Ilya Gringolts plays Paganini Concert Program

ILYA GRINGOLTS PLAYS PAGANINI SEP–OCT 2018

A never-ending discovery

Shadowy theatrics and brazen tactics

Aiko and the ACO

Emily Bitto meets violinist Ilya Gringolts

Sam Twyford-Moore upacks the beguile of the virtuoso

Violinist Aiko Goto celebrates 20 years with the Orchestra

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NATIONAL TOUR PARTNER

PRINCIPAL PARTNER

COMING HOME IS NICE BUT

TA K I N G OFF IS WHERE THE EXCITEMENT LIVES

P R I N C I PA L PA R T N E R O F AUSTRALIAN CHAMBER ORCHESTRA

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Inside you’ll find features and interviews that shine a spotlight on our players and the program you are about to hear. Enjoy the read.

INSIDE: Welcome

Program

Musicians

From the ACO’s Managing Director Richard Evans

Listing and concert timings

Players on stage for this performance

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About the ACO

Program in Short

A Never-ending Discovery

Explosive performances and brave interpretations

Your five-minute read before lights down

Emily Bitto meets violinist Ilya Gringolts

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Shadowy Theatrics and Brazen Tactics

Aiko and the ACO

ACO News

Sam Twyford-Moore upacks the beguile of the virtuoso

Violinist Aiko Goto celebrates 20 years with the Orchestra

News, highlights and upcoming events

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COVER PHOTO. THOMASZ TRZEBIATOWSKI | PRINTED BY. PLAYBILL PTY LTD

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WELCOME The ACO is renowned the world over for the virtuosity, excellence and mastery of its musicians. For these concerts I am delighted to welcome an artist who also epitomises these qualities, Russian violin virtuoso Ilya Gringolts.

Ilya is an extraordinary musician; a violinist whose virtuosity and artistry sits at the very top of our profession. It’s only fitting that Ilya will make his ACO debut with the music of Paganini, a composer and violinist whose own skill was so unfathomable to audiences that, during his lifetime, rumours abounded that he had sold his soul to the devil to attain such technical prowess.

Our National Tour Partner, Maserati, likewise embrace and reflect these qualities of virtuosity and excellence. I thank Maserati for their support of this tour, and their now eight-year support of the ACO. Shortly the ACO will embark to London for our first official season in residence as International Associate Ensemble at Milton Court at the Barbican Centre, where Richard Tognetti will lead the Orchestra in three diverse programs, revealing to London audiences some of the breadth and depth of repertoire and interpretation that Australian audiences have access to annually through our subscription program.

There may be some of you yet to renew your subscription for our 2019 Season, and indeed some audience members ready to take the plunge into our full program for the first time. I assure you – you won’t regret it for an instant!

I look forward to seeing you all when we return for Tognetti’s Beethoven, our exhilarating final concert for 2018.

Richard Evans Managing Director Join the conversation AUSTRALIAN CHAMBER ORCHESTRA

#ACO18

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PROGRAM Ilya Gringolts Guest Director and Violin Timo-Veikko Valve Cello Julian Thompson Cello Australian Chamber Orchestra Ilya Gringolts’ appearance is supported by The Dame Margaret Scott ac Fund for International Guests and Composers.

PRE-CONCERT TALK

45 mins prior to the performance See page 44 for details

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CPE BACH

Sinfonia in C major, Wq.182/3 I. Allegro assai II. Adagio III. Allegretto

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PAGANINI (arr. Rofe)

Violin Concerto No.1 in E-flat major, Op.6 I. Allegro maestoso II. Adagio espressivo III. Rondo: Allegro spiritoso

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INTERVAL

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VIVALDI Concerto for Violin and 2 Cellos in C major, RV561

I. Allegro

II. Largo

III. Allegro molto

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BARTĂ“K Divertimento 24

I. Allegro non troppo

II. Molto adagio

III. Allegro assai The concert will last approximately one hour and 50 minutes, including a 20-minute interval.

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

ACO concerts are regularly broadcast on ABC Classic FM. Ilya Gringolts Plays Paganini will be broadcast live from the Sydney Opera House on 7 October, and then repeated on 15 December at 2pm on ABC Classic FM. NATIONAL CONCERT SEASON 2018

Levante GranLusso

When luxury has no limits

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NATIONAL TOUR PARTNER On behalf of Maserati, I am delighted to be presenting the ACO’s Ilya Gringolts plays Paganini. I have no doubt that this National Tour will showcase the exceptional talent of this Russian violin sensation.

Clearly Ilya is inspirational for both audiences and fellow musicians alike, looking across his astounding range of performances not just in Europe, but also Asia, Africa and, after a first-time visit in 2009, Australia. He has performed with the world’s leading symphony and chamber orchestras and the breadth and depth of his ability is exceptional.

Ilya and the ACO will together produce a breathtaking realisation of Paganini’s Violin Concerto No.1 in D major which reveals the full development of Paganini’s technical wizardry and which caused audiences to gasp at its audacity when it was first performed. Indeed, it was this very Concerto that brought Ilya to Richard Tognetti’s attention with a performance that mesmerised the Artistic Director and lead violin of the ACO. Of course, I cannot help but note that, with Paganini being Italian and renowned for that technical virtuosity in both his compositions and his own performances, he can only but provide a link to Maserati’s own Italian technical virtuosity that produces, in its own way, magnificent sounds and inspirational experiences.

The ACO shares with Maserati a rare and unique passion for their respective areas of achievement. This is reflected in our relationship which has enabled the ACO to further extend its reach to new audiences and for Maserati to strengthen its relationship with owners in a manner that truly reflects the Maserati philosophy.

Glen Sealey Chief Operating Officer Maserati Australia, New Zealand & South Africa NATIONAL CONCERT SEASON 2018

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MUSICIANS The musicians on stage for this performance.

Mark Ingwersen Violin

Helena Rathbone Principal Violin

Ilya Gringolts Guest Director and Violin

Ilya plays a 2011 Matthieu Devuyst violin for the Paganini Violin Concerto and a 1723–24 Giuseppe Guarneri del Gesù violin for the CPE Bach, Vivaldi and Bartók.

Helena plays a 1759 Giovanni Battista Guadagnini violin kindly on loan from the Commonwealth Bank Group. Her Chair is sponsored by Kate & Daryl Dixon.

Glenn Christensen Violin

Glenn plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. His Chair is sponsored by Terry Campbell ao & Christine Campbell.

Mark plays a contemporary violin made by the American violin maker David Gusset in 1989. His Chair is sponsored by Prof Judyth Sachs & Julie Steiner.

Ilya Isakovich Violin

Satu Vänskä Principal Violin

Satu plays the 1726 ‘Belgiorno’ Stradivarius violin kindly on loan from Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis.

Her Chair is sponsored

by Kay Bryan.

AUSTRALIAN CHAMBER ORCHESTRA

Ilya plays his own 1600 Marcin Groblicz violin made in Poland.

Aiko Goto Violin

Aiko plays her own French violin by Jean-Baptiste Vuillaume. Her Chair is sponsored by Anthony & Sharon Lee Foundation.

ACO PLAYERS DRESSED BY SABA

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Julian Thompson Cello

Liisa Pallandi

Nathan Greentree

Violin

Liisa currently plays Helena Rathbone’s violin which is a c.1760 Giovanni Battista Gabrielli.

Her Chair is sponsored by The Melbourne Medical Syndicate.

Viola

Ida Bryhn

Guest Principal Viola

Chair sponsored by peckvonhartel architects. Ida appears courtesy of Norwegian Chamber Orchestra.

Timo-Veikko Valve

Maja Savnik Violin

Maja plays the 1714 ‘ex-Isolde Menges’ Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. Her Chair is sponsored

by Alenka Tindale.

Nathan plays a viola by Štefan Valc�uha made in 2008 in New York.

Julian plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesú, kindly donated to the ACO by Peter Weiss ao. His Chair is sponsored by The Grist & Stewart Families.

Principal Cello

Nicole Divall Viola

Nikki plays a 2012 Bronek Cison viola. Her Chair is sponsored

by Ian Lansdown.

Tipi plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund.

His Chair is sponsored

by Peter Weiss ao.

Maxime Bibeau Principal Bass

Max plays a late-16thcentury Gasparo da Salò bass kindly on loan from a private Australian benefactor. His Chair is sponsored by Darin Cooper Foundation.

Melissa Barnard Cello

Ike See Violin

Ike plays a violin by Johannes Cuypers made in 1790 in The Hague. His Chair is sponsored by Di Jameson.

Elizabeth Woolnough Viola

Elizabeth appears courtesy of Melbourne Symphony Orchestra.

Melissa plays a cello by Jean-Baptiste Vuillaume made in 1846. Her Chair is sponsored by Dr & Mrs J. Wenderoth.

Discover more Learn more about our musicians, watch us Live in the Studio, go behind-the-scenes and listen to playlists at:

aco.com.au

ACO MUSICIAN PHOTOS. BEN SULLIVAN

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AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. WOLTER PEETERS

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THE ACO “The Australian Chamber Orchestra is uniformly high-octane, arresting and never ordinary.”

– The Australian, 2017

The Australian Chamber Orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in history but always looking to the future, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations.

Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts each year. Whether performing in Manhattan, New York, or Wollongong, NSW, the ACO is unwavering in their commitment to creating transformative musical experiences.

The Orchestra regularly collaborates with artists and musicians who share their ideology, from instrumentalists, to vocalists, to cabaret performers, to visual artists and film makers.

In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Recent releases include Water | Night Music, the first Australian-produced classical vinyl for two decades, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. aco.com.au

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PROGRAM IN SHORT Your five-minute read before lights down.

AUSTRALIAN CHAMBER ORCHESTRA

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Carl Philipp Emanuel Bach (1714 – 1788)

Niccolò Paganini (1782 – 1840) (arr. Bernard Rofe)

Sinfonia in C major, Wq.182/3

Violin Concerto No.1 in E-flat major, Op.6

Johann Sebastian Bach’s fifth Niccolò Paganini is the prototype child, Carl Philipp Emanuel, spent for all instrumental virtuosi. To this the last 20 years of his life in day, he is regarded as the greatest Hamburg, where he succeeded his violin virtuoso of all time, and his cult godfather, Georg Philipp Telemann, as reputation included claims that he sold Kapellmeister of the city’s churches. his soul to the Devil in exchange for Known to his contemporaries simply as his seemingly superhuman abilities.

Emanuel, he worked during an important As a young man, Paganini was time of transition from the Baroque style, already considered “unquestionably which his father had so perfected, to the the leading and greatest violinist in Classical style that Haydn and Mozart the world”. Despite enjoying enormous would bring to full maturity. But, in stark success in his native Italy, he did not contrast to the elegant and mannered yet feel ready to launch himself on the galant style of his contemporaries, Carl capitals of Europe, as he was worried Philipp Emanuel favoured a more dynamic, he wouldn’t be recognised as a serious dramatic approach. Consequently, he musician until he could demonstrate his earned a reputation for his “singular skills in music of his own composing. taste, verging on the bizarre”.

In 1820, Paganini’s first compositions He would have been pleased then, were published, including his famously while in Hamburg, to be commissioned “unplayable” 24 Caprices, and first by the Dutch-Austrian diplomat Gottfried Violin Concerto, premiered in Naples in van Swieten – a patron of Haydn, 1819. The concerto is written in E-flat, Mozart and Beethoven – for six string a difficult key for string players, but the symphonies, in which he was required solo violin is written in D, tuned up to to “give himself free rein, without regard match the orchestra, allowing the soloist to difficulty.” These string symphonies to achieve “impossible” virtuosic effects. are like Frankenstein monsters of string Despite this trickery, the concerto orchestra writing: they are graceful demonstrates a vast range of violinistic and spirited, fiendishly virtuosic, and wizardry: from flamboyant passagework decidedly avant-garde – pushing to ridiculous double stops. Essentially every musical boundary of the era. in the Italian bel canto style akin to the operas of Rossini, the orchestral accompaniment lends itself to this less bombastic, but appropriately operatic, scoring for string orchestra.

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Antonio Vivaldi (1678 – 1741)

Béla Bartók (1881 – 1945)

Concerto for Violin and 2 Cellos in C major, RV561

Divertimento

Antonio Vivaldi was born in Venice and was the son of a violinist in the orchestra of St Mark’s Church.

Consequently, he became an outstanding violin virtuoso himself, with accounts of his playing typically reading as follows: “For such playing has never been heard before and can never be equaled. He placed his fingers but a hair’s breadth from the bridge, so that there was hardly room for the bow.”

For much of his life, Vivaldi conducted the orchestra and chorus at one of Venice’s four institutions for orphaned young girls, the Ospedale della Pietà.

Many of these girls became brilliant singers and instrumentalists, with people travelling from far and wide to hear them. Of Vivaldi’s 500-plus concertos, many were written for the talented girls of these institutions.

The Concerto in C major, RV561 is written for a curious combination of instruments (violin and two cellos), unique to Vivaldi’s output. There is an abundance of wit and humour in the fast outer movements, in which the violin teases the cellos into chasing after it. In the central Largo, the violin sings a charming aria while accompanied by the gentle rocking of arpeggios from the two cellos.

The Swiss conductor Paul Sacher was responsible for commissioning a number of important 20th-century string orchestra pieces for his Basel Chamber Orchestra, including works by Honegger, Hindemith and Stravinsky. He also commissioned some of Bartók’s greatest pieces, including Music for Strings, Percussion and Celesta (1936), the Sonata for Two Pianos and Percussion (1937) and the Divertimento (1939).

Divertimenti were popular in the 18th century, with notable examples coming from Mozart and Haydn. In the early 20th century, the form made a comeback as part of the Neoclassical trend that even the folk music devotee Bartók was not immune to. “Divertimento” comes from the Italian “divertire” which means “to amuse”. Perhaps Bartók had hoped for some light-hearted respite from the gloom of pre-war Europe.

The Divertimento’s outer movements certainly bustle with Bartók’s usual sunny, folk-inspired optimism, but always lead to darker territory. This optimism is absent from the twists and turns of the brooding middle movement, which seems to foreshadow impending terrors: Bartók completed his Divertimento in 15 days, only one month before the outbreak of the Second World War. Bartók’s Divertimento was part of the program for the ACO’s inaugural concert in 1975 and remains a favourite of both our musicians and audiences today.

AUSTRALIAN CHAMBER ORCHESTRA

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Discovery Emily Bitto meets violinist Ilya Gringolts

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Never ending PHOTO. THOMASZ TRZEBIATOWSKI

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AUSTRALIAN CHAMBER ORCHESTRA

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“Gringolts has been known to use gut strings for certain projects, including performances of Paganini – something Satu Vänskä, principal violinist for the Australian Chamber Orchestra, describes as ‘a completely insanely frightening thing to do for a violinist’.”

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hen I speak to Ilya Gringolts, he is back in Russia for a few brief days of recording. In September, he will fly to Australia to guest-direct and perform with the Australian Chamber Orchestra. Somewhat nervously, I begin by asking him about the mantle of “child prodigy”, having heard he resists the label. “Well, I suppose you could call me that,” he says drily. “Although I developed too late for a child prodigy.

These days you call child prodigies really five-, six-year-olds, maybe 10-year-olds, that can already play everything. But I haven’t started playing concerts properly until I was 14, 15, which is still early but hardly a child.”

Gringolts was 16 when he won the International Violin Competition Premio Paganini, the youngest winner in the history of the competition. A year later, the Russian virtuoso moved to New York to study at the Juilliard School under Itzhak Perlman, also flying in and out of Britain as a select

member of the prestigious BBC Radio 3 New Generation Artists program. Since then, he has performed the world over, and spends almost half of every year away from his home base in Zurich.

Gringolts is now a teacher himself, and has thought deeply about the development of musical potential, both in himself and in his students. He tells me that, although a myriad of factors are involved in the early development of virtuosity, he believes the single most important factor is “what happens later on, after one grows up”. He explains that, “after the whole puberty thing happens and you actually become a person and no longer a child, then this personal development, how it proceeds, that is, I think, what makes a musician, really…”

This distinction between technical skill and artistic value is fundamental for Gringolts, one he says he has only truly begun to understand since becoming a teacher. “I think I grew out of this childhood state actually just a NATIONAL CONCERT SEASON 2018

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few years ago,” he laughs. What he has now gained is an understanding of, in his words, “what I’m looking for in music”. When I ask what that might be, he hesitates, as if unsure whether I will be able to follow him down a more esoteric path. “It’s just… it’s about time, how you manage time in music. That’s one factor, and the other factor is how you manage emotion. Emotion that is in music, and how you reconcile it with emotion that is in you, and that mixture of emotion that goes out, and then it has to awaken something in the listener. So that process is threefold, and has to be tightly controlled.” Returning to the idea of time, he explains that some of it is metaphysical. “A lot of it is linked to harmony, but not all. So it’s quite complex, really, and difficult to explain, but it makes the whole process of interpretation much more fine, because there are so many layers to open and to explore. It’s a never-ending discovery process.”

Looking at images and concert footage of the dark, handsome, sometimes brooding musician, I was unsure what to expect from our conversation, but Gringolts is AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. ANDREY PERFENOV

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“The ACO is one of the most exciting, fantastic groups around,” he says. “Playing with these wonderful people and sharing my ideas with them… it’s a dream, really.”

delightful, relaxed and chatty, answering questions with gentle seriousness in his soft, international accent. He seems untroubled by the fact our conversation has interrupted a recording session.

Although he is due back in the studio imminently, when I ask about the violins he will play in Australia, and about the kinds of strings he plays on, he becomes intensely animated.

Gringolts has been known to use gut strings for certain projects, including performances of Paganini – something Satu Vänskä, principal violinist for the Australian Chamber Orchestra, describes as “a completely insanely frightening thing to do for a violinist”. Gringolts explains that gut strings are “more difficult to control, but the sound is warmer… the attack is more immediate”.

He won’t, however, be playing on full gut strings for this tour, preferring a complex combination of string types he has been perfecting over the past couple of years. “I’ve experimented with a lot of different set-ups,” he says. “I normally play a combination of gut covered in metal, one synthetic covered in metal, and one steel…

We could talk about this for hours.”

