Slava, Rodrigo & Beethoven VII program

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Satu Vänskä, Principal Violin

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As one of the world’s leading oil and gas companies, Total appreciates that technical excellence, hard work, creativity and innovation are important drivers of success. When looking to form a flagship arts partnership in Australia, it was these attributes that attracted Total to the Australian Chamber Orchestra and its unique and exceptional musical performances.

For the fourth year, Total will be a National Tour Partner of the ACO, this time supporting the Slava, Rodrigo & Beethoven VII tour.

Australia is a key country for Total out of global operations which span 130 countries and include 100,000 employees.

Here we are an active participant in Australia’s oil and gas industry, investing many billions as a major partner in two LNG projects, and offshore exploration interests.

With Total committed to Australia long term, we hope to continue to make a positive contribution to Australia’s economy and to support exciting artistic endeavours like the ACO for as many as possible to experience. I very much hope you enjoy tonight’s performance.

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VA L E MICH A EL B A L L PICTURED, CLOCKWISE FROM TOP: Michael Ball with Richard Tognetti at the Bowral Fundraiser, 2009.

Michael Ball with Anne & John Leece, 2013.

Michael Ball with Peter Yates, 2012.

Michael Ball with Jessica Block and Guido Belgiorno-Nettis, 2011.

Michael Ball with Barry Humphries, 2010.

MICHAEL BALL

am

(1936–2016)

The ACO family recently lost one of our most passionate supporters, whose impact on the ACO has been profound.

Michael Ball’s philanthropic leadership and passion was as boundless as it was exemplary and will have an impact on the ACO long into the future.

Michael’s close association with the ACO began in 2005. From his position as Chairman of the ACO’s Bowral Event Committee through to his support of Richard Tognetti’s chair as a Medici Patron, his considerable support for the ACO’s National Education Program, and as a Patron of other projects, he was a passionately dedicated philanthropist and advocate for music excellence and music education.

Michael’s commitment to the arts and to arts philanthropy was not simply a matter of donating money, it was also about giving his time and building important support networks. In this sense, he acted as an ambassador for the ACO, using his passion and sense of adventure to encourage others to give generously.

His commitment to increasing private support for Australia’s cultural life was prolific. He was a leading philanthropist, an ambassador, and a true friend to Richard and all at the ACO. We will miss him greatly, and offer our deepest condolences to Daria, his family, and his many, many friends.

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“It’s clear that everything the ACO does is in the service of the music” MARGARET THROSBY

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AC040: The Fortieth Year captures the ACO on stage, in rehearsal, and in their private lives. With revealing text by Margaret Throsby and elegant photography

by Anthony Browell, ACO40 is a sumptuous souvenir of “one of the greatest chamber orchestras in the world” (The Guardian, UK).

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ME S S AGE F ROM T HE M A N A GING DIR E C T OR

This concert, featuring dazzling guitar virtuoso Slava Grigoryan, has been much anticipated by audiences since its announcement late last year. The magic combination of Slava and the ACO is always celebratory, and with this program we mark the passing of one of our most passionate supporters, the late Michael Ball. We will miss him greatly, and fondly remember all that he has done over many years for the ACO. In this spirit of celebration and generosity I also mark the arrival in October of this year of the biggest single gift in our 41-year history – a 1729 Guarneri cello (played by our Principal Cello Timo-Veikko ‘Tipi’ Valve) having been on loan to us for over ten years. This phenomenal gift comes from our most generous patron, Peter Weiss.

The ACO has enjoyed Peter’s company, friendship and support in many different guises over the years: as Patron of the Instrument Fund following an extraordinary $1m foundation donation; as Medici Patron of our Principal Cello, Tipi; as a Life Patron; as Patron of the Emerging Artists’ and Education Program; as Patron of the 2010 Trans-Atlantic Tour; as co-sponsor of numerous concerts; as founder and patron of special event concerts and recordings; as Chair of the Medici Council; and as former Deputy Chair of the ACO Board.

Peter is an essential part of what makes the Australian Chamber Orchestra great. And now, with this extraordinary gift of the Guarneri cello, his connection to and generosity for the ACO will go on in perpetuity. Peter, we offer you our profound thanks.

The generosity of our donors and friends like Michael and Peter, in concert with our audience and our many corporate supporters, keep the ACO ‘on the road’. I particularly thank Total, our National Tour Partner, for their ongoing relationship with the ACO and their assistance in bringing these concerts to you.

With only a few concerts left in this year’s roster, it’s time to secure your seats for next year. Single tickets go on sale from 24 November, so make sure you book now to avoid missing out!

Richard Evans 11

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SL AVA , RODR IGO & BEE T HOV EN V II Richard Tognetti Artistic Director & Violin Slava Grigoryan Guitar Helena Rathbone Violin 1 GORDON KERRY So dream thy sails * Quasi barcarola – Inquieto – Tranquillo

world premiere 1

RAVEL Le tombeau de Couperin 2 I. Prélude II. Forlane III. Menuet IV. Rigaudon RODRIGO Concierto de Aranjuez I. Allegro con spirito II. Adagio III. Allegro gentile Interval BEETHOVEN Symphony No.7 in A major, Op.92 I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto IV. Allegro con brio Approximate durations (minutes): Melbourne 21 – 23 – INTERVAL – 39 Other cities 15 – 23 – INTERVAL – 39 The concert will last approximately one hour and 50 minutes, including a 20-minute interval. * Gordon Kerry’s So dream thy sails was commissioned by Andrew and Fiona Johnston to mark the 90th birthday of Andrew’s father, David Johnston.

1 Melbourne only 2 Adelaide, Brisbane, Canberra, Perth and Sydney

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

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WHAT YOU ARE ABOUT TO HE AR ‘I consider it my duty to thank all the worthy members who took part in the concerts given on the 8th and 12th of December for the benefit of the Imperial Austrian and Royal Bavarian warriors wounded at the battle of Hanau, for the zeal displayed by them in so worthy a cause.’

So began Beethoven’s letter of thanks he wrote after the last concert in the assembly hall of the University of Vienna. The ‘worthy members’ included Ignaz Schuppanzigh (leader of the first violins), Antonio Salieri (Chief Capellmeister) and Louis Spohr, Giacomo Meyerbeer and Ignaz Moscheles, among others.

There is perhaps no concert in the history of music that inspires the sense of ‘I wish I were there when. . .’ more than these concerts, with this motley crew of performers – not only the ‘celebrities’ but the array of other ‘regular’ players. Especially considering that today’s equivalent would be going to the RSL for a concert!

PICTURED: Ludwig van Beethoven

Beethoven composed his Seventh and Eighth Symphonies more or less concurrently in 1811 and 1812. He conducted the first public performance of No.7 at those two concerts in December 1813. Even though the hit of the evening was the premiere of his wartime occasional piece Wellington’s Victory, it was the Allegretto second movement of the Seventh Symphony that was encored by popular demand.

In this symphony, Beethoven explores a whole universe of emotions. Even though it isn’t programmatic, he somehow manages to draw us in, examining the minutiae of day-to-day existence in each of the four movements. Much has been written about the Seventh Symphony, including reviews by other composers. One of the most-used is Wagner’s declaration that the Seventh Symphony is ‘the apotheosis of the dance’.

While, on the surface, the symphony isn’t especially dance-y, I do think that the first movement is forlane-like in its rhythm.

A forlane is, according to Grove, ‘a lusty, but graceful, dance of flirtation’. There are not many forlanes in music. And we have performed one recently (in Bach’s first Orchestral Suite), and there is another on this program in Ravel’s Le tombeau de Couperin.

PICTURED: Maurice Ravel

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Ravel began work on his forlane in Le tombeau around the time the Catholic Church banned the tango as an inherently lascivious dance, offering instead the forlane as an alternative. Ravel wrote to his friend Cipa Godebski that he was transcribing a forlane by Couperin that he would like to have ‘danced at the Vatican by Mistinguett and Colette . . . in drag’!

