Reef for hundreds of appreciative tourism industry representatives at the 2016 Australian Tourism Summit. There couldn’t have been a more perfect way to showcase the spectacular culture, heritage and environment that Australia has to offer.
45
AC O NE W S ACO’S ‘A NIGHT OF NIGHTS’
PICTURED: BELOW: Richard Tognetti leads the ACO. BOTTOM LEFT: Richard Tognetti performing with some of the talented students from the Jewish colleges. Photo © Stephen Reynolds BOTTOM RIGHT: Liisa Pallandi and residents of the Emmy Monash Aged Care Facility. Photo © Peter Haskin
46
On Wednesday 9 March, the ACO performed to an ecstatic audience at the Melbourne Hebrew Congregation for the third consecutive year. The evening began with a short and spirited performance of a selection of Bartók’s ‘Romanian Folk Dances’ by six talented young students, playing with the ACO and led by Richard Tognetti. The Orchestra then presented a captivating program featuring works by Handel, Mozart and Beethoven and ending with Ravel’s haunting Kaddish. The following day, Mark Ingwersen and Liisa Pallandi performed a short recital for residents of the Emmy Monash Aged Care Facility in Caulfield. Over 100 residents and their family members were treated to an array of uplifting repertoire by JS Bach, Leclair and Prokofiev. Our warm and heartfelt thanks are extended to Gandel Philanthropy, The Pratt Foundation, Marc Besen ac and Eva Besen ao and The Leo and Mina Fink Fund for their generous support of the Orchestra, making these special workshops and performances possible, and enabling the Synagogue to raise money for their many community outreach programs.
400
Shakespeare:
Shakespeare’s Globe Theatre Performances
Join Foxtel Arts in April as we mark 400 years since the death of William Shakespeare, with recorded live performances of Shakespeare’s best works from The Globe Theatre, London
Every Sunday to Wednesday 8.30PM April 3RD - 27TH The Tempest with Roger Allam as Prospero and Colin Morgan as Ariel
foxtelarts.com.au
HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD? When the violin in question is a rare Guadagnini, handmade in 1759, you celebrate by giving it the biggest possible audience you can find. That’s why we lent ours to the Australian Chamber Orchestra. That way, thousands of people can experience its remarkable sound. After all, an instrument this special is worth celebrating.