Gringolts will be bringing two violins to Australia: a 1743 Guarneri he describes as “really one of the most beautiful instruments that you can imagine”, and another made by a living Viennese violinmaker in 2011. This striking mix of ancient and contemporary characterises the range of projects Gringolts chooses. He is known for his versatility, regularly performing and recording everything from the most ancient to the most contemporary classical music. I ask him how he chooses each project. “Well, Isaac Stern said to use the rule of three P’s: prestige, payment and… what was the third one?” He chuckles when I suggest that perhaps it should, in any case, be pleasure. “I realise that life is not endless,” he says. “So I have to choose carefully.”

Gringolts describes his debut with the ACO as “the kind of project which you accept without any thinking, it just has to happen”. He will be directing as well as performing with the ACO, something of which he has not done a great deal. “The ACO is one of the most exciting, fantastic groups around,” he says. “Playing with these wonderful people and sharing my ideas with them… it’s a dream, really.”

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Ilya Gringolts Violin

The Russian violinist Ilya Gringolts wins over audiences with his extremely virtuosic playing and sensitive interpretations, and is always looking for new musical challenges. As a sought-after soloist, he devotes himself to the great orchestral repertoire but also to contemporary and seldom-played works. He has premiered compositions by Sir Peter Maxwell Davies, Augusta Read Thomas, Christophe Bertrand and Michael Jarrell. In addition, he is interested in historical performance practice and collaborates with ensembles such as the Finnish Baroque Orchestra, Arcangelo and Oxford Philharmonia.

Ilya Gringolts has performed with leading orchestras around the world such as the Royal Liverpool Philharmonic, BBC Symphony, Deutsches SymphonieOrchester Berlin, St. Petersburg Philharmonic, Los Angeles Philharmonic, Chicago Symphony, NHK Symphony, Mahler Chamber Orchestra, and both orchestras of Southwest German Radio.

Ilya Gringolts is also first violinist of the Gringolts Quartet, which he founded in 2008 and which has enjoyed great success at the Salzburg Festival, Lucerne Festival, Menuhin Festival Gstaad, Edinburgh Festival and Teatro La Fenice in Venice among others. As a keen chamber musician, Ilya Gringolts collaborates with artists such as Yuri Bashmet, David Kadouch, Itamar Golan, Peter Laul, Aleksandar MadŽar, Nicolas Altstaedt, Andreas Ottensamer, Antoine Tamestit AUSTRALIAN CHAMBER ORCHESTRA

and Jörg Widmann, and is a regular guest at the festivals in Lucerne, Kuhmo, Verbier, Colmar and Bucharest (Enescu Festival), as well as the Serate Musicali in Milan and St. Petersburg Philharmonia.

Following numerous critically praised recordings on the Deutsche Grammophon, BIS and Hyperion labels, Ilya Gringolts devoted himself to the chamber music of Robert Schumann from 2010 to 2011, releasing three CDs on Onyx. In 2013/14 his recording of Paganini’s 24 Caprices for solo violin received many outstanding reviews, and in the orchestral realm, he has released recordings of Mieczysław Weinberg’s Violin Concerto with the Warsaw Philharmonic Orchestra in 2015 as well as Dvor�ák’s violin concerto with the Prague Philharmonia for Deutsche Grammophon, and concertos by Korngold and Adams with the Copenhagen Philharmonic (Orchid Classics) in 2017.

Following his recently released CD of Stravinsky’s Duos on BIS records is an eagerly awaited upcoming recording of the composer’s orchestral works.

After studying violin and composition in St. Petersburg with Tatiana Liberova and Jeanna Metallidi, he attended the Juilliard School of Music where he studied with Itzhak Perlman. In 1998 he won the International Violin Competition Premio Paganini, as the youngest first prize winner in the history of the competition.

As well as his position as violin professor at the Zurich Academy of the Arts, he is also a Violin International Fellow at the Royal Scottish Academy of Music and Drama in Glasgow. Ilya Gringolts plays a Giuseppe Guarneri “del Gesù” violin, Cremona 1742–43, on loan from a private collection.

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One can hardly play the violin more expressively and uncompromisingly than Gringolts.

– Süddeutsche Zeitung

PHOTO. THOMASZ TRZEBIATOWSKI

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Shadowy and Tactics AUSTRALIAN CHAMBER ORCHESTRA

ILLUSTRATION. LEBRECHT MUSIC & ARTS / ALAMY STOCK PHOTO

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Theatrics Brazen ACO Artistic Administrator Anna Melville and ACO cellist Julian Thompson upack the beguile of the virtuoso.

Words by Sam Twyford-Moore.

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N

iccolò Paganini was, among other things, an extremely effective, if not quite completely shameless, self-promoter. He might have been the first person in classical music to really embrace the notion of marketing.

“Paganini basically invented the concept of the performer as the star,” says Anna Melville, the Artistic Administrator of the Australian Chamber Orchestra. “He would set up his own media hype.”

There was a rumour, for instance, that Paganini sold his soul to the Devil.

This rumour floated around long before the story of Robert Johnson doing the same at a crossroads in Mississippi.

Melville believes that Paganini “fanned the flames” of that story himself.

It was Paganini who the ACO’s Artistic Director, Richard Tognetti, first heard Ilya Gringolts perform.

Tognetti was crossing the Sydney Harbour Bridge, listening to ABC Classic FM, as Gringolts’ 1998 recording of Paganini’s First Violin Concerto came on the air. Apparently, he was so struck he had to pull over. When I mention to Melville that there really isn’t anywhere to pull over on the Sydney Harbour Bridge, she confesses that this story itself might be an exaggeration. “Never let the truth get in the way of a good story,” she says. Paganini would be proud.

Although only in his mid-30s, Gringolts has been known for more than 20 years AUSTRALIAN CHAMBER ORCHESTRA

for his performances of Paganini. At just 16, he placed first in the prestigious Premio Paganini. Melville is fully aware of the reputation Gringolts brings with him. He is, she states, “very much of this Russian virtuosic school and family. He trained with Itzhak Perlman. His brotherin-law is Maxim Vengerov. He’s of that rich tradition, of which there are not actually that many left. He’s one of a kind for us.”

For ACO cellist Julian Thompson, who will perform as soloist alongside ACO Principal Cello, Timo-Veikko Valve and Gringolts in this concert, the prospect of working with someone of Gringolts’ stature is an opportunity to measure the Orchestra against the particular traits of a great artist.

“Every year we have a different group of international stars and artists who come out to work with us in a variety of capacities,” Thompson explains. “And every different artist that comes to work with the band brings a different energy, brings a different approach, brings a different musical intellect. It’s really exciting for us to mould ourselves to a different directive and to interpret this personality and how that fits with our personality.”

Thompson, like Tognetti, has long been a fan of Gringolts’. In anticipation of playing with him, he has been watching the Russian virtuoso’s performances online. “I was just watching a video of him ILLUSTRATION. ALAMY

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playing Locatelli’s wonderful Harmonic Labyrinth on gut and it’s remarkable.”

Gringolts will be playing Paganini's First Violin Concerto with the ACO. This wasn’t without potential obstacles, however. The concerto, as originally intended, involves wind and brass, so the Orchestra’s resident Librarian and Composer, Bernard Rofe, instead wrote an arrangement for strings only. As a result this particular interpretation will be a first.

Thompson believes that the very notion of this adaptability is in keeping with the spirit of Paganini. He confesses that the 17-piece orchestra often “steals” from the quartet or sextet repertoire to form many of their programs, altering things to “suit their forces”. And, besides, Thompson says, he is confident “Paganini was improvising left, right and centre”.

“I’m sure that if he arrived at a certain town to play a concert and there was no French horn, he would rewrite it.

He was the classic composer-virtuoso performer. So his works were quite flexible in their realisation, I would imagine.

It’s very much a part of what we do, we’re often adapting work for our own purposes and to fit within the context of the performances that we put on.”

The rest of the program, inspired

by Paganini’s demanding work, was purposefully built around the concept of the virtuoso, in honour of both Paganini and Gringolts. Melville makes

Top. Julian Thompson, ACO cellist.

Above. ACO Artistic Administrator, Anna Melville.

Previous. Portrait of Italian violinist and composer, Niccolò Paganini, playing the violin in his first performance in London at the King’s Theatre. Published by Thomas McLean, London, 10 June 1831.

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the point, however, that “we didn’t want the entire program to just be a vehicle for Ilya to show his own personal virtuosity, but for the whole orchestra”.

For Thompson, the choice of Paganini is appropriate as the Romantic-era artist is the perfect example of the virtuosic composer “not just in that he did things that other people couldn’t do, but because he had a whole persona that went along with being an entertainer.

Part of his entertainment was to play incredibly beautifully, but also part of it was to make people go, ‘Wow, how do you make those sounds on those four strings, or one string in his case?’’’

arrive at rehearsals and only hand the music out to the orchestra just before the performance – he would do no rehearsal with them – so nobody could steal his new techniques”.

“He had all these tricks so that it looked like he was almost magical,” Melville says, before describing Paganini’s theatrical dark arts as being almost like “violin hacks, like flattening the bridge”.