Le tombeau de Couperin is Ravel’s response to the ravages of war, tearing apart the world around him. Written originally for piano, Ravel himself arranged four of the movements for orchestra shortly after the work’s piano premiere in April 1919. Each was originally dedicated to a friend who had fallen at the front. The Prelude is dedicated to Lieutenant Jacques Charlot; the Forlane to Lieutenant Gabriel Deluc; the Menuet to Jean Dreyfus, at whose parents’ house Ravel completed Le tombeau; and the Rigaudon to his childhood friends, Pierre and Pascal Gaudin.

PICTURED: Joaquin Rodrígo

There is no doubt that Ravel was a brilliant orchestrator. One might say, ‘arranged’, but it is far more accurate to say that Ravel ‘instrumented’ his compositions. French poet and critic André Suarès explains, ‘Ravel always writes the tone, never the note.’ And Jean-François Monnard says of the orchestral version of Le tombeau, ‘Thanks to their orchestral setting, the four movements of the Le tombeau undeniably assume greater emotional weight, and the pastel tones, the shimmering of the woodwinds that let dissonances slide about with subtlety contribute to conveying a transparent harmonic structure. One stands agape in view of the wealth of tone colors and their subtle interconnections.’

Photo: Keith Saunders

Slava Grigoryan returns to the ACO stage for Joaquín Rodrigo’s Concierto de Aranjuez. The piece takes its title from the summer palace of Spain’s Bourbon Kings. It’s an elegant cream and terracotta coloured building, with meticulously landscaped gardens. For Rodrigo it became a mental image of an idealised Spain, evoking ‘the fragrance of magnolias, the singing of birds and the gushing of fountains’.

Slava says of the Concierto that it is ‘a fantastic jewel in the repertoire, an exceptionally important piece for all guitarists, without doubt the most popular work for guitar and orchestra.

I’ve had a long history with this wonderful work and after almost twenty years since my last performance of this with the ACO, I can’t wait to explore it with them again’.

PICTURED: Gordon Kerry

Our Melbourne audiences will hear the world premiere of Gordon Kerry’s concerto for violin, horns, harp and strings, So dream thy sails. This work was commissioned by long-time ACO supporters, Andrew and Fiona Johnston, and is a celebratory piece for Andrew’s father, David, who is turning 90. The only proviso was that it should reflect David’s love of sailing on Port Phillip Bay.

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The ACO and Voyages Ayers Rock Resort are delighted to once again present three sublime concerts over one sensational weekend at the ACO Uluru Festival, 2-4 June 2017.

Led by Richard Tognetti, these three transcendental concerts will be complemented by memorable, unique dining events and tailored cultural tours to immerse yourself in the spiritual heart of Australia.

Book early to avoid disappointment.

Visit www.ayersrockresort.com.au/ acoulurufestival or call 1300 134 044 EVENT PARTNER

ABOUT THE MUSIC GORDON KERRY Born 1961.

SO DREAM THY SAILS: CONCERTO FOR SOLO VIOLIN, HORNS, HARP AND STRINGS Composed 2014.

Quasi barcarola – Inquieto – Tranquillo

PICTURED: Gordon Kerry.

Photo: Keith Saunders

Gordon Kerry lives on a hill in Victoria. His catalogue includes operas, symphonic works (including six concertos), and a body of chamber and vocal music composed for ensembles, orchestra and choirs in Australia and abroad. He was Musica Viva Australia’s Featured Composer in 2012, and his first string quintet was that year’s AMC APRA Instrumental Work of the Year. He has recently completed his second string quintet for the Australian String Quartet and Pieter Wispelwey. Other recent pieces include the opera Snow White and Other Grimm Tales (with John Kinsella),

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‘The piece attempts to capture the feeling of the various moods of the sea . . .’

GORDON KERRY a violin concerto and chamber works for Melbourne Chamber Orchestra, Syzygy, Plexus, Huntington Estate Festival, the Australia Ensemble and Ensemble Liaison with the Young Voices of Melbourne. Current projects include his fifth string quartet (for the Acacia Quartet) and a fourth opera (for Victorian Opera).

In 2009, he was awarded the Ian Potter Foundation’s Established Composer Fellowship, which supported new works for the Sydney Symphony Orchestra, Scottish Chamber Orchestra and Sydney Chamber Choir, and the opera Midnight Son with Louis Nowra for Victorian Opera. He has also held fellowships from the Australia Council, Peggy Glanville-Hicks Trust and Virginia Center for the Creative Arts. He studied in Melbourne with Barry Conyngham.

The composer writes: It is a wonderful thing for a composer to receive a message from a philanthropically-minded person who wants to commission a new work, especially when that work will be of great personal significance to the commissioner. So I was thrilled that Andrew and Fiona Johnston wanted me to write a substantial piece to celebrate the forthcoming 90th birthday of Andrew’s father, David Dawson Johnston, and that the ACO was happy to perform it. Andrew agreed that a violin concerto would be ideal, and stipulated only that the work should if possible reflect his father’s great love of sailing on Port Phillip Bay. The piece attempts to capture the feeling of the various moods of the sea, from a gentle ‘barcarolle’ at the start which features the soloist in long singing lines over a rocking accompaniment, to a fast and much less predictable central movement, and finally a slow finale of wide vistas and a soaring solo line.

The solo violin interacts with the strings en masse and as individuals or smaller groups; horns and harp add a maritime colour and, where necessary, a little extra heft and bass reinforcement to the orchestral tutti.

Various poetic images of sailing influence the work – the tenacious heroes of Tennyson’s Ulysses, and the Anglo-Saxon Seafarer as translated by Ezra Pound and J M Couper, for instance, and the sailing vessels that stream through Kenneth Slessor and James McAuley. But the title comes from a fragment

by Hart Crane, for whom, like me, the sea was a source of inspiration.

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MAURICE RAVEL Born 1875.

Died 1937.

LE TOMBEAU DE COUPERIN Composed 1914/17.

I. Prélude II. Forlane III. Menuet IV. Rigaudon The French critic André Suarès, writing in 1925, stressed that ‘nothing could be more objective than the art of Ravel, or more deliberately intended to be so. If music is capable of painting an object without first revealing the painter’s feeling towards it, then Ravel’s music achieves this more than any other. We have to go back to the 18th century, to the divertissements of Couperin and Rameau, to encounter a similar inclination.’

In Le tombeau de Couperin it is Ravel himself who takes us back to the 18th century. The music isn’t a pastiche, however, but an anachronistic tribute that proclaims Ravel’s affinity with the French Baroque masters in his conception of music as diversion, his taste for ‘artifice’, and his preference for emotionally disengaged dance forms.

PICTURED: Maurice Ravel, 1914.

In his title Ravel revived the 17th-century French literary and musical tradition of the tombeau (literally ‘tomb’ or ‘tombstone’) –

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‘I’m beginning two series of piano pieces: first, a French suite – no, it’s not what you think . . .’

RAVEL originally poetry written to commemorate a mentor or colleague.

The earliest musical tombeaux were by lutenists, but the genre was quickly adopted by French harpsichordists: Louis Couperin and D’Anglebert both commemorated their teacher Chambonnières with tombeaux for the harpsichord, while in the next generation François Couperin (1668–1733) honoured the tradition with his Apothéoses of Corelli and Lully.

Ravel’s tombeau was conceived towards the end of 1914, when the composer wrote to Lucien Garban (of Durand publishers): ‘I’m beginning two series of piano pieces: first, a French suite – no, it’s not what you think – the Marseillaise doesn’t come into it at all, but there’ll be a forlane and a jig; not a tango though . . .’

