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RESPECT YOURSELF RESPECT YOUR CULTURE Heathway Tura New Music Regional Touring Program Partner

THE REEF Dedicated to the memory of Jeremy ‘Wire’ Curtain RICHARD TOGNETTI Artistic Director & Lead Violin MICK SOWRY Director & Producer JON FRANK Director of Photography DEREK HYND Director of Surfing IAIN GRANDAGE Composer MARK ATKINS Didgeridoo STEPHEN PIGRAM Voice & Guitar SATU VÄNSKÄ Violin & Voice JULIAN THOMPSON Cello CLAY MacDONALD Voice CRAIG JOHNSTON Voice* GEOFF NICOL Guitar* * Sydney concert only

Music as follows: TOGNETTI (real. Grandage) Heart of the Black Beast TOGNETTI (arr. Grandage) Bathymetry TOGNETTI / GRANDAGE Beyond SEEGER (arr. Grandage / Tognetti) Where Have All the Flowers Gone RAMEAU Les Vents from Les Boréades LIGETI Ramifications CRUMB Night of the Electric Insects from Black Angels J.S. BACH (arr. Tognetti) Fugue from Sonata No.1 in G Minor, BWV1001 GRANDAGE / ATKINS Immutable [WORLD PREMIERE] PIGRAM BROTHERS (arr. Grandage) Raindancing PIGRAM BROTHERS Saltwater Cowboy S. PIGRAM (arr. Grandage) Mimi KILAR Orawa ALICE IN CHAINS (arr. Tognetti) Them Bones CRUMB God-Music from Black Angels DEAN Peripeteia from Electric Preludes SHOSTAKOVICH (arr. Barshai) Allegro molto from Chamber Symphony, Op. 110a RACHMANINOV Vocalise SEEGER (arr. Tognetti) Where Have All the Flowers Gone ALICE IN CHAINS (arr. Tognetti) Angry Chair BEETHOVEN Cavatina from String Quartet in B flat Major, Op.130 DARWIN Darwin Entertainment Centre Thu 5 Jul, 8pm

BROOME Cable Beach Amphitheatre Wed 11 Jul, 7.30pm

KUNUNURRA Ivanhoe Farms Sat 7 Jul, 7.30pm

PORT HEDLAND Matt Dann Cultural Centre Thu 12 Jul, 8pm

CARNARVON Camel Lane Theatre Sat 14 Jul, 7.30pm

PERTH Perth Concert Hall Wed 18 Jul, 7.30pm

GERALDTON Queens Park Theatre Sun 15 Jul, 7.30pm

SYDNEY Sydney Opera House Mon 23 Jul, 7pm

The Australian Chamber Orchestra reserves the right to alter scheduled programs or artists as necessary. Cover: Derek Hynd © Jon Frank

Welcome from the Australian Chamber Orchestra In May, Richard Tognetti, composer Iain Grandage, film-makers Mick Sowry and Jon Frank, musicians, surfers and cameramen from all over the country gathered at the Ningaloo Reef to start a creative process which has culminated in the live music and oceanic film experience entitled The Reef. It was a huge project for the Australian Chamber Orchestra to contemplate, ranging from the need to capture extraordinary footage to the risk of injury or worse, and could not have come to fruition without the generosity of so many supporters who have shared Richard’s vision. Major corporations such as Wesfarmers and Qantas have joined forces with generous individuals like Michelle and Tony Grist and the Creative Music Fund and, together with the Federal Government’s Playing Australia program, have brought about this remarkable confluence of art and nature.

ACO2, our Emerging Artists and Regional Touring Ensemble, has evolved into a superb ensemble in its own right and, at the conclusion of this tour, will make its Sydney Opera House debut. These wonderful young musicians are the vibrant future of music in this country and we are thrilled to present them to audiences from Darwin, around the north-west coast of the continent to Perth and Sydney. Our partner in this inspiring enterprise has been Tura New Music and we are immensely grateful to Tos Mahoney and his colleagues for backing this creative project so wholeheartedly, for facilitating the intensive production period and for putting together this extensive tour through some of the most remarkable country in Australia. Timothy Calnin General Manager Australian Chamber Orchestra

About the Australian Chamber Orchestra Internationally renowned for inspired programming and the rapturous response of audiences and critics, the Australian Chamber Orchestra is a product of our country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality and virtuosity unmatched by other ensembles. The ACO was founded in 1975 and Richard Tognetti was appointed Artistic Director and Lead Violin in 1989. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia. The ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-artform projects and a vigorous commissioning program.

Fifty-one international tours across Asia, Europe and the USA have drawn outstanding reviews for the ACO’s performances at many of the world’s prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein. The ACO has made acclaimed recordings for labels including ABC Classics, BIS, Sony, Channel Classics, Hyperion, EMI and Chandos. In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres.

© Paul Henderson-Kelly



Welcome from Tura New Music Over three years in the making, The Reef is a wonderful example of a cultural project that has a strong connection to country, and to community, two of the fundamental driving forces for Tura New Music. In this case a work that has a deep connection with the sea and landscapes of the Ningaloo coastline. Tura wholeheartedly thanks the many supporters of this tour and once again acknowledges the vision and generosity of our principal partner, Total E&P Australia. As part of our annual Regional Touring Program The Reef tour further connects us with regional centres and communities, and we thank all those regional organisations and individuals for their generous support and welcome. We are immensely grateful to all the artists for collaborating so generously on this project and tour. It has been a pleasure working with international-standard artists such as Richard

Tognetti, Mark Atkins, Steve Pigram, Iain Grandage, Mick Sowry, Jon Frank and all at the Australian Chamber Orchestra and ACO2 who have breathed such a high standard of creative life into The Reef. Working with our partners, the ACO, on this immense project has been an incredible journey through which we have covered much ground — creatively and literally — together. Our special thanks to Richard Tognetti for his vision and leadership with the project, to Timothy Calnin for his limitless support and to Vicki Norton for her infinite commitment and work. We look forward to meeting you all on our travels and sharing our stories into the future. Tos Mahoney Artistic Director Tura New Music

About Tura New Music Tura New Music — for those with a sound appetite. Tura New Music is a not for profit arts organisation based in Perth, Western Australia. Founded in 1987, Tura is a producer as well as resource centre for new music and sound art. Tura supports the careers of composers, sound artists and performers as well as advising a broad range of organisations and audiences, locally, nationally and internationally about new music and contemporary sound initiatives. They support the creation, development, promotion, presentation and distribution of new music and

sound art — for its artists, organisations and audiences, locally, nationally and internationally. Tura New Music thrives to nourish the lives of Western Australians and lovers of new music and sound art everywhere are enriched by extraordinary, challenging and innovative cultural experiences. Program highlights include The Totally Huge New Music festival, Scale Variable Series, Club Zho, Sounds Outback and Regional Touring program.