Paganini was also known to deliberately sabotage his own violin strings before a performance, so they would snap, and, unflustered, he would go on playing.

Thompson describes the stories about Paganini in amazement. “He

“Paganini was also known to deliberately sabotage his own violin strings before a performance, so they would snap, and, unflustered, he would go on playing.”

Looking back, there is something pre-emptively rock’n’roll about Paganini.

Thompson talks excitedly about Paganini’s use of the supernatural as a selling point and his choice to dress in all black, arriving at concerts in a black carriage led by four black horses.

There has long been conjecture that Paganini, like The Ramones lead singer Joey Ramone, suffered from Marfan syndrome – a genetic disorder that affects connective tissue, including tendons, ligaments, cartilage – which gave him the extreme flexibility to perform his many tricks.

Both Thompson and Melville are quick to note that Paganini was extremely secretive about his own compositions.

Thompson explains that “he would AUSTRALIAN CHAMBER ORCHESTRA

would break two of the strings on his instrument and then play a duet between a high string and a low string and then he would go one step further and he’d break the other string, and just play on one string.”

Gringolts, meanwhile, views himself as almost the exact opposite of Paganini.

Melville says that Gringolts, a very private person, “considers himself an introvert, and prefers to just let the music speak”.

In a promotional video for the concert, Satu Vänskä, the ACO’s principal violinist, describes the promise of Gringolts’ Australian appearances as showing us a form of “alternative virtuosity”.

Right. Paganini, half length, during a stage performance. Berlin, Germany, 1829.

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“Thompson points out that despite all the shadowy theatrics and brazen tactics, Paganini was still, at heart, an emotive musician. He talks of reports of Schubert being left in tears after hearing Paganini play, ‘Not with the wild technical wizardry… but just the beauty of the music-making, so there’s a kind of virtuosity – and virtuousness – in that as well.’”

AUSTRALIAN CHAMBER ORCHESTRA

Should we take this to mean someone who is virtuosic in their mastery of an art, but not themselves a naturally showy person? In either case, there is something inherently fascinating in interpreting someone’s music whose character might be the complete opposite to your own.

Thompson agrees. “One of the remarkable things about Ilya,” he explains, “is that he has this phenomenal technical facility and yet he’s not throwing the technique at the audience. And this is almost one of the things that for us performers really defines the true virtuosity, when people like Ilya can do things that are truly in the realm of the nigh on impossible and do them with such ease and accomplishment, that as an audience member you would almost not even notice that he’s just performed this feat of absolute daredevil prowess. To us that is the sign of a performer who has really transcended the technical limitations of the instrument, or, of course, of themselves.”

Thompson points out that, despite all the shadowy theatrics and brazen tactics, Paganini was still, at heart, an emotive musician. He talks of reports of Schubert being left in tears after hearing Paganini play, “Not with the wild technical wizardry… but just the beauty of the music-making, so there’s a kind of virtuosity – and virtuousness – in that as well.”

Melville can see Paganini’s influence in unexpected places, too. “If you say the word virtuoso in classical music, the other name people think of is Liszt, on the piano. And he saw Paganini play and the way he sold himself, and how he lived up to this image that he created, and so he started selling his own tours by

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saying, ‘I’m the Paganini of the piano.’’’

The concept of virtuosity comes to dominate my conversations with Thompson and Melville, as you imagine occurs often in the classical music community, and it is easy to fall into a spirited debate about its merits.

Virtuosity, after all, can feel like an extremely slippery concept at times.

Is it just technical mastery? Or does it have something to do with pure, electric talent? What relation does it have to the virtuous, in terms of moral standing? Is there something more than just skill transferred to the audience?

Melville believes that virtuosity “can get a bit of a bad rap sometimes”.

She wants to “separate it from the concept of, perhaps, prodigy or, at least, from the precocious six-year-olds who go and play piano on Australia’s Got Talent, or people who can cook well and lose weight fast or whatever the latest reality show celebrates”.

Thompson argues that virtuosity may have come to mean simply facile technique – “that capacity to do very technically difficult things” – but he believes that this is just the common parlour usage. There remains, he argues, a deeper connection to the term out there, linking it to its Latin origins in the virtuous.

“As a classical musician it’s always an interesting conflict of sorts where part of what we do is in the realms of entertaining, and with that goes all the technical wizardry and the smoke and mirrors and all that excitement that goes into a performance. But underlying all of that is the inherent virtue in music as a communicative art, which goes further than the technical wizardry.

Really, for the purists amongst us, all that technical wizardry should be in the service of the music, but there is inherent value in putting on a great show and people going, ‘Wow, that is amazing.’”

Listening to both Melville and Thompson talk, their passion is clear.

However, I wonder at the cost of playing classical music at this level. What is sacrificed in the name of the virtuosic?

The virtuoso in its classical music context sounds less like your usual artist and more like an elite sportsperson.

“The elite sports reference is a pretty valid one,” Thompson says. “There are few things in this world that I know of, that require a similar connection between mind and body. In the playing of an instrument you’re really speaking about micro-micro-millimetres and extremely rapid physical dexterity.

“In practical terms, we need to maintain, I guess, the equivalent of a fitness and training regimen where we maintain our very specific fitness and that requires physical agility that’s specific to the instrument – cello fitness – but also the mental agility that goes along with what we do. It is really the training over time of the connection between eyes, brain, ears and body.”

Thompson, who is 42, has already been playing cello for 33 years. He talks pointedly about having invested thousands of hours into doing what amounts to an “asymmetric specific activity”. When he was younger, he visited a physiotherapist who, picking up on his asymmetric muscle development, suggested that he would have to start playing the cello the other way around. “You’re like, ‘Yeah, I NATIONAL CONCERT SEASON 2018

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Violinist Niccolò Paganini. Pencil drawing by Jean-Auguste-Dominique Ingres, 1819.

AUSTRALIAN CHAMBER ORCHESTRA

don’t think that’s going to work.’”

Thompson chooses to surf now, to help even himself out. He mentions that, for other musicians he knows, it is swimming that provides that balance. “It’s a lifelong pursuit,” he says. “We have the luxury that our careers don’t peak at 28 or 25 or 18, that we can keep improving on those skills… until well into our 60s.”

The sacrifices that players such as Thompson and Gringolts make in order to be able to interpret the legacies of composers such as Paganini is not lost on Melville. “It’s an obsession for many of them,” she says. “Without the negative connotations that come with that. You have to start quite early. You have to practise consistently. And it’s a hard world.”

That hard world, however, gives birth to great beauty. The resulting beauty is clear in the programming. Paganini is joined by other virtuosos: Bartók, CPE Bach and Vivaldi. All three were composers who were also virtuosic performers of their own work and all three were taught from a very early age by their fathers.

“Pushy stage dads,” Melville quips. CPE Bach, obviously, has the most famous lineage of the three. Paganini’s father was an unsuccessful trader, and taught his son to play on the mandolin.

Melville wishes to make a distinction between CPE Bach and Bartók, and, on the other hand, Paganini and Vivaldi.

“CPE Bach and Bartók were both virtuosic players for sure, but what they were doing in music in their respective eras – which was the way they wrote as well – was new and innovative, was pushing things,” she says.

“While Paganini and Vivaldi were pushing what people could do on an

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instrument – they were inventing entirely new techniques, which we use today, every day – musically what CPE Bach was doing was bridging the whole gap between baroque and classical, really.”

That differentiation, of course, doesn’t diminish either grouping. Thompson, for example, is steadfast in saying that Vivaldi was considered, like Paganini, one of the finest players of his generation.

“He wrote just bucketloads of virtuosic concertos for a variety of instruments.

Something like 230 for the violin.”

The Vivaldi concerto chosen by the orchestra is, like its Paganini counterpart, a piece whose performances are rare.

Thompson is excited to hear Gringolts

that his Divertimento will showcase the Orchestra as a whole and push each and every individual member into the spotlight.

Thompson thinks this difficulty comes from Bartók’s influences of Hungarian and Romanian folk music – commonplace at celebratory events such as weddings.

“Those guys have to play really fast, really loud, really virtuosically, and often for days on end,” Thompson says. “When you go to some of these weddings, they just go for days and days. Play for days and days.”

Thompson is the ACO’s education representative. There is something egalitarian about the way he speaks from this position about music, as if to say that virtuosity is, ultimately, an accessible

“Although the program is built around Paganini, Bartók might be its beating heart. Both Melville and Thompson believe that his Divertimento will showcase the Orchestra as a whole and push each and every individual member into the spotlight.” “going back pre-Paginini, to hear how he approaches that style of playing”.

Each of the programmed pieces seems designed to test their players. In the case of CPE Bach – an oft-misunderstood figure who was far more famous in his own time than his father was in his – Thompson is aware that his “style is very changeable – drastic changes in tempo, and dramatic shifts in harmonic structure and foundation. And it is extremely virtuosic to play, technically demanding but also musically demanding.”

Although the program is built around Paganini, Bartók might be its beating heart. Both Melville and Thompson believe

medium for some of the greatest works of art the world has ever produced.