The sketches for the ‘French suite’, largely completed, were set aside on the outbreak of World War I, and it was not until 1917 that they emerged as Le tombeau de Couperin – Ravel’s last work for solo piano, each of its six movements dedicated to the memory of a friend who had died in the war. The work’s musical tribute is cast more broadly: ‘. . . not so much,’ said Ravel, ‘to Couperin himself as to 18th-century French music in general.’

PICTURED: Cover of the first printed edition of Le tombeau de Couperin designed by Ravel himself.

Ravel prepared for the composition of Le tombeau by transcribing a forlane from François Couperin’s Concerts royaux. The buoyant rhythms and refrain structure of his own Forlane reveal their origins in the vigorous 16th-century Italian dance as heard through 18th-century French ears. But the melody and acid harmonies are all Ravel’s. Similarly, the flowing Menuet is more like Ravel’s own Menuet antique than any by Couperin, for all the antique mood established by its modal harmonies and classically balanced phrases.

It was the concept of the French Baroque suite – each dance with its specified character and set tempo – rather than its musical style that emerged in Le tombeau. And the apparent contradiction of a suite of dances dedicated to the memory of fallen comrades is perfectly resolved, although the muted gracefulness of the music suggests serenity, even resignation, rather than melancholy.

Shortly after Marguerite Long gave the first performance in 1919, Ravel orchestrated four of the movements – Prélude, Forlane, Menuet and Rigaudon – omitting the Fugue and the pianistic Toccata that had concluded the original suite. The scoring is light – pairs of winds (including piccolo and cor anglais), two

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PICTURED: The house in Lyons-la-Forêt where Ravel composed Le tombeau de Couperin.

horns, trumpet, harp and strings – preserving the translucence, simplicity and restrained mood of the original.

Ravel makes much of the contrast between woodwinds and strings, often passing the melodies between the two sections, but the winds are given prominence from the very beginning, with a breathless succession of rapidly articulated notes for the oboe. The orchestration takes advantage, too, of the enhanced capabilities of Erard’s double-action harp, and the feeling of perpetual motion in the Prélude is brought to a close with ravishing trills swept up in a harp glissando. The trumpet (reserved for subtle effect in Ravel’s orchestration) adds brilliance to the exuberant opening of the final movement (a vigorous Provençal Rigaudon), balancing the prominence of woodwind and strings in the preceding movements.

Thus transformed, Le tombeau de Couperin has been claimed by many to surpass the original in its ingenuity and variety – a tribute also to its composer’s infallible ear for instrumental colour.

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JOAQUÍN RODRIGO Born Sagunto 1901.

Died Madrid 1999.

CONCIERTO DE ARANJUEZ Composed 1939.

I. Allegro con spirito II. Adagio III. Allegro gentile

PICTURED: Joaquin Rodrigo.

It is unlikely that when Rodrigo composed his Concierto de Aranjuez he envisaged it would one day be transcribed for flugelhorn solo with brass band accompaniment and used in a smash-hit movie (Brassed Off). Nor would he have expected it to form the basis of an array of popular and jazz classics, even television advertisements!

The Concierto de Aranjuez is arguably one of classical music’s most famous concertos and definitely the most universally popular work for guitar. The work was composed in Paris in 1939, during a particularly bleak period in Spanish history – the civil war was barely over and the Second World War had scarcely begun. Rodrigo dedicated the concerto to the brilliant Spanish guitarist Regino Sainz de la Maza.

Despite his fame as the composer of ‘that concerto’, Rodrigo’s oeuvre comprises over 60 vocal and choral works, including major song cycles, as well as a vast tract of other instrumental works.

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Joaquín Rodrigo was born in Sagunto (Valencia) in 1901. As a result of an epidemic of diphtheria, he lost his eyesight completely at about the age of three. For some, such a sensory deprivation may have precluded many creative pursuits; it simply made Rodrigo more determined to excel at music.

His first compositions date from about 1923. He wrote in Braille and then dictated his scores afterwards to a copyist. His wife, the pianist Victoria Kamhi whom he married in 1933, was his copyist and most important musical collaborator until her death in 1997.

PICTURED: Rodrigo dedicated the concerto to the Spanish guitarist Regino Sainz de la Maza.

Rodrigo’s compositional life was distinguished in a myriad of genres, but the Concierto de Aranjuez remains his most famous work. His daughter Cecilia once commented: ‘The music [my father] wrote for guitar is so famous that it overshadowed everything else. It is not fair, but then life is not fair – it happened to Ravel and his Boléro and to Bernstein with West Side Story.’

With a mysterious and seductive Hispano-Arabic flavour, the Concierto de Aranjuez is in three movements. The first movement builds with confidence an authority which imbues the entire work. The dominating force of this movement is rhythm, with patterns of shifting accentuation giving it additional piquancy. Rodrigo referred to these syncopated indulgences as ‘insistent rhythmic surges’. The melody darts between flamenco idioms and modern harmonies.

The haunting and bittersweet slow movement (familiar to some as the 1960s pop song Mon Amour) is the epitome of eloquent appeal. Its profound tenderness, vulnerability and despair is 23

‘ . . . the Concierto is a curious mixture of the passion of flamenco and the restraint of the Baroque.’

RODRIGO

PICTURED: The Royal Palace of Aranjuez.

The wings enclosing the courtyard were added in the 18th century.

typical of a cante hondo (deep song). The Adagio is launched by a flourish of B minor chords in the solo guitar part. What follows is a mournful dialogue between the guitar and orchestral soloists, especially the plangent cor anglais.

A spirited rococo-flavoured court dance, the third movement is similar in feel to the first movement. Once again, shifting rhythmic impulses dapple the orchestral texture. Even though this movement may have a lilting simplicity to it, the soloist is required to negotiate almost the entire range of the guitar’s possibilities.

The stylish and at times discreet scoring of the concerto guarantees that a feeling of airiness prevails. Rodrigo described the Concierto as being a curious mixture of the passion of flamenco and the restraint of the Baroque: ‘Throughout the veins of Spanish music, a profound rhythmic beat seems to be diffused by a strange phantasmagoric, colossal and multiform instrument – an instrument idealised in the fiery imagination of Albéniz, Granados, Falla and Turina.

It is an imaginary instrument that might be said to possess the wings of the harp, the heart of the grand piano and the soul of the guitar . . . It would be unjust to expect strong sonorities from this Concierto; they would falsify its essence and distort an instrument made for subtle ambiguities. Its strength is to be found in its very lightness and in the intensity of its contrasts.

The Concierto de Aranjuez is meant to sound like the hidden breeze that stirs the treetops in the parks, and it should be only as strong as a butterfly and as dainty as a veronica flower.’

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LUDWIG VAN BEETHOVEN Born Bonn 1770.

Died Vienna 1827.

SYMPHONY NO.7 IN A, OP.92 Composed 1811/12.

I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto IV. Allegro con brio Beethoven’s Symphony No.7 was composed around 1811 and 1812, just after one disastrous love affair and just before the end of another. Since the late 1790s he had been aware that he was losing his hearing, and of the devastating effect that this ailment was having on his musical and social life. By 1809, the threat that was Napoleon became a terrifying reality as his troops took over Vienna. The war economy ruined Beethoven’s income, and he suffered from more than his usual amount of ill health.

PICTURED: Ludwig van Beethoven.

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It was about this time that Beethoven fell dramatically in love with his doctor’s daughter, the nubile 18-year-old Therese Malfatti. Given that Beethoven was already 40, unwell and famously bad-tempered, it is unsurprising that his proposal of marriage was rejected. Even less surprising is Dr Malfatti’s recommendation that Beethoven should travel to Baden straight away, to take the waters for his health. Baden didn’t help much in the end, but a subsequent trip to Teplitz in 1811 did the trick.

PICTURED: Beethoven dedicated his 7th Symphony to Count Moritz von Fries.