© Ed Sloane

Taylor Miller



Principal Tour Sponsor Messages WESFARMERS ARTS Wesfarmers’ association with the Australian Chamber Orchestra goes back a long way. Fourteen years after we first worked together to bring this wonderful orchestra to Perth on a regular basis, we are now delighted to be able to bring ACO2 to the main-stage in Perth and Sydney for the first time. The Reef is a bold, innovative and collaborative project, taking its inspiration from the stunning Western Australian landscape that Wesfarmers is proud to call home.

It is a privilege and a joy to support the tremendous work of ACO2 as part of our commitment to making a broader contribution to the communities in which we live and work. We hope you enjoy this performance as much as we have enjoyed bringing it to you. Richard Goyder Managing Director Wesfarmers

This tour has taken ACO2 the length and breadth of Australia — bringing these vibrant young musicians to the country’s leading concert halls as well as its community halls. It has created once-ina-lifetime opportunities for young people in those communities to hear and enjoy classes with some of this country’s most talented and inspirational artists.

TOTAL E&P AUSTRALIA Total E&P Australia is delighted to continue its five-year partnership with Tura New Music through Principal Sponsorship of The Reef tour. From the outset our partnership with Tura New Music has brought us great insights into Australian culture and first-hand experiences we would otherwise never have had. Engaging with communities and making a difference to people’s lives has had a positive influence on the culture of our organisation. Building on a shared vision that cross-cultural music experiences be available to Australians, no matter how remote their communities, the rich collaboration of esteemed artists in The Reef tour from such varying traditions has created a unique tapestry of cultural experience.

Total E&P Australia is indeed proud to support this project in its journey from Darwin to communities across Western Australia and on to the Sydney Opera House. We congratulate the artists with Tura New Music and the Australian Chamber Orchestra for making this possible and look forward to sharing this terrific project with you. Mike Sangster Managing Director Total E&P Australia

© Ed Sloane

Ryan Burch



About the music Richard Tognetti writes: Within all of us is the capacity for wonder, in some it just lies dormant. “Most serious matters are closed to the hardboiled. They are un-practised in introspection, and therefore badly equipped to deal with opponents whom they cannot shoot like big game or outdo in daring…the hard-boiled are compensated for their silence: they fly planes or fight bulls or catch tarpon…” — from Saul Bellow’s narrator in the Dangling Man …or surf. And a surfer does require a certain hardboiledness; try staying in the water as a 3 metre tiger shark saunters by in Western Australia! — Anyone who reads the news will appreciate the need for that stiff exclamation mark after those two words. Art is one portal to notions existing beyond the material, and this project The Reef attempts, amongst other things, to bring a sense of existential awe and wonder to the hard-boiled — whilst trying to boil away perceptions that “classical music” (whatever that may mean in 2012) is seemingly only for those boiled soft. The dreams of many have come from out of the mighty realm of north western Australia, where the desert is unleashed into the sea. A fertile release of our imaginations has been sparked by our fleeting encounter with this land and ocean, and is transformed onto the screen by Jon Frank and Mick Sowry (from filming in WA to tonight’s showing it’s been a mere six weeks), in an account more representative of a painter than a storyteller.

Through the art of universal synchronisation, one is offered the possibility of hearing more in images and seeing further into music. Our musical universe ranges from our 42,000 year old Indigenous culture with the restorative music of Stephen Pigram and Mark Atkins and the cohesive force of Iain Grandage; through to remnants of a surf culture that was driven by grunge in the 90’s; lurching forward to the sublimely gruesome Ramifications of Ligeti and transcending to the holy grail of J.S. Bach. It also includes Orawa by composer Wojciech Kilar (who turns 80 this July), best known for his music in Roman Polanski films and a fine composer in his own right, Rameau’s Les Vents, the un-worldliness of George Crumb, scurrying Brett Dean, Soviet Shostakovich, Russian Rachmaninov and Obama inauguration performer (and 60s protest singer) Pete Seeger. We conclude with Beethoven’s Cavatina written as tears flooded his score, and with beklemmt (anguish or oppressed) indicated in the score. We invite you into our dreams, as this music sings to the elements of the natural environment and forms a sonic dialog with the mysterious and wondrous dance-art that is surfing. The Reef is dedicated to the memory of Jeremy “Wire” Curtain.

The Reef follows on from Musica Surfica and The Glide. Its journeys are at once personal and universal. Surfer and wanderer, Derek Hynd possesses legendary gifts, including an uncanny ability to confront exploding exteriors (on a finless surfboard) and collapsing interiors. We are then dared to comprehend these elements and mould them into the wonder of art. The personal odyssey of The Reef begins with Hynd’s own — traversing across our continent east to west, against the earth’s regular flow of storms, in a black, coal-black beast of a vehicle. The story finishes with, and encompasses, the universal, as we are left in wonder at the dizzyingly apparent proximity of the desert stars and beyond into the abyss. But what of the music and why the need to project images? THE REEF