And it can be found anywhere: “I think when we look at more popular culture examples of virtuosity, we’re talking about guys like Jimi Hendrix – these guys who could make the instrument sing and scream and everybody could be touched by that approach to the instrument, the capacity to do things that brought awe and amazement and joy and sadness to the audience.”

To attain the level of virtuoso is certainly an individual achievement, but to partake in virtuosity – to listen – is a collective act, and one, clearly, for the greater good.

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Aiko and the ACO Steve Dow meets violinist Aiko Goto to mark her 20 years with the ACO

AUSTRALIAN CHAMBER ORCHESTRA

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PHOTO. NIC WALKER

NATIONAL CONCERT SEASON 2018

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W

“Goto was three and barely walking when she asked her parents if she could play violin, the instrument played by her cousins, shrugging off her parents’ suggestion she follow her older brother and play piano. ‘They never pushed me,’ she recalls.

‘I just loved playing.’”

Top. Aiko backstage at the Sydney Opera House Right. Aiko outside the Meikyoku Cafe Lion in Tokyo.

AUSTRALIAN CHAMBER ORCHESTRA

hen Aiko Goto arrived on a scholarship at the Juilliard School in New York, she could not speak English. “I was really shy, too,” she says, laughing, during a rehearsal break in the Australian Chamber Orchestra’s bunker at Circular Quay.

Goto was three and barely walking when she asked her parents if she could play violin, the instrument played by her cousins, shrugging off her parents’ suggestion she follow her older brother and play piano. “They never pushed me,” she recalls. “I just loved playing.”

Goto is a grandniece of the late Dr Shinichi Suzuki, and studied Suzuki’s famous method of music education, although her parents did not think she would become a professional musician.

Violin masters took some persuading, too: having studied at the Toho Gakuen School of Music in Tokyo, Goto went overseas for the first time at 19, to the Aspen Music Festival in Colorado, ambitious to make her mark internationally.

At the festival, she met renowned violin teachers Dorothy DeLay and Masao Kawasaki. She played for them, then waited for their response.

“They said, ‘Yeah, you play okay, but you need this, this and this’,” Goto says, dropping her voice at the memory: “Oh, I was shocked.”

Goto returned to the festival the following year and played for DeLay and PHOTOS. BEN SULLIVAN / NIC WALKER

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Kawasaki again. The verdict: much better.

The scholarship followed, as did seven years living in New York, where Goto undertook two years of intensive English lessons. In 1992, she acquired the violin she still plays today with its deep sound, made by 19th-century French instrument-maker Jean-Baptiste Vuillaume.

She graduated from Juilliard in 1994, making her Manhattan debut the following year at Weill Recital Hall at Carnegie Hall.

In 1997, Goto spied an advertisement in a New York musicians’ industry newspaper: the ACO was looking for

“It was friendlier. Warmer.

I don’t mean the American sound is not warm, but the ACO was different.”

AUSTRALIAN CHAMBER ORCHESTRA

a new violinist. “I didn’t know anything about the ACO,” she confides.

She sent an audition tape on which she played a Bach solo and Mozart’s Violin Concerto No.3. A few weeks later, a fax arrived: congratulations, it read, you have passed the first round.

Next came her live audition: the ACO was coming to perform at Carnegie Hall on the last stop of a United States tour, so Goto would be able to play for them afterwards.

“They had a very different sound,” recalls Goto on hearing the ACO play that first time. “It was friendlier. Warmer.

I don’t mean the American sound is not warm, but the ACO was different.”

The next morning, at 10 o’clock, upstairs in the Carnegie Hall studio, Goto auditioned for Richard Tognetti and others, repeating the Mozart concerto and an excerpt of the ACO PHOTO. NIC WALKER

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“Here at the ACO Academy, they can be shy, too, but when the music starts, they switch on and go really out.”

Goto stretches her arms wide. Playing brings the Australians out of their shell?

“Yes, out of themselves.”

repertoire. “They had wet hair,” Goto recalls, laughing. “They must have had a big night before my audition.”

Goto got her acceptance, by fax again, a few weeks later, for a twomonth trial period. Her friend, bass player Maxime Bibeau, was also accepted, and the pair remain core ACO players two decades later.

Goto also runs the ACO Academy for students, and when the orchestra travelled to Tokyo in May, she and her ACO collegues conducted workshops with young string players at her old Tokyo school, Toho Gakuen.

Is there a fundamental difference between Australian and Japanese music students?

“Yes,” Goto says in a whisper, leaning in. “I think so. Maybe like the character of the country. In Japan, they’re very good at playing, but kind of not going out, more kind of shy – but [the playing] is really correct.

“Here at the ACO Academy, they can be shy, too, but when the music starts, they switch on and go really out.” Goto stretches her arms wide.

Playing brings the Australians out of their shell? “Yes, out of themselves.”

PHOTO. CHRISTIE BREWSTER

Left. Aiko Goto with Principal Violinist, Helena Rathbone at the Japanese coffee and classical music house, Meikyoku Cafe Lion, in Tokyo.

Top. From the archive: a 2002 ACO concert poster featuring Aiko Goto and Helena Rathbone. Above. Celebrating with musicians backstage at Yomiuri Otemachi Hall after the last performance in Tokyo.

NATIONAL CONCERT SEASON 2018

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ACO NEWS News and highlights.

AUG Melbourne Fundraiser 22 August, 2018 Melbourne Our Melbourne Fundraiser was held on Wednesday 22 August in aid of our Education programs.

The ABC’s Kumi Taguchi was MC and Liisa Pallandi spoke about her experience moving from being an Emerging Artist to a full time musician with the Orchestra. There was a beautiful performance by our musicians and some of the very talented students from this year’s ACO Academy.

AUSTRALIAN CHAMBER ORCHESTRA

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COMING UP

NOV 2019 single tickets go on sale

1 November

Secure individual tickets to our 2019 Season – a great Christmas gift!

The 2018 Season continues.

DEC Sonatas For Strings

Tognetti’s Beethoven

OCT 2019 Subscriptions now on sale

aco.com.au/2019

Secure the best seats, save up to 40% off the cost of single tickets and experience the full 2019 Season journey.

You’ll also access a host of other benefits including discounts from our principal, arts and corporate partners.

2019 Flexi-packs go on sale

18 October

Curate your own season of music at the date, venue and seating reserve that suits you when you choose three or more concerts in our 2019 Season. Sign up to our enews to book your flexi-pack ahead of the general public onsale.

2018 Barbican Residency 22 – 24 October London, England

The first of three ACO seasons at London's Barbican Centre as International Associate Ensemble at Milton Court.

8 – 21 November Adelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney

5 December Melbourne Recital Centre Richard Tognetti leads the ACO through a collection of works of timeless beauty, featuring Elgar, Walton and Sculthorpe.

Richard Tognetti directs our monumental season finale, featuring Beethoven’s Violin Concerto and Fifth Symphony.

Vasse Felix Festival

7 – 9 December Margaret River Savour some of Australia’s most awarded wines while enjoying the magical views from the Vasse Felix Estate in Margaret River, Western Australia, as ACO Collective serenades you over three glorious days.

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Behind the scenes Board

Learning & Engagement

Philanthropy

Guido Belgiorno-Nettis am

Tara Smith

Jill Colvin

Learning & Engagement Manager

Director of Philanthropy

Caitlin Gilmour

Lillian Armitage

Emerging Artists and Education Coordinator

Capital Campaign & Major Gifts Manager

Stephanie Dillon

Events & Special Projects Manager

Chairman

Liz Lewin Deputy

Bill Best John Borghetti ao Judy Crawford John Kench Anthony Lee Martyn Myer ao James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner John Taberner Nina Walton Simon Yeo

Artistic Director

Assistant to the Learning & Engagement and Operations Teams

Sarah Morrisby

Finance

Yeehwan Yeoh

Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

Richard Tognetti ao

Market Development

Administrative Staff Executive Office

Antonia Farrugia

Richard Evans Managing Director

Alexandra Cameron-Fraser Chief Operating Officer

Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

Claire Diment HR Manager

Tom Tansey

Director of Market Development

Caitlin Benetatos Communications Manager

Rory O’Maley Digital Marketing Manager

Christie Brewster Lead Creative

Cristina Maldonado

Philanthropy Manager Investor Relations Manager

Anna Booty Philanthropy Executive

Australian Chamber Orchestra ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW.

In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000

By Mail PO Box R21, Royal Exchange NSW 1225 Australia

CRM and Marketing Executive

Telephone

Shane Choi Marketing Coordinator

(02) 8274 3800 Box Office 1800 444 444

Leigh Brezler

Email

Artistic Operations Luke Shaw Director of Artistic Operations

Director of Partnerships

Anna Melville

Penny Cooper

Artistic Administrator

Corporate Partnerships Manager

Lisa Mullineux

Kay-Yin Teoh

Tour Manager

Ross Chapman Touring & Production Coordinator

Nina Kang Travel Coordinator

Bernard Rofe Librarian

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

AUSTRALIAN CHAMBER ORCHESTRA

Corporate Partnerships Administrator

Colin Taylor Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Mel Piu Box Office Assistant

Robin Hall Archival Administrator

aco@aco.com.au

Web aco.com.au

contemporary japanese cuisine

sydney the rocks || double bay melbourne flinders lane || hamer hall brisbane eagle street pier sakerestaurant.com.au

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Venue Support

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

PERTH CONCERT HALL 5 St Georges Terrace, Perth WA 6000 PO Box 3041, East Perth WA 6892 Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager

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

CITY RECITAL HALL LIMITED 2–12 Angel Place, Sydney NSW 2000 Administration (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Renata Kaldor ao Chair, Board of Directors Elaine Chia CEO

Professor Peter Coaldrake ao Chair John Kotzas Chief Executive

ARTS CENTRE MELBOURNE 100 St Kilda Rd, Melbourne, VIC, 3004, Australia PO Box 7585, St Kilda Road, Melbourne VIC 8004 Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au James MacKenzie President Victorian Arts Centre Trust 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.