The renowned author and statesman, Goethe, met Beethoven during this visit to the Bohemian resort town. The composer was a huge fan (as was almost any cultured person of the time). However, the author’s comments about the occasion can perhaps be read as diplomatically focusing on Beethoven’s merits. ‘I have never encountered an artist of such spiritual concentration and intensity, such vitality and magnanimity,’ recalled Goethe. ‘I can well understand how hard he must find it to adapt himself to the world and its ways.’ Was this code for ‘excusably rude, obviously brilliant’? Many people have left similar remarks regarding Beethoven’s utter disdain for conventions and common politeness. It’s possible to conclude that it was this same lack of concern for the accepted ways of doing things that allowed him to be such an extraordinary musical innovator.

On his return to Vienna, Beethoven began work again, and the Seventh Symphony was completed by spring of 1812 – just before he wrote his now-famous letter to the mysterious, still anonymous ‘Immortal Beloved’, most often thought to have been Antonie Brentano. Alas, by autumn, Antonie had had to return to Frankfurt, and Beethoven plunged into a period of compositional barrenness and personal depression.

PICTURED: Johann Wolfgang (von) Goethe.

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The Symphony was premiered in 1813 (very successfully) at a concert marking victory over Napoleon, held to raise funds for injured veterans. Elsewhere on the program was Beethoven’s Wellington’s Victory, a bit of blatant flag-waving based on a sketch by Johann Mälzel. Mälzel, who organised the performance, is also regarded as the principal inventor of the metronome. For years, those who liked their Beethoven grand and stately assumed that the composer’s new metronome was faulty, believing that the indications (given above) were unthinkably fast. Opinions have since changed, and Mälzel’s reputation has been vindicated.

Wagner referred to the Seventh Symphony as ‘the Apotheosis of the Dance’.

It is obligatory for program note writers to mention that Wagner referred to the Seventh Symphony as ‘the Apotheosis of the Dance’. The work’s sunny nature presumably reflects Beethoven’s brief period of happiness, when he thought things would come right with his Immortal Beloved, despite his other troubles. But it’s dangerous to play guessing games – the (not very) slow movement has been invoked as a wedding (Schumann), a pastorale (d’Indy) and a ‘bombastic march’ (Lenz).

PICTURED: Beethoven’s 7th Symphony manuscript.

This last idea has inspired further consideration that perhaps it is a funeral march, and maybe even a bitter, triumphant counterpart to Beethoven’s Third Symphony, the ‘Eroica’.

That ‘hero’ symphony also contains a funeral march; famously, the work was dedicated to Napoleon when he seemed to be champion of freedom, and the dedication was angrily removed when he declared himself Emperor. Against this theory, one has to consider that the metronome indication for the Seventh Symphony’s Allegretto makes it a pretty sprightly sort of funeral, if so; and to remember that generally, when Beethoven wanted to indicate a musical program, he did it himself (the ‘Pastoral’ symphony, for example).

As well as lacking a standard slow movement, the Symphony No.7 also avoids the ordinary third-movement label of ‘scherzo’, which, literally meaning ‘joke’, might imply a trivial levity Beethoven did not feel. The final ‘con brio’ movement shocked its first hearers so much that, based on its perceived violence, rumours ran through Vienna that the composer had been mad or drunk when he wrote it. (The rumours, if you’re interested, were probably started by rival composer Carl Maria von Weber and Clara Schumann’s father.)

Notwithstanding these shockwaves, the Symphony was an instant success. The critic who reviewed it as ‘the richest in melody, most satisfying and understandable of all Beethoven symphonies’ would find few to argue with.

Notes by Gordon Kerry, Yvonne Frindle and the Australian Chamber Orchestra © 2016 27

SL AVA GRIGORYAN GUITAR

Photo by Simon Shiff

SELECT DISCOGRAPHY THIS TIME Which Way Music 022 THE SEASONS Which Way Music 014 BAND OF BROTHERS ABC Classics 476 4316 DISTANCE Which Way Music 006 RODRIGO GUITAR CONCERTOS (2-CD set) ABC Classics 481 2231 SONG OF THE GUITAR (5-CD set) ABC Classics 481 1040 AFTERIMAGE ABC Classics 476 2271

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Slava Grigoryan was born in 1976 in Kazakhstan and immigrated with his family to Australia in 1981. As a major prizewinner at the Tokyo International Classical Guitar Competition, Slava was signed by the Sony Classical Label in 1995 and he released four solo albums and many collaborative recordings for this label. At the age of 18, his first tour was with guitar legends Paco Peña and Leo Kottke. Slava has appeared with many of the world’s leading orchestras, including the London Philharmonic, BBC Concert Orchestra, the Northern Sinfonia, Royal Scottish National Orchestra, Israel Symphony Orchestra, Dresden Radio Orchestra, Klagenfurt Symphony Orchestra in Austria, Hallé Orchestra, Hong Kong Sinfonietta, New Zealand Symphony Orchestra, Australian Chamber Orchestra and all the Australian symphony orchestras. He has also performed with many string quartets and chamber ensembles including the Goldner, Flinders and Australian String Quartets in Australia, the Endellion, Skampa and Chillingirian quartets in the UK, and the Southern Cross Soloists.

His debut classical album for ABC Classics, Sonatas and Fantasies, won Best Classical Album at the 2002 ARIA Awards.

Subsequent recordings have included Play (with his brother Leonard), Saffire (The Australian Guitar Quartet), which went on to win the 2003 Best Classical Album ARIA, a recording of the Rodrigo Concertos with Leonard Grigoryan and the Queensland Symphony Orchestra, Nigel Westlake’s Shadowdances, and an album of baroque guitar concertos with the Tasmanian Symphony Orchestra under Benjamin Northey.

The collaboration with brother Leonard is one of the most significant. They have now released their fifth duo recording, The Seasons, and have performed together in the UK, USA, Germany, Austria, France, Italy, Spain, Russia, Estonia, Croatia, Hungary, Hong Kong, Malaysia, Indonesia, South Africa and the UAE as well as playing regular tours of Australia. In 2012, the brothers collaborated with leading Australian baritone José Carbó on My Latin Heart – a No.1 selling album and show.

Slava Grigoryan was appointed as Artistic Director of the Adelaide International Guitar Festival for 2010, 2012, 2014 and 2016.

RICHARD TOGNE T TI 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 was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015.

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, he has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovenian 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, most recently as soloist and director with the MSO and TSO. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutosławski’s Partita. In November this year, he becomes London’s Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall.

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 Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd.

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.

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HELENA R ATHBONE VIOLIN

Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006, Helena was appointed Director and Leader of the ACO’s second ensemble, ACO Collective, which sources musicians from the Orchestra’s Emerging Artists’ Program.

Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff, Canada.

Photo by Jack Saltmiras

Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin in the Fields.

When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra, and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, the Christchurch Arts Festival, the Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. The group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008.

Helena plays a 1759 Guadagnini violin loaned to her by the Commonwealth Bank.

30

AUS TR ALIAN CHAMBER ORCHES TR 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 21 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.

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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 am & 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 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 4 Violin

Ike See Violin

Zoë Black Violin

Thibaud Pavlovic-Hobba Violin

Caroline Henbest Viola

Timo-Veikko Valve 5 Principal Cello

Chair sponsored by Di Jameson

Alexandru-Mihai Bota Viola

Nicole Divall Viola

Chair sponsored by Philip Bacon am

Chair sponsored by Ian Lansdown

32

Chair sponsored by Peter Weiss ao

Melissa Barnard Cello

Julian Thompson 6 Cello

Chair sponsored by Martin Dickson am & Susie Dickson

Chair sponsored by The Grist & Stewart Families

Guy Ben-Ziony Viola

Dudu Carmel Oboe

Jane Gower Bassoon

Peter Mankarious Trumpet

Courtesy of Israel Philharmonic Orchestra

Courtesy of Orchestre Révolutionnaire et Romantique

Dmitry Malkin Oboe

Melissa Woodroffe Bassoon

Peter Miller Trumpet

Kees Boersma Double Bass Courtesy of Sydney Symphony Orchestra

Josef Bisits Double Bass Andrew Nicholson Flute Courtesy of West Australian Symphony Orchestra

Carolyn Harris Flute Courtesy of Sydney Symphony Orchestra

Courtesy of Jerusalem Symphony Orchestra

Olli Leppäniemi Clarinet Courtesy of Turku Philharmonic Orchestra

Christopher Tingay Clarinet

Daniel Yeadon Cello

Timothy Jones Horn Courtesy of London Symphony Orchestra

Lauren Manuel Horn Courtesy of Queensland Symphony Orchestra

Courtesy of West Australian Symphony Orchestra

Brian Nixon Timpani Chair sponsored by Robert Albert ao & Libby Albert

Julie Raines Harp

Courtesy of Sydney Symphony Orchestra

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 Maja Savnik 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 donated to the ACO by Peter Weiss ao.