© Sean Davey

Jeremy “Wire” Curtain


Notes on selected musical works: Pete SEEGER (b.1919) Where Have All the Flowers Gone (composed 1961). Arranged by Richard Tognetti and Iain Grandage American musician Pete Seeger is one of the most influential and instrumental figures in folk music, largely credited with the folk music revival of the 1950s and 1960s. He has been surrounded by controversy for much of his career, as he unapologetically views music (beyond its intrinsic artistic value) as a platform for political discourse. In April of 1961, the year this song was composed, Seeger was found guilty of contempt of U.S. Congress and was sentenced to 10 concurrent one-year terms in prison. He was acquitted in 1962, the year Where Have All the Flowers Gone became a top 40 hit. Jean-Philippe RAMEAU (b.1683–d.1764) Les Vents from Les Boréades (composed 1763) Composer and theorist Rameau is one of the legendary figures in French musical history. He was France’s foremost composer in the 18th century, and many of his dramatic compositions stand as pinnacles of pre-Revolutionary French opera. In fact, he composed his first opera at age 50. Les Boréades is Rameau’s final opera and was never performed in his lifetime. Les Vents was conceived as an Entr’acte, or a work performed between acts in the opera, and it masterfully depicts winds and nature. György LIGETI (b.1923–d.2006) Ramifications (composed 1969) György Ligeti’s haunting, futuristic music was used to great effect in Stanley Kubrick’s classic sci-fi movie 2001: A Space Odyssey. This Hungarian composer, for many years based in Hamburg, maintained a formidable reputation as a giant of the avant-garde for over four decades. A graduate of the Budapest Academy, Ligeti spent the 1950s — his late twenties and thirties — researching Romanian folk music and issuing compositions of a similarly folk-based nature. In the short string work Ramifications, strings are divided into two groups, and one of them is required to tune the strings to create a shimmering sonic blur with eerie, strangely beautiful cluster harmonies. That became Ligeti’s hallmark in the 1960s. Ramifications will strike each listener in a totally different way. Different timbres and textures will be heard, and each imagination will conjure unique images. George CRUMB (b.1929) Black Angels — Thirteen Images from the Dark Land (composed 1970) Threnody I: Night of the Electric Insects and God-Music American composer, George Crumb, is best known for works that he wrote in the early 1970s, including Black Angels, originally for “electric 8 AUSTRALIAN CHAMBER ORCHESTRA

string quartet”. Black Angels is no conventional chamber work. Not only are the instruments wired for amplification, but the players make use of an extended array of other sound sources, such as the bowed glasses heard in God-Music. Black Angels was written as a response to the events of the Vietnam War. Johann Sebastian BACH (b.1685–d.1750) Fugue from Sonata No.1 in G minor, BWV1001 (composed 1720). Arranged by Richard Tognetti This sonata, counted amongst Bach’s six sonatas and partitas for solo violin, stands as one of western music’s most glorious and monumental works, by one of history’s greatest composers. Many violinists (not all of course) wish to flesh out the chordal lines and underline the structures of Bach’s violin fugal writing. Originally written for solo violin, it has been arranged here for violin with string trio. Wojciech KILAR (b.1932) Orawa (composed 1986) Polish composer Wojciech Kilar is perhaps best known for his scores for Francis Ford Coppola and Roman Polanski films. Orawa is a rigorous, lively work with themes drawn from folk music, and is inspired by the mountainous region that straddles the border of Slovakia and Poland. It is music of nature and the people of the Carpathian highlands, with broad phrases and medieval, almost primal rhythms. ALICE IN CHAINS (formed 1987) Angry Chair and Them Bones (from 1992 album Dirt). Arranged by Richard Tognetti Alice in Chains remains the definitive heavy metal band of the 1990s. In the period of their second album Dirt, their music straddled the worlds of hard rock/metal and the upwardly mobile Seattle grunge sound. Layne Staley and Jerry Cantrell, the two main creative forces behind this album release, produced what was to be the group’s most commercially successful album, and in many ways, Staley’s most personal artistic statement. At the time, Staley was struggling with heroin addiction, which, a decade later, would prove to be fatal. In Them Bones we hear Cantrell’s confrontation with mortality, and in Angry Chair, solely written by Staley, bleak despair. Brett DEAN (b.1961) Peripeteia from Electric Preludes (composed 2012) Peripeteia (noun): a sudden or unexpected reversal of circumstances or situation. Brisbane-born composer Brett Dean continues to enjoy a remarkable career as performer and composer. After travelling to Germany on an Australia Council grant, he won a position in the viola section of the Berlin Philharmonic while in his twenties, and began composing in 1988. Now based in Berlin and Melbourne, his works are regularly performed around the world from London, Berlin, THE REEF

Los Angeles and Sydney, to New York. Electric Preludes was commissioned for Richard Tognetti and Festival Maribor by Jan Minchin. Dmitri SHOSTAKOVICH (b.1906–d.1975) Chamber Symphony, Op. 110a (composed 1960). Arranged by Rudolf Barshai II. Allegro molto Shostakovich’s String Quartet No.8 was dedicated “To the memory of the victims of fascism and war”, with the composer describing the Quartet as “in a sense [my] musical autobiography” or “the densest mass of self-quotation I ever wrote”. The Quartet was admired by musicians from its premiere. Chamber groups begged to perform it and Shostakovich was also approached by several conductors and composers who could hear its potential as an orchestrated work. Rudolf Barshai fell into both these categories. A friend of the composer, his arrangement received Shostakovich’s blessing and is published as the Chamber Symphony with its own opus number, 110a. Sergei RACHMANINOV (b.1873–d.1943) Vocalise, Op.34, No.14 (published 1912) A vocalise is a song without words, intended to be sung on one or more vowels. Rachmaninov made several transcriptions of this famous wordless melody. His compositional talent and skill is clearly evident in this work, with the hauntingly beautiful melody interplaying with a number of concurrent

counter-melodies, all of which are combined to ravishing effect. Ludwig van BEETHOVEN (b.1770–d.1827) String Quartet in B flat major, Op.130 (composed 1825) IV. Cavatina: Adagio molto espressivo Op.130 was composed between August and November 1825, and the quartet in its final form was only performed after the composer’s death, on 22 April 1827. Teeming, sub-melodic detail is entirely absent in the fourth movement Cavatina, where a smooth, singing line and organically integrated accompaniment create music of extraordinary repose and affecting tenderness. According to a famous account by the violinist Karl Holz, this movement “cost the composer tears in the writing and brought out the confession that nothing that he had written had so moved him”. If the main melodic arch of this movement was unbearably moving for the composer, what of the brief central section, marked “beklemmt”? Heralded by hushed unison triplets in the lower voices, the violin utters forth a passage which is, all at once, full of wonder, hesitation and absolute terror. “Beklemmt” can mean anxious, weighed down, restricted in some way. For Beethoven, are these few bars a terrific glimpse of God, of death, or both? Adapted from notes by Meurig Bowen, K.P. Kemp, Graeme Skinner and Alan J. Benson

ABOUT THE WORLD PREMIERE: IMMUTABLE Immutable was commissioned with the financial support of the Creative Music Fund.