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

Arts Centre Melbourne

City Recital Hall, Sydney

Anna Melville Sun 30 Sep, 1.45pm Mon 1 Oct, 6.45pm

Anna Melville Fri 5 Oct, 12.45pm

Pre-concert speakers are subject to change.

Sydney Opera House Adelaide Town Hall

James Koehne Tue 2 Oct, 6.45pm Perth Concert Hall

Cassandra Lake Wed 3 Oct, 6.45pm

Anna Melville Sun 7 Oct, 1.15pm QPAC Concert Hall, Brisbane

Stephen Emmerson Mon 8 Oct, 6.15pm

The ACO invites you to our 2018 Sydney Fundraising Gala

THURSDAY 29 NOVEMBER 2018 6:30pm for a 7:00pm performance CARRIAGEWORKS – BAY 17 245 Wilson Street, Eveleigh, NSW 2015 Join us for a special excerpt performance and screening of Mountain and help raise money for the ACO’s Learning & Engagement Program MC: Annabel Crabb | Dress: Cocktail TICKETS $500 PER GUEST Tables of ten $5,000 | VIP Corporate tables of ten $10,000 VIP corporate tables receive premium seating, a full-page advertisement in the program and on-screen logo acknowledgment

To make a booking please contact Anna Booty, ACO Philanthropy Executive sydneygala@aco.com.au | 02 8274 3810 PRESENTING PARTNER

Celebrating 30 years of partnership This year marks 30 years of partnership between the Commonwealth Bank and the Australian Chamber Orchestra, the cornerstone of which has been this rare Guadagnini violin, handmade in 1759.

We are delighted to be able to share this special instrument with audiences across Australia, played

by Helena Rathbone, the ACO’s Principal Violin.

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Acknowledgments ACO Medici Program Medici Patron The late Amina Belgiorno-Nettis

Principal Chairs Richard Tognetti ao Artistic Director & Lead Violin Wendy Edwards Peter & Ruth McMullin Louise & Martyn Myer ao Andrew & Andrea Roberts

Helena Rathbone

Core Chairs VIOLIN

CELLO

Glenn Christensen

Melissa Barnard

Terry Campbell ao & Christine Campbell

Dr & Mrs J Wenderoth

Aiko Goto

Julian Thompson

Anthony & Sharon Lee Foundation

The Grist & Stewart Families

Mark Ingwersen

Principal Violin Kate & Daryl Dixon

Prof Judyth Sachs & Julie Steiner

ACO Collective

Satu Vänskä

Liisa Pallandi The Melbourne Medical Syndicate

Pekka Kuusisto

Principal Violin Kay Bryan

Principal Viola peckvonhartel architects

Timo-Veikko Valve Principal Cello Peter Weiss ao

Maxime Bibeau Principal Double Bass Darin Cooper Foundation

Maja Savnik Alenka Tindale

Ike See

Artistic Director & Lead Violin Horsey Jameson Bird

Guest Chairs

Di Jameson

Brian Nixon

VIOLA

Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

Nicole Divall Ian Lansdown

Ripieno Viola Philip Bacon am

ACO Life Patrons 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 The late John Harvey ao

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

ACO Bequest Patrons We would like to thank the following people who have remembered the Orchestra in their wills. Please consider supporting the future of the ACO by leaving a gift. For more information on making a bequest, or to join our Continuo Circle by notifying the ACO that you have left a bequest, please contact Jill Colvin, Director of Philanthropy, on (02) 8274 3835.

Continuo Circle Steven Bardy Ruth Bell Dave Beswick Dr Catherine Brown-Watt psm & Mr Derek Watt Sandra Cassell Sandra Dent Dr William F Downey Peter Evans Carol Farlow Suzanne Gleeson Lachie Hill David & Sue Hobbs Patricia Hollis Penelope Hughes

Estate Gifts Toni Kilsby & Mark McDonald Judy Lee John Mitchell Selwyn M Owen Michael Ryan & Wendy Mead Joan & Ian Scott Cheri Stevenson Jeanne-Claude Strong Leslie C. Thiess Ngaire Turner GC & R Weir Margaret & Ron Wright Mark Young Anonymous (17)

The late Charles Ross Adamson The late Kerstin Lillemor Anderson The late Mrs Sibilla Baer The late Prof. Janet Carr The late Mrs Moya Crane The late Colin Enderby The late Neil Patrick Gillies The late John Nigel Holman The late Dr S W Jeffrey am The late Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller The late Geraldine Nicoll

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ACO Special Initiatives The ACO thanks Dame Margaret Scott ac for establishing the

Dame Margaret Scott ac Fund for International Guests and Composition Special Commissions Patrons Darin Cooper Foundation Mirek Generowicz David & Sandy Libling

ACO Academy LEAD PATRONS Walter Barda & Thomas O’Neill Louise & Martyn Myer ao PATRONS Peter Jopling am qc Hilary Goodson Naomi Milgrom ao Tom Smyth

2018 Emanuel Synagogue Patrons CORPORATE PARTNER Adina Apartment Hotels LEAD PATRON The Narev Family PATRONS Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

AUSTRALIAN CHAMBER ORCHESTRA

ACO Mountain Producers’ Syndicate The ACO thanks the following people for their generous support of Mountain: EXECUTIVE PRODUCER Martyn Myer ao MAJOR PRODUCERS Janet Holmes à Court ac Warwick & Ann Johnson PRODUCERS Richard Caldwell Warren & Linda Coli Anna Dudek & Brad Banducci Wendy Edwards David Friedlander Tony & Camilla Gill John & Lisa Kench Charlie & Olivia Lanchester Rob & Nancy Pallin Andrew & Andrea Roberts Peter & Victoria Shorthouse Alden Toevs & Judi Wolf SUPPORTERS Andrew Abercrombie Joanna Baevski Ann Gamble Myer Gilbert George Charles & Cornelia Goode Foundation Charles & Elizabeth Goodyear Phil & Rosie Harkness Peter & Janette Kendall Sally Lindsay Andy Myer & Kerry Gardner Sid & Fiona Myer Allan Myers ac The Penn Foundation Peppertree Foundation The Rossi Foundation Shaker & Diana Mark Stanbridge Kim Williams am Peter & Susan Yates

Luminous The ACO thanks the following people for their generous support of the revival of Luminous, the ACO's collaboration with artist Bill Henson, in 2019. For details on how you can be involved, please contact Jill Colvin, Director of Philanthropy, (02) 8274 3835.

PATRONS Leslie & Ginny Green SUPPORTERS Connie & Craig Kimberley Peter & Victoria Shorthouse FRIENDS Andrew Clouston Detached Hobart Peter Jopling am qc Patricia Mason & Paul Walker

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ACO Instrument Fund The Instrument Fund offers patrons and investors the opportunity to participate in the owndership of a bank of historic stringed instruments. The Fund’s assets are the 1728/29 Stradivarius violin, the 1714 ‘ex Isolde Menges’ Joseph Guarnerius filius Andreæ violin and the 1616 ‘ex-Fleming’ Brothers Amati Cello.

For more information please call Yeehwan Yeoh, Investor Relations Manager on (02) 8274 3878.