Players dressed by Willow and SABA

6 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council.

33

18–2 8 NOV EMBER CANBERRA, MELBOURNE, SYDNEY, WOLLONGONG SCHNITTKE SONATA FOR VIOLIN AND CHAMBER ORCHESTRA SCHUBERT 5 MINUETS AND 6 TRIOS, D.89 BEETHOVEN (ARR. STRINGS) STRING QUARTET IN C-SHARP MINOR, OP.131 The season finale of the ACO’s celebration of Beethoven quartets concludes on a grand scale, featuring fiery Italian violinist Lorenza Borrani.

BOOK NOW ACO.COM.AU 1800 444 444 (MON–FRI, 9AM–5PM)

NATIONAL TOUR PARTNER

PRINCIPAL PARTNER

ACO BEHIND T HE S CENE S BOARD Guido Belgiorno-Nettis am Chairman Liz Lewin Deputy Bill Best John Borghetti Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo

ARTISTIC DIRECTOR Richard Tognetti ao

ADMINISTRATIVE STAFF

Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

EDUCATION Phillippa Martin ACO Collective & ACO Virtual Manager

MARKETING Aaron Curran Acting Marketing Manager Natasha Bowron Acting Communications Manager Hilary Shrubb Publications Editor Leo Messias Marketing Coordinator

Vicki Norton Education Manager

Cristina Maldonado Communications Coordinator

Caitlin Gilmour Education Assistant

Chris Griffith Box Office Manager

FINANCE

Dean Watson Customer Relations & Access Manager

Steve Davidson Corporate Services Manager Fiona McLeod Chief Financial Officer

Evan Lawson Box Office Assistant Christina Holland Office Administrator

EXECUTIVE OFFICE

Yvonne Morton Accountant

Richard Evans Managing Director

Shyleja Paul Assistant Accountant

Jessica Block Deputy General Manager

Nancy Chan Assistant Accountant

Ken McSwain Systems & Technology Manager

Alexandra Cameron-Fraser Chief Operating Officer

DEVELOPMENT

Emmanuel Espinas Network Infrastructure Engineer

Katie Henebery Executive Assistant to Mr Evans & Mr Tognetti ao

ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Anna Melville Artistic Administrator Lisa Mullineux Tour Manager Ross Chapman Touring & Production Coordinator Danielle Asciak Travel Coordinator Bernard Rofe Librarian

Robin Hall Subscriptions Coordinator

INFORMATION SYSTEMS

Anna McPherson Director of Development Yeehwan Yeoh Investor Relations Manager

AUSTRALIAN CHAMBER ORCHESTRA

Jill Colvin Philanthropy Manager

ABN 45 001 335 182

Lillian Armitage Capital Campaign Executive Tom Tansey Events Manager Tom Carrig Senior Development Executive Sally Crawford Patrons Manager Alice Currie Development Coordinator Belinda Partyga Researcher

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

35

V ENUE SUPP OR T Australian National University ADELAIDE TOWN HALL 128 King William Street, Adelaide SA 5000 GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) 8203 7590 Email townhall@adelaidecitycouncil.com Web adelaidetownhall.com.au Martin Haese Lord Mayor Mark Goldstone Chief Executive Officer

QUEENSLAND PERFORMING ARTS CENTRE Cultural Precinct, 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 PO Box 7585, St Kilda Road, Melbourne VIC 8004

PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000

Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au

PO Box 3041, East Perth WA 6892

Tom Harley President Victorian Arts Centre Trust

AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music

Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager

Claire Spencer Chief Executive Officer

SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email 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.

36

SL AVA , RODR IGO & BEE T HOV EN V II TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY

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

Sun 30 Oct, 1.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by John Weretka Mon 31 Oct, 6.45pm Melbourne – Arts Centre Melbourne Pre-concert talk by John Weretka

Wed 2 Nov, 6.45pm Perth Concert Hall Pre-concert talk by Marilyn Philips

Sun 6 Nov, 1.15pm Sydney Opera House Pre-concert talk by Ken Healey am

Sat 5 Nov, 7.15pm Canberra – Llewellyn Hall Pre-concert talk by Ken Healey am

Mon 7 Nov, 6.15pm Brisbane – QPAC Concert Hall Pre-concert talk by Gillian Wills

Tue 1 Nov, 6.45pm Adelaide Town Hall Pre-concert talk by Vincent Plush Pre-concert speakers are subject to change.

This is a PLAYBILL / SHOWBILL publication.

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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–168 — 17947 — 1/301016 37

AC O 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

ACO COLLECTIVE

The late Amina Belgiorno-Nettis

VIOLIN

PRINCIPAL CHAIRS

Glenn Christensen Terry Campbell ao & Christine Campbell

Pekka Kuusisto Artistic Director & Lead Violin

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 Ilya Isakovich The Humanity Foundation

Kate & Daryl Dixon

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 Maxime Bibeau Principal Double Bass Darin Cooper Foundation

Horsey Jameson Bird

GUEST CHAIRS Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Annie Corlett am

CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Grist & Stewart Families

AC O L IF E PAT RONS IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman ao

Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson Dr John Harvey ao

Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao

AC O BEQ UE S T PAT RONS The ACO would like to thank the following people, who remembered the Orchestra in their wills.

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 The late Kerstin Lillemor Andersen The late Mrs Sybil Baer Dave Beswick The Estate of Prof. Janet Carr The late Mrs Moya Crane 38

The late Colin Enderby The late John Nigel Holman The late Dr S W Jeffrey am The Estate of Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller

The late Josephine Paech The late Richard Ponder The late Mr Geoffrey Francis Scharer The Estate of Scott Spencer Margaret & Ron Wright

AC O CON T INUO CIRCL E The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Philanthropy Manager, on 02 8274 3835 for more information. Every gift makes a difference.

Steven Bardy

Suzanne Gleeson

Ian & Joan Scott

Ruth Bell

Lachie Hill

Cheri Stevenson

Sandra Cassell

David & Sue Hobbs

Leslie C Thiess

Mrs Sandra Dent

Penelope Hughes

G.C. & R. Weir

Peter Evans

Mrs Judy Lee

Mark Young

Carol Farlow

Selwyn M Owen

Anonymous (13)

AC O GENER A L SUPP OR T PAT RONS ACO General Support Patrons assist with 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.

K Chisholm Dr Jane Cook

Michael Horsburgh am & Beverley Horsburgh

Gina Olayiwola

Paul & Roslyn Espie

Mike & Stephanie Hutchinson

Douglas & Elisabeth Scott

M Generowicz

Geoff & Denise Illing

J Skinner

Dr Roy & Gail Geronemus

Professor Anne Kelso ao

Christina Scala & David Studdy

The Hadfield Family

Macquarie Group Foundation

Anonymous (4)

Baillieu Myer ac

Kevin & Deidre McCann

AC O NE X T ACO Next is an exciting 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

John & Lara James

Jessica Read

Justine Clarke

Aaron Levine & Daniela Gavshon

Louise & Andrew Sharpe

Este Darin-Cooper & Chris Burgess

Royston Lim

Emile & Caroline Sherman

Amy Denmeade

Gabriel Lopata

Michael Southwell

Catherine & Sean Denney

Rachael McVean

Helen Telfer

Jenni Deslandes & Hugh Morrow

Carina Martin

Karen & Peter Tompkins

Anthony Frith & Amanda Lucas-Frith

Barry Mowzsowski

Joanna Walton

Anita George

Paris Neilson & Todd Buncombe

Nina Walton & Zeb Rice

Alexandra Gill

James Ostroburski

Peter Wilson & James Emmett

Rebecca Gilsenan & Grant Marjoribanks

Nicole Pedler & Henry Durack

John Winning Jr.