Iain Grandage writes:

moments of quotation from early European sources.

Immutable (adjective): unchanging over time or unable to be changed.

By way of context, not far from Gnaraloo (across the bay at Cape Inscription) is the spot where in 1616 Dirk Hartog left a plate — the first known European visit to Australia. Many of the vessels that followed him were wrecked on the WA coast. These shipwrecks have slowly decayed and morphed until they are unrecognisable from natural reefs — their story has become part of nature. Gradually, ever so slowly, their European story is becoming entwined in the Australian landscape — the very antithesis of being immutable.

This co-composed work, written in collaboration with didgeridoo virtuoso Mark Atkins, grew out of improvisations during the Reef Residency (run by the ACO and Tura New Music) at Gnaraloo Station in WA. The title alludes to a certain immutable fact. Australian Indigenous musics speak utterly from and for the country and landscapes in which we live. Every gorge and mountain range has its own song — every coastline its own caretaker. This work for didgeridoo and string orchestra is a request to share one of those songs — the song and story which is carried by Mark Atkins and his didgeridoo. Structurally, the work is built in a similar manner to some of Mark’s solo improvisations — namely — a slow introduction (both to warm the instrument and welcome the listener) followed by a rhythmic chapter around a particular groove. This is followed by a moment of stasis before the finale based around a second series of rhythmic ideas. But the undoubtedly grounded-in-earth nature of a Mark Atkins solo is counterbalanced in Immutable by moments that allude to the ocean — namely two THE REEF

The two transformed quotations are from the Dutch composer Sweelinck, and a fragment of the John Banister setting of Shakespeare’s Full Fathom Five. The remainder of the work’s harmonic language is based around ever-expanding intervals separated by the semitone, as the strings slowly diverge from an initial unison with the didgeridoo in the introduction. The irony inherent in the title is the fact that Mark is the embodiment of a considerate and adaptable collaborator, and I thank him deeply for allowing me to share another chapter of his remarkable story. AUSTRALIAN CHAMBER ORCHESTRA 9

About the meeting of surfing and classical music Jon Frank writes: I suppose my main concern was, as always, to try not to be party to the destruction of any masterpieces of western civilisation along the way. Advertising sharks have no shame in using Beethoven to sell chocolate or Carl Orff to sell beer but this isn’t about selling you anything. How could anyone with a conscience project pictures of surfing to the music of Bach? His is the grand work of a musical genius. It’s perfect. In fact it’s better than perfect, it’s biblical. God-like. Bach transcends mortality. Surfing certainly takes centre stage in the lives of its devotees but its lines are drawn on such an ephemeral medium and generally so far out to sea, that for non-surfers it can be difficult to understand. For a non-surfer it must be easy to view surfing as frivolous and self-obsessed or worse still as a “sport” , which is blasphemy to the purists of our culture. Yes surfing is a culture, or is it a kultcha? I’m out of touch.

What do you estimate the average age of a classical music concert audience to be? I’ve been to a few and I’d reckon it’s in the high 60s, kind of like Florida. Look around you tonight as you read this, and I’ll wager there are quite a few younger faces in the crowd. A few raucous ones too no doubt, with sunburned noses and salty mops. So while you can’t make better the work of Beethoven or Bach, what you can do is enable that work to be heard by a generation that has been reared on YouTube, punk, and hip hop at the speed of a broadband revolution internet connection. That’s not to say that this is a better way — the music sure doesn’t need us. At the very least The Reef provides an opportunity for the youth who just don’t go to classical music concerts, to hear for themselves how massive and irreverent and exciting and damn touching this music can be. This music transcends age, wealth, status and class. This music needs to be heard by us all. (Just not on TV selling Old Spice please).

A limited selection of exhibition quality gelatin silver photographic printsnow available to own.

Untitled Seascape #1; 2008 10 AUSTRALIAN CHAMBER ORCHESTRA


About the footage Mick Sowry writes: When I discovered I was to direct The Reef, after the surprise came the thinking. How do you express a place you’ve known of for 40 years but never visited, with your palette without spoken word or recorded soundtrack, using a metaphoric language to be built on a two week stay that was dictated by the relentless schedule of one of your main creative collaborators in the person of the formidable Richard Tognetti? Respect for the original inhabitants of the land was in the front of my mind too, and it was there that the seeds for the idea came. This is a place of deep time, a glass-hard land that pricks and cuts, and glistens. It is, and persists, eternal. Our time there, some two weeks experiencing this extraordinary place, needed, it seemed to me, to be compressed into a Mythic Day, and that day was a metaphor for life. That was the idea. We come and go, sparks in time. I approached the shoot armed with with an open mind and a notebook full of ideas. Some elements were long planned. Our opening of the Day underwater, a birth. The harshness of the middle of the day, the ants, the scratching frenetic nature of our working lives.

and see things that we might otherwise never see, or experience. They take us, in the hands of Director of Photography Jon Frank (Musica Surfica, The Glide, The Crowd, The Nothing Project), to another world. Jon is a machine, and an artist. Relentless and courageous, he filmed with tiger sharks cruising the line-up, throwing himself into the water whatever the conditions and whatever the time, for as long as it took. His ability to remain underwater for what seemed like minutes delivered wonders. Ideas thrown up as potential filled lumps of coal turned into diamonds. He cruised the bush alone with his camera, letting it wander with intent. Together now editing for the past three weeks his input and insight has proven invaluable. Working with Richard and Jon in the push and pull of making The Reef is all I expected it to be as we work towards our end. If you’re reading this, hopefully you’ll say we got there. I would like to especially thank Simon Yeo for his vision, energy and good humour. Without him The Reef would not have happened.