Patron Peter Weiss ao

Board Bill Best (Chairman) Jessica Block Edward Gilmartin John Leece am Julie Steiner John Taberner

Founding Patrons VISIONARY $1M+ Peter Weiss ao CONCERTO $200,000–$999,999 The late Amina Belgiorno-Nettis Naomi Milgrom

OCTET $100,000–$199,999 John Taberner QUARTET $50,000 – $99,999 Mr John Leece am E Xipell Anonymous (1)

Investors Stephen & Sophie Allen John & Deborah Balderstone Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Sam Burshtein & Galina Kaseko Carla Zampatti Foundation Sally Collier Michael Cowen & Sharon Nathani Marco D'Orsogna Dr William F Downey Garry & Susan Farrell Gammell Family

Adriana & Robert Gardos Daniel & Helen Gauchat Edward Gilmartin Lindy & Danny Gorog Family Foundation Tom & Julie Goudkamp Laura Hartley & Stuart Moffat Philip Hartog Peter & Helen Hearl Brendan Hopkins Angus & Sarah James Paul & Felicity Jensen Mangala SF Media Super Nelson Meers Foundation Daniel & Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven John Taberner & Grant Lang The late Ian Wallace & Kay Freedman

ACO Reconciliation Circle The Reconciliation Circle directly supports our music education initiatives for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Colin Golvan qc & Debbie Golvan Kerry Landman

Peter & Ruth McMullin Patterson Pearce Foundation

Sam Ricketson & Rosie Ayton

ACO Next This philanthropic program for young supporters engages with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information please call Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Adrian Barrett Marc Budge Justine Clarke Este Darin-Cooper & Chris Burgess Anna Cormack Sally Crawford Shevi de Soysa Amy Denmeade Jenni Deslandes & Hugh Morrow Anthony Frith & Amanda Lucas-Frith Rebecca Gilsenan & Grant Marjoribanks The Herschell Family Ruth Kelly Evan Lawson

Aaron Levine & Daniela Gavshon Royston Lim Dr Caroline Liow Dr Nathan Lo Penny Loane Carina Martin Paddy McCrudden Rachael McVean Pat Miller Barry Mowszowski Lucy Myer James Ostroburski Nicole Pedler & Henry Durack Kristian Pithie Michael Radovnikovic

Jessica Read Rob Clark & Daniel Richardson Alexandra Ridout Emile & Caroline Sherman Tom Smyth Michael Southwell Tom Stack Helen Telfer Sophie Thomas Max Tobin Karen & Peter Tompkins Nina Walton & Zeb Rice Peter Wilson & James Emmett Thomas Wright Anonymous (2)

NATIONAL CONCERT SEASON 2018

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‘ART DE VIVRE’ Hotel. Restaurant. Bar Sofitel-Melbourne.com.au

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Chairman’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

Mr Angelos Frangopoulos

Mr Martyn Myer ao

Chairman, ACO

Chief Executive Officer Australian News Channel

Mr Peter Slattery

Mr Philip Bacon am Director, Philip Bacon Galleries

Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr John Borghetti ao Chief Executive Officer, Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines)

Mr Michael Chaney ao Chairman, Wesfarmers

Mr Matt Comyn Chief Executive Officer Commonwealth Bank

Mr Robin Crawford am & Mrs Judy Crawford Rowena Danziger am & Kenneth G. Coles am Mr Doug & Mrs Robin Elix Mr Bruce Fink Executive Chairman Executive Channel Holdings

Mr Daniel Gauchat Principal, The Adelante Group

Mr Robert Gavshon & Mr Mark Rohald Quartet Ventures

Mr James Gibson

Managing Partner Johnson Winter & Slattery

Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects

Chief Executive Officer Australia & New Zealand BNP Paribas

Mrs Carol Schwartz am

Mr John Grill ao & Ms Rosie Williams

Mr Glen Sealey

Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant

Ms Margie Seale & Mr David Hardy Chief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd ao Mr Peter Shorthouse

Mr Andrew Low

Senior Partner Crestone Wealth Management

Mr David Mathlin

Mr Noriyuki (Robert) Tsubonuma

Ms Julianne Maxwell Mr Michael Maxwell Ms Naomi Milgrom ao 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

Managing Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Ms Vanessa Wallace & Mr Alan Liddle Mr Rob & Mrs Jane Woods Mr Peter Yates am Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young

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National Patrons’ Program Thank you to all our generous donors who contribute to our Education, Excellence, Instrument Fund, International Touring and Commissioning programs. We are extremely grateful for the support we receive to maintain these annual programs. To discuss making a donation to the ACO, or if you would like to direct your support in other ways, please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Program names as at 29 August 2018

Patrons Marc Besen ac & Eva Besen ao Janet Holmes à Court ac

$20,000+ Mr Robert Albert ao & Mrs Libby Albert Dr Catherine Brown-Watt psm & Mr Derek Watt Daniel & Helen Gauchat Catherine Holmes à Court-Mather Andrew Low Jim & Averill Minto Louise & Martyn Myer Foundation The Barbara Robinson Family Margie Seale & David Hardy Rosy Seaton & Seumas Dawes Tony Shepherd ao E Xipell Leslie C Thiess Peter Young am & Susan Young Anonymous (2)

$10,000–$19,999 Australian Communities Foundation – Ballandry Fund Geoff Alder Karen Allen & Dr Rich Allen Allens – in memory of Ian Wallace Steven Bardy & Andrew Patterson Eureka Benevolent Foundation Rod Cameron & Margaret Gibbs Jane & Andrew Clifford In memory of Wilma Collie Terry & Lynn Fern Mr & Mrs Bruce Fink Dr Ian Frazer ac & Mrs Caroline Frazer Robert & Jennifer Gavshon Leslie & Ginny Green John Griffiths & Beth Jackson John Grill & Rosie Williams Tony & Michelle Grist Angus & Kimberley Holden Belinda Hutchinson am & Roger Massy-Greene G B & M K Ilett Di Jameson John & Lisa Kench Miss Nancy Kimpton Irina Kuzminsky & Mark Delaney Anthony & Sharon Lee Foundation Liz & Walter Lewin Anthony & Suzanne Maple-Brown Jennie & Ivor Orchard James Ostroburski & Leo Ostroburski Bruce & Joy Reid Trust Angela Roberts Ryan Cooper Family Foundation Paul Schoff & Stephanie Smee AUSTRALIAN CHAMBER ORCHESTRA

Servcorp Jon & Caro Stewart Anthony Strachan Susan Thacore Alden Toevs & Judi Wolf Pamela Turner Shemara Wikramanayake Cameron Williams

$5,000–$9,999 Jennifer Aaron Steve & Sophie Allen The Belalberi Foundation Walter Barda & Thomas O'Neill Carmelo & Anne Bontempo Helen Breekveldt Veronika & Joseph Butta Stephen & Jenny Charles Annie Corlett am & Bruce Corlett am Carol & Andrew Crawford Rowena Danziger am & Ken Coles am Maggie & Lachlan Drummond Suellen Enestrom Paul R Espie ao Bridget Faye am Vivienne Fried Cass George Gilbert George Warren Green Kim & Sandra Grist Liz Harbison Anthony & Conny Harris Annie Hawker Doug Hooley Peter Jopling am qc I Kallinikos The Key Foundation Kerry Landman Lorraine Logan Danita Lowes & David File Macquarie Group Foundation The Alexandra & Lloyd Martin Family Foundation Rany Moran Beau Neilson & Jeffrey Simpson Paris Neilson & Todd Buncombe K & J Prendiville Foundation Libby & Peter Plaskitt John Rickard In Memory of Lady Maureen Schubert – Marie Louise Theile & Felicity Schubert Greg Shalit & Miriam Faine Victoria & Peter Shorthouse J Skinner Petrina Slaytor Jeanne-Claude Strong Tamas & Joanna Szabo Vanessa Tay Alenka Tindale

Simon & Amanda Whiston Hamilton Wilson Dr Mark & Anna Yates Anonymous (4)

$2,500–$4,999 Annette Adair Peter & Cathy Aird Rae & David Allen Warwick Anderson Will & Dorothy Bailey Charitable Gift Lyn Baker & John Bevan The Beeren Foundation Vicki Brooke Neil & Jane Burley Laurie Cox ao & Julie Ann Cox am Anne & Thomas Dowling Elizabeth Foster In memory of Rosario Razon Garcia Anne & Justin Gardener Paul Greenfield & Kerin Brown Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Ruth Hoffman & Peter Halstead Merilyn & David Howorth Warwick & Ann Johnson Charlie & Olivia Lanchester Janet Matton & Robin Rowe Peter & Ruth McMullin Roslyn Morgan Jane Morley Jenny Nichol David Paradice & Claire Pfister Sandra & Michael Paul Endowment Prof David Penington ac Christopher Reed Kenneth Reed am Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Mrs Tiffany Rensen Fe & Don Ross D N Sanders Carol Schwartz am & Alan Schwartz am Jenny Senior & Jenny McGee Kathy & Greg Shand Sky News Australia Maria Sola Ezekiel Solomon am Kim & Keith Spence Josephine Strutt Rob & Kyrenia Thomas Ralph Ward-Ambler am & Barbara Ward-Ambler Kathy White Don & Mary Ann Yeats Anne & Bill Yuille Rebecca Zoppetti Laubi Anonymous (5)

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$1,000–$2,499 Barbara Allan Jane Allen Lillian & Peter Armitage Adrienne Basser Doug & Alison Battersby Robin Beech Berg Family Foundation Graeme & Linda Beveridge Leigh Birtles Jessica Block In memory of Peter Boros Brian Bothwell Diana Brookes Elizabeth Brown Stuart Brown Sally Bufé Gerard Byrne & Donna O'Sullivan The Caines Ray Carless & Jill Keyte Ann Cebon Julia Champtaloup & Andrew Rothery Alex & Elizabeth Chernov Kaye Cleary Dr Peter Clifton John & Chris Collingwood Angela & John Compton Leith & Darrel Conybeare Anne Craig Cruickshank Family Trust John Curotta Michael & Wendy Davis George & Kathy Deutsch Martin Dolan In memory of Ray Dowdell Dr William F Downey Pamela Duncan Emeritus Professor Dexter Dunphy Karen Enthoven Peter Evans Julie Ewington Patrick Fair Penelope & Susan Field Elizabeth Finnegan Jean Finnegan & Peter Kerr Don & Marie Forrest Ron Forster & Jane Christensen John Fraser Kay Giorgetta Brian Goddard Jack Goodman & Lisa McIntyre Professor Ian Gough am & Dr Ruth Gough Louise Gourlay oam Camilla & Joby Graves Melissa & Jonathon Green Grussgott Trust In memory of Jose Gutierrez Paul & Gail Harris Lyndsey Hawkins Kingsley Herbert Jennifer Hershon Vanessa & Christian Holle Christopher Holmes Gillian Horwood