Adrian Giuffre & Monica Ion

Michael Radovnikovic 39

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 the Investor Relations Manager on 02 8274 3878.

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

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

Jessica Block

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

CONCERTO $200,000 – $499,999

Genevieve Lansell

Edward Gilmartin

The late Amina Belgiorno-Nettis

Bronwyn & Andrew Lumsden

Tom & Julie Goudkamp

Naomi Milgrom ao

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

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

Benjamin Brady

Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman

40

AC O SPECI A L COMMIS SIONS & SPECI A L PRO JE C T S SPECIAL COMMISSIONS PATRONS

MOUNTAIN PRODUCERS’ SYNDICATE

Peter & Cathy Aird

Major Producers

Gerard Byrne & Donna O’Sullivan

Janet Holmes à Court

Mirek Generowicz

Warwick & Ann Johnson

Peter & Valerie Gerrand

Producers

Corporate Partner

G Graham

Warren & Linda Coli

Lexington Partners

Anthony & Conny Harris

Anna Dudek & Brad Banducci

Manikay Partners

Rohan Haslam

Richard Caldwell

Corporate Supporter

John Griffiths & Beth Jackson

Wendy Edwards

UBS

Lionel & Judy King

David Friedlander

David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson Alison Reeve Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi Anonymous (1)

Tony & Camilla Gill John & Lisa Kench Charlie & Olivia Lanchester Rob & Nancy Pallin Peter & Victoria Shorthouse

Major Partner

MELBOURNE HEBREW CONGREGATION PATRONS LEAD PATRONS Marc Besen ac & Eva Besen ao

Alden Toevs & Judi Wolf Supporters The Penn Foundation The Rossi Foundation

SUPPORTER

THE REEF NEW YORK PRODUCERS’ SYNDICATE

Leo & Mina Fink Fund

The ACO would like to pay tribute to the following donors who support our international touring activities in 2016:

Executive Producers

EMANUEL SYNAGOGUE PATRONS

Tony & Michelle Grist

CORPORATE PARTNERS

Lead Producers

Adina Apartment Hotels

Mr Robert Albert ao & Mrs Libby Albert

Jon & Caro Stewart Foundation

Meriton Group

Linda & Graeme Beveridge

Major Producers

LEAD PATRON

Jan Bowen

Danielle & Daniel Besen Foundation

The Narev Family

Kay Bryan

Janet Holmes à Court ac

Stephen & Jenny Charles

Charlie & Olivia Lanchester

Ann Gamble Myer

Producers

Daniel & Helen Gauchat

Richard Caldwell

Yvonne von Hartel am & Robert Peck am peckvonhartel architects

Warren & Linda Coli

Janet Holmes à Court

Steve Duchen & Polly Hemphill

Bruce & Jenny Lane

Wendy Edwards

Delysia Lawson

Doug Elix

John Leece

Gilbert George

Julianne Maxwell

Tony & Camilla Gill

Jim & Averill Minto

Max Gundy (Board member ACO US) & Shelagh Gundy

INTERNATIONAL TOUR PATRONS

Alf Moufarrige Angela Roberts Mike Thompson Peter Weiss ao

Graham & Treffina Dowland

PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

Rebecca John & Daniel Flores Patrick Loftus-Hills (Board member ACO US) & Konnin Tam Sally & Steve Paridis (Board members ACO US) Peter & Victoria Shorthouse John Taberner (Board member ACO US) & Grant Lang Alden Toevs & Judi Wolf 41

AC O 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 20 September 2016 PATRONS

Andrew & Andrea Roberts

Dr John Harvey ao & Mrs Yvonne Harvey

Marc Besen ac & Eva Besen ao

Mark & Anne Robertson

Annie Hawker

Janet Holmes à Court ac

Margie Seale & David Hardy

Insurance Group Australia Limited

Rosy Seaton & Seumas Dawes

I Kallinikos

Tony Shepherd ao

John Kench

Mr Robert Albert ao & Mrs Libby Albert

John Taberner & Grant Lang

Key Foundation

Australian Communities Foundation – Ballandry Fund

Leslie C. Thiess

Anthony & Sharon Lee Foundation

David & Julia Turner

Mrs Judy Lee

Steven Bardy & Andrew Patterson

Libby & Nick Wright

Lorraine Logan

The Belalberi Foundation

E Xipell

Macquarie Group Foundation

Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis

Peter Yates am & Susan Yates

David Maloney & Erin Flaherty

Professor Richard Yeo

Julianne Maxwell

Peter Young am & Susan Young

P J Miller

Anonymous (3)

James Ostroburski & Leo Ostroburski

EMERGING ARTISTS & EDUCATION PATRONS $10,000 +

Andre Biet Helen Breekveldt Rod Cameron & Margaret Gibbs

QVB

Stephen & Jenny Charles

DIRETTORE $5,000 – $9,999

Rowena Danziger am & Ken Coles am

The Abercrombie Family Foundation

Mr Bruce Fink

Geoff Ainsworth & Jo Featherstone

Dr Ian Frazer ac & Mrs Caroline Frazer

Geoff Alder

Ann Gamble Myer

Peter Atkinson

Daniel & Helen Gauchat

Will & Dorothy Bailey Charitable Gift

John Grill & Rosie Williams

Veronika & Joseph Butta

Kimberley Holden

Caroline & Robert Clemente

Angus & Sarah James

Darrel & Leith Conybeare

Di Jameson

Mrs Janet Cooke

Miss Nancy Kimpton

Suellen Enestrom

Elmer Funke Kupper

Bridget Faye am

Liz & Walter Lewin

A G Froggatt

Andrew Low

Kay Giorgetta

Anthony & Suzanne Maple-Brown

Colin Golvan qc

Jim & Averill Minto

Louise Gourlay oam

Hamilton Wilson

John & Anne Murphy

Warren Green

Anonymous (5)

Louise & Martyn Myer Foundation

Tony & Michelle Grist

Jennie & Ivor Orchard

Liz Harbison

Bruce & Joy Reid Trust

Kerry Harmanis

42

Paul Schoff & Stephanie Smee & Friends John Rickard Greg Shalit & Miriam Faine Peter & Victoria Shorthouse Jann Skinner Sky News Australia St George Foundation Jon & Caro Stewart Anthony Strachan Alden Toevs & Judi Wolf Geoff Weir Westpac Group Simon & Amanda Whiston Shemara Wikramanayake Cameron Williams

