The romance is back
Proud Principal Partner of the Australian Chamber Orchestra.
Celebrating The World’s Greatest Love Stories Since 1837
SYDNEY 28 CASTLEREAGH STREET MELBOURNE 267 COLLINS STREET CHADSTONE SHOPPING CENTRE BRISBANE QUEENSPLAZA 226 QUEEN STREET PERTH 37 KING STREET 1800 731 131 | TIFFANY.COM
Handcrafted in 1759. Rockin’ out in 2012. The rare and beautiful Guadagnini violin has been on tour with the ACO since 1996. It’s on loan from our art collection so that thousands can enjoy its remarkable sound. FIND OUT MORE: VISIT
FLOWERS . WEDDINGS . EVENTS . CORPORATE PoHo, 117 Macleay Street, Potts Point NSW | phone 02 9331 4333 | www.poho.com.au
Commonwealth Private. Further Still. Commonwealth Private is redefining private banking. We’ve combined the unmatched resources of Australia’s largest financial institution with truly unique insights, expert analysis and tailored advice to create opportunities that are expanding what’s possible. Together we’ll not only take you further, but further still.
Winner of the Outstanding Institution Award for clients with $1-$10 million, four years in a row.
Things to know before you can: This advertisement has been prepared by Commonwealth Private Limited ABN 30 125 238 039 AFSL 314018 a wholly owned but non-guaranteed subsidiary of Commonwealth Bank of Australia ABN 48 123 123 124, AFSL and Australian Credit Licence 234945. The services described are provided by teams consisting of Private Bankers who are representatives of Commonwealth Bank of Australia, and Private Wealth Managers who are representatives of Commonwealth Private Ltd.
NATIONAL TOUR PARTNER
This year marks 24 years of partnership between the Commonwealth Bank and the Australian Chamber Orchestra. Our long and proud association has allowed us the privilege of watching the ACO grow into the innovative and world-leading organisation it is today. Furthermore, we are honoured to have received a Commitment Award from the Australian Business Arts Foundation in October 2011, acknowledging our ongoing partnership. One special way we support the ACO is through the loan of our rare 1759 Guadagnini violin. We are pleased to share this special instrument with Australian and international audiences, played by Helena Rathbone, the ACOâ€™s Principal Violin. On behalf of the Commonwealth Bank, I hope you enjoy this very special performance, Russian Visions, with pianist Steven Osborne.
NATIONAL TOUR PARTNER
IAN NAREV CHIEF EXECUTIVE OFFICER COMMONWEALTH BANK GROUP AUSTRALIAN CHAMBER ORCHESTRA 1
TOUR SEVEN RUSSIAN VISIONS SPEED READ Today’s all-Russian program opens with Sergei Prokoﬁev’s Visions fugitives, written in 1917, before the composer emigrated to the United States immediately after the Russian Revolution. The ACO and Steven Osborne share the stage, interleaving the original piano version with arrangements by Rudolph Barshai in a performance plan conceived by Richard Tognetti. Prokoﬁev’s fellow Soviet composer Dmitri Shostakovich is featured on the program with two dazzling works: his Prelude and Scherzo, and his ﬁrst Piano Concerto. Written during 1924—25, the Prelude and Scherzo was originally composed for string octet. The composer himself cited the Scherzo as “the best thing I have written”. Composed in 1933, the whimsical First Piano Concerto emulates the style of Prokoﬁev’s Visions fugitives. The concerto will feature Steven Osborne, as well as trumpeter David Elton, recently appointed Principal Trumpet of the Sydney Symphony. Written, according to one account by the composer, “with the greatest enthusiasm and without the least exertion,” Tchaikovsky’s Souvenir de Florence takes its name from a tune he wrote while visiting the capital of Tuscany. Originally for string sextet, it was the last chamber work Tchaikovsky composed. This performance features a realisation for the full complement of ACO strings. — Alan J. Benson
RICHARD TOGNETTI Director & Violin STEVEN OSBORNE Piano DAVID ELTON Trumpet PROKOFIEV arr. Barshai/Tognetti) Visions fugitives
SHOSTAKOVICH Piano Concerto No.1 I N T E R VA L
TCHAIKOVSKY Souvenir de Florence Durations (minutes): 20 – 21 – INTERVAL – 10 – 34 The concert will last approximately two hours including a 20-minute interval.