Penelope Hughes Stephanie & Mike Hutchinson Dr Anne James & Dr Cary James Owen James Anthony Jones & Julian Liga Brian Jones Bronwen L Jones Mrs Angela Karpin Professor Anne Kelso ao Josephine Key & Ian Breden Michael Kohn John Landers & Linda Sweeny Delysia Lawson Professor Gustav Lehrer faa am & Nanna Lehrer Airdrie Lloyd Megan Lowe Diana Lungren Nicholas Maartens Prof Roy & Dr Kimberley MacLeod David Maloney Garth Mansfield oam & Margaret Mansfield oam Mr Greg & Mrs Jan Marsh Jane Tham & Philip Maxwell Kevin & Deidre McCann Helen & Phil Meddings Claire Middleton Jim Middleton Abby & Yugan Mudaliar Peter & Felicia Mitchell Dr Robert Mitchell Baillieu & Sarah Myer Dr G Nelson Nola Nettheim Kenichi & Jeanette Ohmae Fran Ostroburski Chris Oxley Mimi & Willy Packer Benita Panizza Effie & Savvas Papadopoulos Catherine Parr & Paul Hattaway Leslie Parsonage Rosie Pilat Greeba Pritchard Dr S M Richards am & Mrs M R Richards Em Prof A W Roberts am Mark & Anne Robertson John & Donna Rothwell Irene Ryan & Dean Letcher qc J Sanderson In Memory of H. St. P. Scarlett Morna Seres & Ian Hill David & Daniela Shannon Diana Snape & Brian Snape am Dr Peter & Mrs Diana Southwell-Keely Cisca Spencer The Hon James Spigelman ac qc & Mrs Alice Spigelman am Harley Wright & Alida Stanley Dr Charles Su & Dr Emily Lo Robyn Tamke David & Judy Taylor Team Schmoopy

Jane Tham & Philip Maxwell Dr Jenepher Thomas Mike Thompson Joanne Tompkins & Alan Lawson Anne Tonkin Ngaire Turner Kay Vernon John & Susan Wardle Simon Watson Libby & Nick Wright Mark & Anna Yates Peter Yates am & Susan Yates Anonymous (23)

$500–$999 Gabrielle Ahern-Malloy John & Rachel Akehurst Dr Judy Alford Mr & Mrs H T Apsimon Elsa Atkin am Ms Rita Avdiev Christine Barker In memory of Hatto Beck Kathrine Becker Robin Beech Ruth Bell L Bertoldo Hyne Philomena Billington Elizabeth Bolton Lynne & Max Booth Carol Bower Denise Braggett Henry & Jenny Burger Mrs Pat Burke Josephine Cai Elise Callander Helen Carrig Connie Chaird Pierre & Nada Chami Chaney Architecture Patrick Charles Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Captain David Clarke Richard Cobden sc Dr Jane Cook R & J Corney Sam Crawford Architects Donald Crombie am Julie Crozier & Peter Hopson Marie Dalziel Amanda Davidson Mari Davis Dr Michelle Deaker Kath & Geoff Donohue Jennifer Douglas In memory of Raymond Dudley Graeme Dunn Carmel Dwyer John Field Vanessa Finlayson Penny Fraser Paul Gibson & Gabrielle Curtin Don & Mary Glue

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National Patrons’ Program (continued) $500–$999 (Continued) Sharon Goldie Leo & Paula Gothelf Carole A P Grace Jennifer Gross Kevin Gummer & Paul Cummins Rita Gupta Rob Hamer Jones Hamiltons Commercial Interiors Lesley Harland Sue Harvey Rohan Haslam Sandra Haslam Henfrey Family Dr Penny Herbert in memory of Dunstan Herbert Dr Marian Hill Charissa Ho Sue & David Hobbs Geoff Hogbin Peter & Edwina Holbeach Geoff & Denise Illing Peter & Rosemary Ingle Steve & Sarah Johnston Caroline Jones Phillip Jones Agu Kantsler Bruce & Natalie Kellett Ruth Kelly Lionel & Judy King Peter & Katina Law Bronwyn & Andrew Lumsden Joan Lyons Geoffrey Massey Dr & Mrs Donald Maxwell Paddy McCrudden Pam & Ian McDougall Brian & Helen McFadyen J A McKernan Margaret A McNaughton Michelle Mitchell Justine Munsie & Rick Kalowski Nevarc Inc. Andrew Naylor J Norman Paul O’Donnell Robin Offler Mr Selwyn Owen S Packer Ian Penboss Helen Perlen Kevin Phillips

AUSTRALIAN CHAMBER ORCHESTRA

Erika Pidcock Beverly & Ian Pryer Alexandra Ridout Jennifer Rankin Michael Read Joanna Renkin & Geoffrey Hansen Alexandra Ridout Prof. Graham & Felicity Rigby Jakob Vujcic & Lucy Robb Vujcic Jennifer Royle Trish & Richard Ryan Scott Saunders Garry Scarf & Morgie Blaxill Peter & Ofelia Scott Marysia Segan Jan Seppelt Jenny Senior & Jenny McGee Agnes Sinclair Ann & Quinn Sloan Ken Smith Michael Southwell Brian Stagoll Patricia Stebbens Ross Steele am Cheri Stevenson Nigel Stoke C A Scala & D B Studdy Dr Douglas Sturkey cvo am In memory of Dr Aubrey Sweet Dr Niv & Mrs Joanne Tadmore Gabrielle Tagg Susan & Yasuo Takao C Thomson TWF See & Lee Chartered Accountants Oliver Walton Joy Wearne GC & R Weir Westpac Group Harley & Penelope Whitcombe James Williamson Sally Willis Janie Wittey Lee Wright Gina Yazbek Joyce Yong LiLing Zheng Brian Zulaikha & Janet Laurence Anonymous (41)

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ACO Government Partners We thank our 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 Create NSW.

ACO Committees Sydney Development Committee Heather Ridout ao (Chair)

John Kench

Mark Stanbridge

Chair Australian Super

Jason Li

Partner Ashurst

Chairman Vantage Group Asia

Guido Belgiorno-Nettis am Chairman ACO

Alden Toevs

Jennie Orchard Peter Shorthouse

Gauri Bhalla

Senior Partner Crestone Wealth Management

CEO Curious Collective

The Melbourne Committee Martyn Myer ao (Chair)

Colin Golvan qc

Chairman, Cogslate Ltd President, The Myer Foundation

James Ostroburski

Ken Smith CEO & Dean ANZSOG

CEO Kooyong Group

Susan Thacore

Rachel Peck Principal peckvonhartel architects

Deputy Chairman Myer Family Investments Ltd & Director, AIA Ltd

Morwenna Collett

Alexandra Cameron-Fraser

Dean Watson

Director Major Performing Arts Projects Australia Council for the Arts

Chief Operating Officer, ACO

Customer Relations & Access Manager, ACO

Peter McMullin (Deputy Chair) Chairman McMullin Group

David Abela

Peter Yates am

Managing Director 3 Degrees Marketing

Disability Advisory Committee

Event Committees Brisbane

Sydney Judy Crawford (Chair) Lillian Armitage Jane Clifford Deeta Colvin Lucinda Cowdroy Fay Geddes Julie Goudkamp Lisa Kench

Liz Lewin Julianne Maxwell Rany Moran Fiona Playfair Lynne Testoni Susan Wynne

Philip Bacon Kay Bryan Andrew Clouston Caroline Frazer Dr Ian Frazer ac Cass George

Di Jameson Wayne Kratzmann Shay O’Hara-Smith Marie-Louise Theile Beverley Trivett Hamilton Wilson

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ACO Partners We thank our Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

NATIONAL EDUCATION PARTNERS Janet Holmes à Court AC Marc Besen AC & Eva Besen AO Holmes à Court Family Foundation The Ross Trust

AUSTRALIAN CHAMBER ORCHESTRA

TOGNETTI’S BEETHOVEN In a monumental finale to our 2018 Season, Richard Tognetti and the Orchestra return to Beethoven’s mighty Violin Concerto and the famed Fifth Symphony.

“Tognetti is giving ‘classical’ music the relevance it needs to survive another age.”

– AUSTRALIAN FINANCIAL REVIEW

8 – 21 NOVEMBER Adelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney

Tickets from $60* *Booking fee of $7.50 applies. Prices vary according to venue and reserve.

BOOKINGS

aco.com.au | 1800 444 444

GOVERNMENT PARTNERS

PRINCIPAL & TOUR PARTNER

2019 A NEW LIGHT

Richard Tognetti Artistic Director

Subscriptions now on sale.

Flexi-packs on sale 15 October.

Helena Rathbone Principal Violin

DISCOVER THE FULL SEASON

aco.com.au/2019

GOVERNMENT PARTNERS

PRINCIPAL PARTNER