Others, like the third movement of Crumb’s Black Angels was a reaction to the time the piece was written (during the Vietnam war) and the presence of The American Boy in the form of the virtuosic surfer Ryan Burch. Under a bad fall of the temporal dice he could have been standing in a paddy-field in Vietnam. The Gnaraloo experience was very different from gazing down from Google Earth. Adjusting to managing, with a lot of help, (particularly from my line producer Fran Derham) 20 or more people on a big stage, and taking a couple of days to get acquainted with the near military operation of synchronising arrival at a specific break with the right crew and equipment, at the right time, and in time for optimum swell and shooting conditions, proved a challenge. Blowing up with a previously unknown antibiotic allergy didn’t help my first few days either, as I hallucinated and itched through three days and nights, which may have helped in the end. The dreams were interesting. We settled on the RED camera system as it gave us an ability to capture images of astonishing resolution and they also allowed us to stop time

© Ed Sloane

Dane Beevor and Jon Frank



© Hugo Muecke

About the surf Derek Hynd writes: Welcome to The Reef. The slight test of endurance, for my dedicated crew of five, started well before the slated event commencement in a trusty old Land Cruiser, involving a double roll over in the dirt of the Buntine Highway in the Northern Territory, emergency medical care from Patrick Underwood at Inverway Station, the adoption of Buntine the dingo pup at Halls Creek, a 1000km stretch with a crushed roof and no windscreen until Broome, investigation and discovery of dinosaur footprints at James Price Point, and eventual dusk arrival at one of the planet’s most pristine vistas. We beheld an amazing land of wonderful souls and hidden majesties. The Reef is the culmination of a series of fusion projects focusing on the sea. Musica Surfica (2008), The Glide (2010), and now The Reef, largely championing the progression of Free Friction surfing, a new surfing artform conducted without fins. Man of few peers in finned surfing, Dane Beevor, offers structural perspective, whilst air mat rider Warren Pfeiffer — at 60 years of age — lays claim to being the fastest surfer on the planet. The indulgence of maestro Tognetti as a dedicated exponent of the discipline is of course noted. Without his devotion to speeding across the wave face as if on a magic carpet, none of these projects would have been undertaken. Great credit goes to the ACO Board and Administration in veering to the left bank of project fusion, and especially to Janet Holmes à Court, whose core appreciation of The Reef has been something to behold. Two rising tenets of the artform exist. Alaia surfing, popularly originated by Jacob Stuth and Tom Wegener in tribute to the ancient Polynesian pursuit; and Far Field Free Friction (FFFF) surfing, pioneered by Sydney’s Dale Egan 20 years ago and modified by myself seven years ago with the removal of all fins.

face of rising control. FFFF surfing places the variable as the control mechanism, evolving the artform into freeform jazz. I’ve garnered much joy from Richard tackling waves at Noosa Heads, Bells Beach or the Ningaloo Reef with a proficiency that puts him at the forefront of research and development within the discipline. Credit also to Taylor Claire Miller, daughter of Waimea Bay great Rusty Miller, whose progression has been nothing shy of wild. The shock and awe on the faces of the pack at The Pass, Byron Bay, as she torques and rotates over them in the crowded line up has no parallels in women’s surfing. Sans fins, one can respectfully run another surfer over after all. Ryan Burch is the beacon of next generation FFFF. Aside from the miraculous chunk of foam ridden during The Reef, his performances after borrowing a board or two from my quiver leaves little doubt that he can be as magnetic to watch as the king of fins, Kelly Slater. What you are about to see is surfing, but not as you know or imagine it. Thank you for the support.

FFFF is so named (2006) in deference to Simopekka Vänskä, brother of ACO Assistant Leader Satu Vänskä, whose mathematical theorem Direct and Inverse Scattering for Beltrami Fields — or The Far Field Theory — depicts stability after chaos upon reaching the theoretical point of infinity. Inconsequential by comparison, certainly, but it is the feeling of coming into sudden control after marked instability that keys free friction surfing. Or just call it plain old stoke. It is the abandonment of ingrained control that most appeals. Patrick White noted before his passing the loss of intuition within society in the 12 AUSTRALIAN CHAMBER ORCHESTRA

© Ed Sloane

Derek Hynd


Richard Tognetti Artistic Director and Leader, Australian Chamber Orchestra Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for compelling performances and artistic individualism. He studied with © Ed Sloane William Primrose, Alice Waten at Sydney Conservatorium and Igor Ozim at Berne Conservatory. In 1989, he was appointed Leader of the Australian Chamber Orchestra and subsequently became Artistic Director. He is also Artistic Director of the Maribor Festival in Slovenia. Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and

gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony. Tognetti’s arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. He co-composed the soundtracks for Master and Commander: the Far Side of the World and Tom Carroll surf film Horrorscopes. He co-created and starred in the documentary film Musica Surfica which has won best film awards at surfing film festivals in the USA, Brazil, France and South Africa. As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin works, winning three ARIA awards, and the Dvorˇák and Mozart Violin Concertos. Tognetti was appointed Officer of the Order of Australia in 2010. He holds honorary doctorates from three 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 benefactor.