QPAC Mon 19 Nov, 8pm
Concert Hall Wed 14 Nov, 7.30pm
Llewellyn Hall Sat 10 Nov, 8pm
Opera House Sun 25 Nov, 2pm
City Recital Hall Angel Place Sat 17 Nov, 7pm Tue 20 Nov, 8pm Wed 21 Nov, 7pm
Arts Centre Sun 11 Nov, 2.30pm Mon 12 Nov, 8pm
NEWCASTLE City Hall Thu 22 Nov, 7.30pm
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. Cover photo: Madeleine Boud © Jon Frank
AUSTRALIAN CHAMBER ORCHESTRA 3
MESSAGE FROM THE GENERAL MANAGER
ACO.COM.AU VISIT THE WEBSITE TO: Prepare in advance A PDF and e-reader version of the program are available at aco.com.au one week before each tour begins, together with music clips, videos and podcasts.
Have your say Let us know what you thought about this concert at aco.com.au or email email@example.com.
Be part of the ACO community For behind-the-scenes news and updates follow us on Facebook or Twitter or visit acoblog.com.au.
Receive the ACO enewsletter Sign up for the ACO enewsletter at aco.com.au and receive links to new videos and concert programs, plus special offers including invitations to meet the musicians.
ACO ON THE RADIO ABC CLASSIC FM Sat 17 Nov, 1pm Russian Visions
NEXT TOUR Tognetti’s Mozart 2 – 16 Feb 2013
FREE PROGRAMS To save trees and money, we ask that you please share one program between two people where possible.
PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue.
Every year, one of the ACO’s National Tours is sponsored by the Commonwealth Bank and we always look forward to the opportunity of celebrating this long-standing partner of the Orchestra. The Commonwealth Bank has been with us for an impressive 24 years. Throughout this period, the ACO has developed from a small chamber orchestra into a national institution and it has been a privilege for the Orchestra to build its national and international reputation bolstered by the faith which this iconic Australian company has in our vision. With these concerts, Richard Tognetti and the ACO bring the 2012 subscription season to a stirring conclusion. But the Orchestra’s year is not quite over yet. Over the weekend of 7–9 December, Richard and the musicians take up residence in the idyllic setting of the Vasse Felix vineyard in the Margaret River region of WA for an exquisite music festival hosted by Janet Holmes à Court. Over a chilled glass of superb Heytesbury Chardonnay after the last concert on that Sunday evening, the ACO musicians can look back with a great sense of pride and satisfaction on an extraordinary year which has included such highlights as The Reef, Beethoven 9, Project Rameau with the Sydney Dance Company, triumphant concerts in New York, Chicago, Edinburgh and London and two acclaimed recordings on the BIS label. Year’s end also brings us some sadness as we bid a very fond farewell to our dear colleague Alice Evans, who leaves the Orchestra after 21 years. I very clearly remember the day Alice auditioned for the ACO back in 1990, so when I returned to the Orchestra in 2010, it was Alice’s beaming face which greeted me on my ﬁrst day. We all wish her the very best for the future. We all thank you sincerely for your generous support, your applause and your warmth throughout this enormously demanding year, and look forward to bringing you another great year of music in 2013.
TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA
AUSTRALIAN CHAMBER ORCHESTRA 5
PROKOFIEV (arr. Barshai/Tognetti) Visions fugitives, Op.22 Performed in a combination of the piano originals and arrangements for strings by Rudolf Barshai, realised by Richard Tognetti (Composed 1915–17)
Sergei PROKOFIEV (b. Sontsovka 1891 — d. Moscow 1953) Sergei Prokoﬁev’s life and work can be read as a struggle between the strictures of Soviet cultural policies and the true feelings of the composer within. Like many Russian artists, Prokoﬁev ﬂed Russia after the October Revolution of 1917, returning nearly 20 years later, however, for reasons still unknown. Masterpieces across several genres have ensured his place in the pantheon of 20th-century composition.