MAESTRO $2,500 – $4,999

Jane Allen

Michael Horsburgh am & Beverley Horsburgh

Jennifer Aaron

Andrew Andersons

Merilyn & David Howorth

David & Rae Allen

Philip Bacon am

Penelope Hughes

DG & AR Battersby

Lyn Baker & John Bevan

Professor Andrea Hull ao

Beeren Foundation

Dr David & Mrs Anne Bolzonello

Sue Hunt

Mr & Mrs Daniel Besen

In memory of Peter Boros

Launa & Howard Inman

Jenny Bryant

Brian Bothwell

John Griffiths & Beth Jackson

Neil & Jane Burley

Benjamin Brady

Owen James

The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov

Vicki Brooke

Anthony Jones & Julian Liga

Diana Brookes

Brian Jones

Carol & Andrew Crawford

Bronwen L Jones

Heather Douglas

Dr Catherine Brown-Watt psm & Mr Derek Watt

Anne & Tom Dowling

Jasmine Brunner

Josephine Key & Ian Breden

Maggie Drummond

Sally Bufé

Julia Pincus & Ian Learmonth

Michele Duncan

Andrew & Cathy Cameron

Airdrie Lloyd

John Gandel ao & Pauline Gandel

Terry Campbell ao & Christine Campbell

Gabriel Lopata

Robert & Jennifer Gavshon

Ray Carless & Jill Keyte

Colin Loveday

Cass George

Patrick Charles

Robin Lumley

Nereda Hanlon & Michael Hanlon am

Angela & John Compton

Diana Lungren

Peter & Helen Hearl

Brooke & Jim Copland

Simon & Katrina Holmes à Court

R & J Corney

Garth Mansfield oam & Margaret Mansfield oam

Erica Jacobson

Judith Crompton

Mr & Mrs Greg & Jan Marsh

Ros Johnson

John Curotta

David Mathlin

Peter Lovell

Ian Davis & Sandrine Barouh

Janet Matton

Jennifer Senior & Jenny McGee

Michael & Wendy Davis

Jane Tham & Philip Maxwell

Jane Morley

Martin Dolan

Karissa Mayo

Nola Nettheim

Dr William F Downey

Nicholas McDonald

Sandra & Michael Paul Endowment

Daniel Droga

Ian & Pam McGaw

Patricia H Reid Endowment Pty Ltd

Pamela Duncan

Colin McKeith

Ralph & Ruth Renard

Emeritus Professor Dexter Dunphy am

Bruce McWilliam

Mrs Tiffany Rensen

Sharon Ellies

Helen & Phil Meddings

Fe & Don Ross

Dr Linda English

Michelle Mitchell

D N Sanders

Peter Evans

Glenn Murcutt ao

Petrina Slaytor

Julie Ewington

Stuart Nash

Howard & Hilary Stack

Elizabeth Finnegan

Anthony Niardone & Glen Hunter

John & Josephine Strutt

Michael Fogarty

Barry Novy & Susan Selwyn

Ralph Ward-Ambler am & Barbara Ward-Ambler

Don & Marie Forrest

Paul O’Donnell

Justin & Anne Gardener

L Parsonage

Kerry Gardner

Prof David Penington ac

M Generowicz

GV Pincus

Brian Goddard

Lady Primrose Potter ac

In memory of Jose Gutierrez

Mark Renehan

Richard & Suzie White Dr Mark & Mrs Anna Yates William & Anna Yuille Anonymous (4)

Mrs Angela Karpin

VIRTUOSO $1,000 – $2,499

Paul Hannan

Dr S M Richards am & Mrs M R Richards

Annette Adair

Gail Harris

Em Prof A W Roberts am

Linda Addy

Lachie Hill

Julia Champtaloup & Andrew Rothery

Barbara Allan

Christian Holle

J Sanderson

Samantha & Aris Allegos

Christopher Holmes

In Memory of H. St. P. Scarlett 43

Lucille Seale

Annabel Crabb

H and R McGlashan

Mr John Sheahan qc

John & Gay Cruikshank

Rob Mactier

Maria Sola

Marie Dalziel

Dr & Mrs Donald Maxwell

Dr Peter & Mrs Diana Southwell-Keely

Mari Davis

Kathleen McFarlane

Keith Spence

Mrs Sandra Dent

JA McKernan

Mark Stanbridge

In Memory of Raymond Dudley

Peter & Ruth McMullin

Harley Wright & Alida Stanley

Margaret Dunstan

Louise Miller

Ross Steele am

M T & R L Elford

Marie Morton

In memory of Dr Warwick Steele

Leigh Emmett

G & A Nelson

Caroline Storch

Christine Evans

Graham North

Andrew Strauss

Carol Farlow

Robin Offler

Charles Su & Emily Lo

Penelope & Susan Field

John O’Sullivan

Tamas & Joanna Szabo

Jean Finnegan & Peter Kerr

Willy & Mimi Packer

David & Judy Taylor

Jessica Fletcher

Susan Thacore

Anne & Christopher Page

Peter Fredricson

Rob & Kyrenia Thomas

Robin Pease

Steve Frisken

Matthew Toohey

Elizabeth Pender

Sam Gazal

Angus Trumble

Paul Gibson & Gabrielle Curtin

Ngaire Turner

Marilyn & Max Gosling

Kay Vernon

Jillian Gower

John Wardle M White Don & Mary Ann Yeats Rebecca Zoppetti Laubi Anonymous (19)

Paul Greenfield & Kerin Brown Annette Gross Kevin Gummer & Paul Cummins Hamiltons Commercial Interiors Lesley Harland

Kevin Phillips Michael Power John Prendiville Beverly & Ian Pryer Jennifer Rankin John Riedl Sally Rossi-Ford Robin Rowe Mrs J Royle

CONCERTINO $500 – $999

Sandra Haslam

Elsa Atkin am

Gaye Headlam

Ms Rita Avdiev

Kingsley Herbert

Lyle Banks A & M Barnes

Dr Penny Herbert in memory of Dunstan Herbert

In memory of Hatto Beck

Dr Marian Hill

Mrs Kathrine Becker

Sue & David Hobbs

Florine Simon

Robin Beech

Chloe Hooper

Casimir Skillecorn

Ruth Bell

Bee Hopkins

Fionna Stack

Max & Lynne Booth

Dr & Mrs Michael Hunter

Georgina Summerhayes

Debbie Brady

Margaret & Vernon Ireland

In memory of Dr Aubrey Sweet

Denise Braggett

Robert & Margaret Jackson

Gabrielle Tagg

Mrs Pat Burke

Barry Johnson & Davina Johnson oam

Simon Thornton

Hugh Burton Taylor

Caroline Jones

Peter & Karen Tompkins

Alberto Calderon-Zuleta

Bruce & Natalie Kellett

TWF Slee & Lee Chartered Accountants

Angela & Fred Chaney

Graham Kemp & Heather Nobbs

Dr Ed & Mrs Julie van Beem

Colleen & Michael Chesterman

Jacqueline & Anthony Kerwick

Joy Wearne

Richard & Elizabeth Chisholm

Lionel & Judy King

GC & R Weir

Stephen Chivers

Prof Kerry Landman

Taryn Williams

ClearFresh Water

Genevieve Lansell

Sally Willis

Paul Cochrane

Kwong Lee Dow

Sir Robert Woods cbe

Spire Capital

Dimitra Loupasakis

Brian Zulaikha

P Cornwell & Cecilia Rice

Megan Lowe

Anonymous (37)

44

Christine Salter Garry E Scarf & Morgie Blaxill Carol Schwartz am & Alan Schwartz am Rena Shein The Sherman Foundation

AC O 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 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

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 Johnson Winter & Slattery Mr Andrew Low Mr David Mathlin Ms Julianne Maxwell

Mr & Mrs Robin Crawford

Mr Michael Maxwell

Rowena Danziger am & Kenneth G. Coles am

Ms Naomi Milgrom ao

Mr David Evans Executive Chairman, Evans & Partners Ms Tracey Fellows Chief Executive Officer, REA Group Mr Bruce Fink Executive Chairman, Executive Channel International Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel

Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige ao Chief Executive Officer, Servcorp Mr John P Mullen Chairman, Telstra Mr Ian Narev Chief Executive Officer Commonwealth Bank

Mr Mark Robertson oam & Mrs Anne Robertson Mrs Carol Schwartz am Ms Margie Seale & Mr David Hardy Mr Glen Sealey Chief Operating Officer, Maserati Australasia & South Africa Mr Tony Shepherd ao Mr Peter Shorthouse Senior Partner, Crestone Wealth Management Mr Peter Tonagh Chief Executive Officer, FOXTEL Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO, Mitsubishi Australia Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Mr David & Mrs Julia Turner Ms Vanessa Wallace & Mr Alan Liddle Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Mr Peter Young am & Mrs Susan Young

45

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.