Jon Frank Director of Photography

© Ed Sloane

May and it is already winter on Victoria’s West coast. Thick lumps of roaring forties swell surge shoreward like great humpback whales, rising and falling onto this remote beach; a steep bite of sand where each wave arrives dark with intent. Jon Frank wades through the fading light, ducking and diving through the treacherous shore break, swim fins propelling him towards the impact zone, heavy film camera encased water-housing held just above water level. There is a moment here, a split second, where a wave arches, bending towards the shallow sandbar, dimpled like a buckled sheet of steel illuminated by the final rays of the day. THE REEF

As a surf photographer, Jon Frank is without peer. Widely regarded as the artist of the ocean image, Frank has spent the past two decades expressing his unique vision of surfing and ocean waves, winning a slew of photography and cinematography awards along the way. His ethereal images have adorned magazine covers, books and advertising campaigns, selling everything from soft drinks to surfboards. His cinematography has added an esoteric layer to an impressive catalogue of surf films, documentaries and television programs. His work has been exhibited in Australia, USA, Slovenia and Portugal and he has collaborated with Richard Tognetti and the ACO to create a series of classical music concerts (The Glide, The Crowd and The Nothing Project) featuring video projection behind live orchestra. Surf photography has been described as “starvation on the road to madness” and Frank’s gaze has wandered far beyond the agitation of wind on water. But it is in these moments, as darkness kisses this chill and desolate coastline, that he lifts us beyond our imagination. — Brendan J McAloon AUSTRALIAN CHAMBER ORCHESTRA 13

Mick Sowry Director and Producer amounting to a hill of disenchantment layered with a lot of fun. It was not enough. Underneath, and for myself, I always wrote, and painted, when I could. The continuing desire to express in the arts as opposed to the commercial arts pushed me towards a career shift in the mid 2000s.

© Ed Sloane

Mick Sowry writes: I have a lifetime of experience in advertising as an art director and more than occasional writer, with all that entails in blending skills in print, radio and television, and later corporate films, writing and production. I could go through a list of surnames, the various combinations being many different agencies, and sometimes different incarnations of the same or related corporations. Awards and frustrations in few and plenty, depending on how you look at it. In the end it was

As a life-long surfer, that aqueous life was one I wanted to communicate as it is a place of peace and deep beauty for me. Sharing it seemed to be a fair thing. Beginning a collaborative relationship with Richard Tognetti and the ACO with Musica Surfica in 2007, my life has changed radically, and, spiritually at least, for the better. The rewards of creating something that impacts in an uplifting, positive and long lasting way far outweigh the monetary and ephemeral. The opportunity to launch into The Reef has meant a long year behind me and perhaps as long ahead as we chase yet another dream and hopefully, give birth to a few too.

Derek Hynd Outrageous surfer, thinker, doer

© Taylor Claire Miller

Derek grew up in Newport Beach, Sydney, in an era of drug culture, motorcycle madness and plights of upward mobility…all of which he took no part in. Instead, upon graduating in political economy from Sydney University, he veered left to a life of world travel, incisive and often controversial writing as well as various groundbreaking surfing pursuits.

His recent development of a revolutionary kind of surfing, Far Field Free Friction (FFFF), is nothing short of breathtaking invention. The fin has been removed, leaving the edge of the rail and the speed of no constraint. Think magic carpet. This being Derek’s seventh year sans fins, he remains committed to research and development. The Ningaloo Reef has posed the biggest challenge thus far, after six years ‘going right’ (facing the wave). Now, with his back to the wave in The Reef, the process has been a challenge to overcome. The Reef is Derek’s third venture with the ACO, cross-pollinating free friction surfing with fine music. In the past he was one of the main collaborators with Jon Frank in the highly regarded soul surfing film Litmus. In this project, the Hynd/Tognetti/Frank fusion spawns fresh intoxication. — Taylor Claire Miller

This is his fourth decade at the forefront of performance, beginning with a Top Ten world ranking, a career in elite coaching and radical industry politics.



Stephen Pigram Voice and Guitar and beyond. Stephen also tours nationally and internationally as a featured artist with the acclaimed Black Arm Band ensemble. He was a member of legendary Broome bands Kuckles and Scrap Metal, and was Musical Director for the original production of the first Aboriginal musical and recent major Australian film, Bran Nue Dae.

© Ed Sloane

Hailing from Broome in Australia’s far North West Kimberley region, Stephen Pigram is a singer/ songwriter and multi-instrumentalist musician playing acoustic guitar, harmonica, ukulele and more. He is one-seventh of the Pigram Brothers band whose particular kind of ‘saltwater country’ music has attracted many fans both in Australia

He also played a major role in the development and production of the recent Australian film Mad Bastards as producer and composer. In 2006 Stephen and brother Alan were inducted into the West Australian Music Industry Hall of Fame, the first Indigenous artists to receive this honour.

Mark Atkins Didgeridoo Wales and has exhibited his traditional and contemporary artwork in Japan, Europe and the United States.

One of the world’s finest didgeridoo players, Australian Aboriginal musician Mark Atkins is internationally recognised for his collaborative projects with some of the world’s leading composers and musicians. A descendant of Western Australia’s Yamitji people, and of Irish/ Australian heritage, Mark has incorporated the didgeridoo sound into some unlikely musical environments, adding its primal pulse to orchestral works, theatrical productions and dance performances. Through Mark’s lips the air blows as a natural desert sound, in old ethnic chants and in polyphonic melodies of astonishing rhythm. Mark is a performer, storyteller, songwriter, composer, percussionist, visual artist and instrument maker. He creates and paints didgeridoos from wood collected near his home in Tamworth, New South THE REEF

As performer and composer, Mark has worked with Led Zeppelin’s Robert Plant and Jimmy Page, the London Philharmonic Orchestra, Hothouse Flowers, Philip Glass, Sinead O’Connor, Peter Sculthorpe, Donald Lunney, Ornette Coleman, Gondwana Voices, Jenny Morris, John Williamson, James Morrison, The Blind Boys of Alabama and many more. He also won the Golden Didgeridoo at the Tamworth Country Music Festival. In 2001 Mark collaborated with composer Philip Glass and Wurundjeri elder Joy Murphy Wandin in Voices, a concert work for didgeridoo and organ performed in Australia, at the Lincoln Center, New York, and in Amman, Jordan. He also performed in the Sydney Opera House season of Naqoyqatsi and toured Philip Glass’ Orion, which premiered in Greece and subsequently toured to Italy, France, UK, USA, Mexico and Australia. Mark’s solo work Grungada toured Australia, Hong Kong and France. Mark has also performed at festivals Womadelaide, Australia and WOMAD Seatle, USA. Mark is founding member of Black Arm Band, featuring Australian legends of Indigenous contemporary music, which wrote and performed Murandak, Hidden Republic and Dirtsong. AUSTRALIAN CHAMBER ORCHESTRA 15