ACO performance history ACO Artistic Director Richard Tognetti arranged Prokoﬁev’s Visions fugitives for piano and strings for a 1998 ACO national tour. This is only the second time the ACO have performed this arrangement as part of a tour.
Lentamente Andante Allegretto Animato Molto giocoso Con eleganza Pittoresca Commodo Allegretto tranquillo Ridicolosamente
Con vivacita Assai moderato Allegretto Feroce Inquieto Dolente Poetico Con una dolce lentezza Lento irrealmente
With his mother Maria Grigorievna giving him piano and theory lessons from soon after toddlerhood, Prokoﬁev’s compositional juvenalia had reached generous proportions by his teens. His ﬁrst piano piece, Indian Gallop, trotted in when he was just six, and there were dozens of other works, including six piano sonatas, before his oﬃcial First Piano Sonata, Op.1, appeared in 1909. The 20 short piano pieces, Visions fugitives, were written during a particularly fertile period from 1915–17 (1917 was the year of the First Violin Concerto, Piano Sonatas Three and Four and the celebrated ‘Classical Symphony’), and followed on from the Second Sonata (1912) and Sarcasms (1912-14). Still only in his early twenties, the composerpianist had already attracted much attention and controversy. After the premiere of his Second Piano Concerto in September 1913, a journalist wrote of the “astonished public” that: “some express their indignation out loud, some get up and ﬁnd salvation in retreat,” and at the end “most of the audience are whistling and shouting angrily.” Such disapproval merely ﬁred Prokoﬁev’s enthusiasm to compose – something which he was able to do through persistent avoidance of military service by enrolment in successive classes at the St Petersburg Conservatorium. Later he wrote of this dizzily active, politically oblivious time: “I would blacken about ten pages of manuscript a day. In the easy passages, I would cover as many as eighteen.” Prokoﬁev drew his title for this set of pieces from some lines of verse by Balmont: Tout ce qui est fugitif me fait voir des mondes Qui dans leur jeu chatoyant Ont pour moi la valeur du transitoire. AUSTRALIAN CHAMBER ORCHESTRA 7
All that is ﬂeeting makes me see worlds Which have in their shimmering play The merit of transience. Each of the Visions teems with a discrete, vibrant personality, and among the movements’ headings are some more colourful descriptions such as pittoresco (picturesque), ridicolosamente (ludricous), feroce (ferocious) and inquieto (restless). With a range of moods taking in sobriety and boisterousness, wit and violence, the composer’s phenomenal pianism is reﬂected at every turn. Prokoﬁev premiered these pieces on 15 April 1918 in the newlynamed, post-Revolution Petrograd; and the next month he departed for the USA, apparently with the intention of staying only a few months, but in fact remaining there until 1922. The arrangements for strings used in part for these performances were made by the Russian violist and conductor Rudolf Barshai. Born in 1924, a period of study at the Moscow Conservatorium was followed by periods in the Borodin and Tchaikovsky Quartets. In 1955 he became director of the Moscow Chamber Orchestra, for which group he subsequently arranged 15 of the 20 Visions. © MEURIG BOWEN
SHOSTAKOVICH Piano Concerto No.1 in C minor, Op.35 For Piano, Trumpet and Strings (Composed 1933)
Allegro moderato Lento Moderato Allegro con brio
Dmitri SHOSTAKOVICH (b. St Petersburg 1906 — d. Moscow 1975)
Born just over a decade before the Bolshevik Revolution, Shostakovich’s youth coincided with the darkest and most horriﬁc years of Soviet history. Peasant revolt, mass arrests and martial law under Lenin ran seamlessly into the foundation of the USSR and Stalin’s rise to power from the mid-1920s onwards. Climaxing in the Great Terror of the mid-1930s, this was a deadly period of institutionalised torture, purges, show-trials, collectivisation, and enormous hardship caused by chaotic ﬂuctuations in agricultural and industrial production. While Stalin exported grain for foreign currency, famine killed seven million in the Ukraine. After an apparently blandly idyllic boyhood, the grim realities of post-Revolution Russia began to assert themselves on the young Shostakovich. Malnutrition,
8 AUSTRALIAN CHAMBER ORCHESTRA
The life and music of Dmitri Shostakovich are inextricably entwined with the Soviet era, and debate continues to rage over the extra-musical nature of his musical work: whether certain works stand as ironic statements on a subject or society or even contain political messages. His 15 symphonies and string quartets are among the major masterpieces of 20th-century music, reﬂective of his society and time.