The ACO’s 2016 International Festivals Tour is supported by the Australian government through the Ministry for the Arts’ Catalyst—Australian Arts and Culture Fund

ACO COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director, Reserve Bank of Australia Guido Belgiorno-Nettis am Chairman, ACO Maggie Drummond John Kench Johnson Winter & Slattery

Paul Cochrane Investment Advisor, Bell Potter Securities Ann Gamble-Myer Colin Golvan qc Shelley Meagher Director, Do it on the Roof James Ostroburski

Jennie Orchard

Joanna Szabo

Tony O’Sullivan

Simon Thornton Executive General Manager, Toll IPEC

Peter Shorthouse Senior Partner, Crestone Wealth Management Mark Stanbridge Partner, Ashurst Paul Sumner Chief Executive Officer, Mossgreen Alden Toevs Group Chief Risk Officer, CBA Nina Walton

MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Debbie Brady

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

EVENT COMMITTEES SYDNEY

BRISBANE

Liz Lewin (Chair)

Philip Bacon

Jane Adams

Kay Bryan

Lillian Armitage

Andrew Clouston

Lucinda Cowdroy

Ian & Caroline Frazer

Sandra Ferman

Cass George

JoAnna Fisher

Edward Gray

Fay Geddes

Wayne Kratzmann

Julie Goudkamp

Helen McVay

Deb Hopper

Shay O’Hara-Smith

Lisa Kench

Marie-Lousie Theile

Jules Maxwell

Beverley Trivett

Karissa Mayo Edwina McCann Elizabeth McDonald Nicole Sheffield John Taberner Lynne Testoni

Paul Nunnari Manager Event Access & Inclusion NSW Government Alexandra Cameron-Fraser Chief Operating Officer, ACO Sally Crawford Patrons Manager, ACO Vicki Norton Education Manager, ACO Dean Watson Customer Relations & Access Manager, ACO

PEER R E V IE W PA NEL S EDUCATION PEER REVIEW PANEL Lyn Williams oam Jane Davidson

John Benson Helen Champion

Theo Kotzas Zoe Arthur

Siobhan Lenihan Marshall McGuire Jane Davidson Alan Dodge

Lyn Williams oam Yarmila Alfonzetti Toby Chadd Elaine Armstrong

ARTISTIC PEER REVIEW PANEL Jim Koehne Anthony Peluso John Painter Mary Vallentine ao 46

AC O PA S ACO PAR TRNER T NERS

WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

CONCERT AND SERIES PARTNERS

ASSOCIATE PARTNER: ACO VIRTUAL

MEDIA PARTNERS

EVENT PARTNERS

47

AC O NE W S CELEBR ATING PE TER WEISS a o – OUR MOST GENEROUS PATRON

PICTURED: ACO Principal Cello TimoVeikko ‘Tipi’ Valve and Peter Weiss ao, Medici Patron and the man responsible for the biggest single gift in our 41-year history – the 1729 Guarneri cello on which Tipi plays.

Peter Weiss ao made history earlier this month when he donated his 1729 Guarneri cello to the ACO – the largest gift in the Orchestra’s 41 years. To express our gratitude, Peter was honoured at the Sydney Opera House on Sunday 16 October with a solo Bach performance starring Principal Cello, Timo-Veikko Valve.

Richard Tognetti ao and guests of Peter Weiss and the ACO came together to honour Peter, who also launched the ACO’s stunning anniversary book ACO40: The Fortieth Year. Guests included founder of the ACO, John Painter am, photographer Anthony Browell, author Margaret Throsby am, former Governor of NSW, Professor Marie Bashir ad, cvo and philanthropists Ros Packer ac and Jeanne Pratt ac.

PICTURED ABOVE: Guido BelgiornoNettis am, Chairman of the ACO Board, himself celebrating 20 years with the Orchestra’s Board, caught up with noted philanthropist Jeanne Pratt ac.

PICTURED RIGHT: The Orchestra’s founder, John Painter am, enjoyed talking with Peter Weiss ao, and Richard Tognetti ao.

Photos: Fiora Sacco.

48

PICTURED ABOVE: Richard Tognetti ao, Anthony Browell, designer Harry Willamson, and Margaret Throsby am were happy to meet long-time supporters and to sign the ACO’s anniversary book, ACO40: The Fortieth Year.

PICTURED RIGHT: The sparkling Sunday afternoon concert brought out the who’s who of the Australian arts world, both supporters and participants, including John Leece am; Dame Marie Bashir ad cvo; ACO’s Anna McPherson, and Ros Packer ac.

Photos: Fiora Sacco.

PICTURED: Ros Packer ac with two of Australia’s fashion greats, Peter Weiss ao, and Maria Finlay.

PICTURED: It was a lovely opportunity for friends to catch up. Here we see Alden Toevs, Judi Wolf, and John Bell ao obe.

49

Hosted by Deborah Hutton Joined by Margaret Pomeranz Graeme Blundell Leo Schofield Chris Hook

CHANNEL 133

A brand new season of the one-stop guide to Australia’s diverse arts scene produced exclusively by Foxtel Arts.

Wednesdays 8PM AEDT, from October 12 foxtelarts.com.au @FoxtelArts

ALBUM SIGNING DURING TONIGHT’S INTERVAL

Slava Grigoryan The first album in the major new Bach recording project, born out of Slava’s life-long love for the baroque genius’ music: the enthralling Cello Suites, performed on the richly resonant baritone guitar.

Official release November 2016.

The ground-breaking recording, in a tenth-anniversary deluxe edition including a bonus disc of baroque guitar concertos, and a reflection on the Grigoryans’ performances from Rodrigo’s daughter.

AVAILABLE NOW FROM ABC CLASSICS

EXCLUSIVE TO

SYDNEY’S CLASSICAL MUSIC SPECIALISTS

SYDNEY’S CLASSICAL MUSIC SPECIALISTS

EXCLUSIVE TO

EXCLUSIVE TO

SYDNEY’S CLASSICAL MUSIC SPECIALISTS

SYDNEY’S CLASSICAL MUSIC SPECIALISTS

EXPERIENCE A TRUE HOME AWAY FROM HOME COMO THE TREASURY

When the talented musicians from ACO perform in Perth, we are dedicated to ensuring they have an elegant, contemporary base to rest and recuperate.

COMO The Treasury is a sophisticated 48-room hotel in the revitalised historic centre of Perth. With restaurants, bars and the world-renowned COMO Shambhala wellness offerings all within our heritage building, we’re at the very heartbeat of the state capital.

Visit comohotels.com/thetreasury to learn more, or contact our dedicated reservations team by calling 08 6168 7899 or emailing res.thetreasury@comohotels.com.

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.

The ACO trusts its events to Katering - why don’t you?

Providing a complete service in hospitality: one call • one contact • one manager to organise the entire event From weddings, birthdays and corporate functions to intimate dinner parties at home ACO Chairman’s Council Cocktail Party

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

T HI S I S A WOR LD WHERE S OU ND TOUCHES T HE SOUL AND S I G HT P L AYS S ECOND FI DDLE TO T HE S YMPHONY.

As the proud 2016 official tailor of the ACO, we hope we can take the pressure off looking good, and let the music speak for itself.

T H E O F F I C I A L 2 01 6 TA I L O R O F T H E A C O

“A jOyFuL ceLebRATIOn OF cOnTeMpORARy FIne DInIng buILT AROunD (execuTIve cheF) phIL WOOD’S pOWeRFuL TALenT” Terry Dur ack chIeF ReSTAuRAnT cRITIc, SMh

Lunch MOn–FRI FROM 12nOOn DInneR MOn–SAT FROM 6pM 11 bRIDge STReeT, SyDney ROckpOOL.cOM