Iain Grandage Composer Iain Grandage is both a musician and a composer for theatre, dance and the concert hall. He has been Composerin-Residence with the West Australian Symphony Orchestra, the © Pia Johnson Youth Orchestras of Australia and Black Swan Theatre Company. He received the Ian Potter Emerging Composer Fellowship and is currently an Honorary Research Fellow at the University of Western Australia. Iain has won Helpmann and Green Room awards for his theatre scores, which include The Blue Room, The Book of Everything, Cloudstreet, In the Next Room and Little Match Girl. His scores for dance include the award-winning Lawn (Splinter Group) and Remember Me (DanceNorth).

Iain’s concert works have been performed by the Brodsky String Quartet, Australian String Quartet, Australian Brass Quintet, Sara Macliver, Craig Ogden, and by choirs and orchestras around Australia. He has won APRA/AMC awards and has completed orchestral arrangements for Ben Folds, Gurrumul, Tim Minchin, Steve Pigram, Tim Rogers, Sinead O’Connor, Tiddas and The Whitlams. Iain plays cello as part of the chamber ensemble Overlander with William Barton, Claire Edwardes and Melanie Robinson, and has moonlighted with the Brodsky Quartet, Australian Art Orchestra and Topology. He regularly performs piano with cabaret überdiva MeowMeow, and was Music Director of Meow’s Wunderschön with ANAM. Iain has acted as musical supervisor and arranger for the Black Arm Band’s Hidden Republic, Dirtsong and Seven Songs presentations, and was music director and arranger for Eddie Perfect’s Songs from the Middle. He conducted all the Australian symphony orchestras as part of the 2012 Tim Minchin vs the Orchestra tour.

About AC O2 style. The best go on to tour nationally and internationally with the ACO and it is testament to the program’s success that former ACO2 members Rebecca Chan and Madeleine Boud have been appointed members of the ACO.

© Gary Heery

ACO2 connects the next generation of talented young Australian musicians with the musicians of the Australian Chamber Orchestra, creating a combined ensemble with a fresh, energetic performance style. The young musicians have all participated in the ACO’s Qantas Emerging Artist Program and many already play in the state symphony orchestras but choose to spend time experiencing the ACO’s high-octane performance

ACO2 commenced touring in 2007 and have visited over 70 regional centres in Queensland, NSW, Victoria, South Australia and Western Australia. Guest stars have included Tim Freedman from The Whitlams, Genevieve Lacey, James Crabb, oud player Joseph Tawadros and violinists Thomas Gould, Lara St. John and Pekka Kuusisto. ACO2 performed in the Classical Destinations II television series screened worldwide and now released on CD and DVD by Sony. ACO2 runs workshops for school-aged students in regional and metropolitan areas. Thus the ACO’s Education Program identifies, connects and mentors three generations of Australian string players, making the future very bright indeed.




Musicians on stage Violins


Richard Tognetti

Stephen Pigram

Artistic Director & Lead Violin

Madeleine Boud Liisa Pallandi Thibaud Pavlovic-Hobba Holly Piccoli Marianne Broadfoot#^

Voice Clay MacDonald Craig Johnston^

Guitar Geoff Nicol^

Violin and Voice Satu Vänskä

Audio and Visual Production

Assistant Leader

Robert Scott Sound Engineer

Violas Cameron Hill William Clark

Louis Thorn Projectionist

Iain Grandage Music Supervision

Cellos Julian Thompson Anna Pokorny

Bass Stephen Newton*

# Appears courtesy of Sydney Symphony ^ Appears in Sydney concert only * Appears courtesy of Melbourne Symphony Orchestra

Players dressed by AKIRA ISOGAWA

Didgeridoo Mark Atkins Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. Julian Thompson plays a 1721 Giuseppe Guarneri filius Andræ cello kindly on loan from the Australia Council.

2012 Emerging Artist profiles LIISA PALLANDI — Violin Mentor: Helena Rathbone

WILLIAM CLARK — Viola Mentor: Christopher Moore

Currently studying at the Australian National Academy of Music (ANAM) | Graduated from the Sydney Conservatorium of Music | Founding member of the Sydney Camerata | Played with the Britten-Pears Orchestra (UK), the Melbourne Symphony Orchestra (MSO) and Tasmanian Symphony Orchestra (TSO), the Australian Youth Orchestra and Sydney Youth Orchestra (SYO).

Currently completing his Bachelor of Music at the University of Melbourne and performing casually with the MSO | Made the Dean’s Honour Roll of Excellence at the Tasmanian University | Toured France as founding member of the Tasmania String Quartet | Regularly participates in AYO programs.

THIBAUD PAVLOVIC-HOBBA — Violin Mentor: Zoë Black Currently a casual violinist for TSO and studying at ANAM | Involved with Australian Youth Orchestra (AYO) | Received the DJ Motors string scholarship and the Vice Chancellor string scholarship to study at the Conservatorium of Tasmania | Prizewinner in the Gordon Prizes for excellence in chamber music. THE REEF

ANNA POKORNY — Cello Mentor: Timo-Veikko Valve Currently studying at ANAM and member of AYO | Graduated with a Bachelor of Music Performance from the University of Western Australia | Awarded the Pauline Steele Memorial Prize for Bach and the Margaret Bello Award for Chamber Music | Performed as soloist with the West Australian Youth Orchestra.


Film production credits A collaboration by Richard Tognetti, Mick Sowry and Jon Frank Richard Tognetti

Mick Sowry

Jon Frank

Derek Hynd

Artistic Director

Director and Producer

Director of Photography

Director of Surfing

Edited by Mick Sowry and Jon Frank

FEATURED SURFERS Derek Hynd Dane Beevor Ryan Burch Richard Tognetti Taylor Miller Warren Pfeiffer Tully Beevor Karl Atkins

© Ed Sloane

Dane Beevor

Tos Mahoney — Artistic Director TURA, New Music Vicki Norton — Tour Manager Michelle Kerr — Assistant to Richard Tognetti and Production Assistant Andrew Chambers — TURA Production Manager Simon Yeo — Logistics Manager Fran Derham — Line Producer Wes Greene — Post Production Manager, Camera Operator & Data Wrangler Ed Saltau — 2nd Unit Camera Operator, Post Production Coordinator, Assistant Editor and Colourist Ed Sloane — 2nd Unit 2nd Camera and Stills Photography Craig Johnston — Sound Recordist Luke McNee — Additional Footage Tully Beevor — Additional Footage Jack McCoy — Additional Footage Rory Mahoney — Post Production Supervisor Tim Hayes — Safety Officer, Zero Risk International Steve Shearer — Surf Forecaster Frederic Poguet, Mike Junghans and Sara Poguet — Catering Cameras, Underwater Equipment, Technical Support and Post Production Facility supplied by Nalu Productions Sound Design by Soundfirm 18 AUSTRALIAN CHAMBER ORCHESTRA


ACO board & staff BOARD Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman Bill Best, Liz Cacciottolo, Chris Froggatt, Janet Holmes à Court AC, Andrew Stevens, John Taberner, Peter Yates AM Richard Tognetti AO Artistic Director

ADMINISTRATION STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager and Development Manager Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO ARTISTIC & OPERATIONS Luke Shaw Head of Operations and Artistic Planning Alan J. Benson Artistic Administrator Erin McNamara Tour Manager Elissa Seed Travel Coordinator Jennifer Powell Librarian

EDUCATION Vicki Norton Education and Emerging Artists Manager Sarah Conolan Education Assistant FINANCE Steve Davidson Chief Financial Officer Cathy Davey Senior Accountant Shyleja Paul Assistant Accountant DEVELOPMENT Alexandra Cameron-Fraser Corporate Relations and Public Affairs Manager Tom Tansey Events Manager


Tom Carrig Senior Development Executive Lillian Armitage Philanthropy Manager Sally-Anne Biggins Patrons Manager Stephanie Ings Investor Relations Manager Julia Glass Development Coordinator MARKETING Georgia Rivers Marketing & Digital Projects Manager Rosie Rothery Marketing Executive Chris Griffith Box Office Manager Mary Stielow Publicist

Dean Watson Customer Relations Manager David Sheridan Office Administrator & Marketing Assistant INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist

ABN 45 001 335 182

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

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

Tura New Music board & staff BOARD Jeremy Feldhusen Chair Simon Dawkins, Cath Cipro, David Doyle, Lyn Hawkins, Tos Mahoney

PERSONNEL Tos Mahoney Artistic Director/CEO Gabrielle Sullivan Business Manager Annalisa Oxenburgh Associate Producer


TOUR PERSONNEL Eva Jolic Administrator and Communications Liesbeth Goedhart Development Consultant

Andrew Chambers Production Manager

Sarah Price Digital Marketing, iSpry

Chryss Carr and Kim Zourkas Publicists, AUM

Susie Quicke Broome Marketing Chil3 Tour Branding & Design

ABN 25 009 362 225

Tura New Music Ltd is a not for profit company registered in Western Australia.

In person or by mail: 24 Brisbane Street, Perth WA 6000 Telephone: (08) 9228 3711 Fascimile: (08) 9228 1808 Email: Website: THE REEF


Special thanks to: The Bayungu People — the traditional owners of the land and sea where The Reef was filmed The Board of the Australian Chamber Orchestra The Board of Tura New Music John Taberner and Freehills Janet Holmes à Court AC Justine Lawler Simon Yeo Paul Richardson, Gnaraloo Station

THE REEF PATRONS The ACO and Tura New Music pay tribute to our generous donors who have provided visionary support of The Reef. LEAD PATRONS — TONY & MICHELLE GRIST CREATIVE MUSIC FUND MEMBERS Jane Albert Steven Alward and Mark Wakely Ian Andrews and Jane Hall Janie & Michael Austin T Cavanagh & J Gardner Anne Combs & Susan Varga Amy Denmeade Toni Frecker John Gaden AM Cathy Gray Susan Johnston & Pauline Garde PATRONS Euroz Charitable Foundation Don & Marie Forrest Irene Lawson Tony & Rose Packer Nick & Claire Poll

Brian Kelleher Andrew Leece Kate Mills & Sally Breen Nicola Penn Martin Portus Janne Ryan Barbara Schmidt & Peter Cudlipp Richard Steele Stephen Wells & Mischa Way Anonymous (1)

Janet Holmes à Court Gavin & Kate Ryan Helen Symon Jon & Caro Stewart Simon & Jenny Yeo

MEDICI PROGRAM The ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre. MEDICI PATRON — MRS AMINA BELGIORNO-NETTIS Richard Tognetti AO — Lead Violin Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards and Prudence MacLeod Satu Vänskä — Assistant Leader Robert & Kay Bryan Madeleine Boud — Violin Terry Campbell AO & Christine Campbell Julian Thompson — Cello The Clayton Family 20 AUSTRALIAN CHAMBER ORCHESTRA


The Reef Tour 2012 proudly supported by

For the Reef Tour 2012, Tura New Music and the Australian Chamber Orchestra gratefully acknowledge

Principal Tour Sponsors

ACO2 Principal Partner

Principal Government Funding Partner

Major Sponsors

Tony & Michelle Gri Principal Media Sponsors

Regional Presenting Partner

Regional Media Sponsors

Project Sponsors

Supporting Sponsors

Australian Chamber Orchestra Government Funding Partners

Tura New Music Government Funding Partners

Regional Supporters





Darwin, Kununurra, Broome, Port Hedland, Carnarvon, Geraldton, Perth and Sydney



The Reef program  

Concert program book for The Reef

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