tuberculosis and a period of convalescence in a Crimean sanitorium were all aspects of his teenage student years at the Petrograd Conservatorium. But his remarkable talent, fused with a ﬁghting spirit, brought him early success as a composer – both of ﬁlm scores and of more classical, “serious” works. Still only in his early twenties, Shostakovich had his Tchaikovsky-indebted First Symphony premiered by Bruno Walter in Berlin and Stokowski in New York. The First Piano Concerto is a fascinatingly transitional work, coming as it does between two wildly shocking operas (The Nose and Lady Macbeth of the Mtensk District) and works which were intended to appease the increasingly anti-modernist Soviet authorities. After completing Lady Macbeth in December 1932, Shostakovich then worked on 24 Preludes for piano, as well as absorbing much music by Bach, Haydn and Beethoven. This served as a bridge between the lurid excesses of his operas and the purer guise of the Piano Concerto, written between March and July 1933. The inﬂuence of the German masters also accounts for the neo-classical gesturing in the work – triadic accompaniment ﬁgures, neatly deﬁned motifs, starkly reproduced harmonic formulae, and the Bach Prelude-like opening of the brief third movement. But it is Shostakovich’s remarkable sense of parody, of whirligig debunkery, which gives this work its real personality. And even with a fair sprinkling of ironic references to Tchaikovsky and Rachmaninov, and more earnest imitation of “wrong-note” Stravinsky and Prokoﬁev, Shostakovich’s emerging hallmarks are present too. Like the high, step-wise violin melody that opens the slow movement above a sombre accompaniment – this turned out to be a familiar Shostakovich-ism, the violins often joined in his symphonies by doubling a ﬂute.
ACO performance history Shostakovich’s First Piano Concerto was performed in ACO tours in 1998 and 1992.
And as for all the slapstick convulsions and relentless activity surrounding this centrepiece of seriousness, we are constantly left wondering – as with much of Shostakovich’s output – just where we are on the scales of entertainment and satire, of jocularity and savage mockery. The trumpet’s role in all of this is crucial, adding both a tinge of circusact or court jester, as well as one that is more sinister and militaristic. In view of the increasingly appalling acts of Stalin’s regime in 1933, perhaps the trumpet’s most telling commentary is not something like the ﬁnale’s obsessive fanfare conclusion, but the way the Lento concludes – a droopy re-appearance of the violin’s opening melody from a not-so-triumphant bugler, lame from a bloody battle. © MEURIG BOWEN AUSTRALIAN CHAMBER ORCHESTRA 9
SHOSTAKOVICH Two Pieces for String Octet, Op.11 (Composed 1924–25)
Prelude: Adagio Scherzo: Allegro molto Though Shostakovich’s legacy as a composer of chamber music rests largely on his 15 string quartets, which have enshrined him as one of the few great quartet composers of the 20th century, his ﬁrst work in the genre did not come until 1938, when he was 32 years old and already recognised as a major composer on the strength of several symphonies and various works for the stage. But Shostakovich demonstrated an interest and facility in chamber music much earlier in his career, writing three pieces for small forces during the ﬁrst half of the 1920s while still in his student years at the Petrograd Conservatory: the Piano Trio No.1, Three Pieces for Cello and Piano (now lost), and the present Prelude and Scherzo, Op.11. Op.11 owes its unusual form and format to the indecision of its composer and the halting nature of its composition. In December 1924, in the midst of working on his First Symphony, Shostakovich received word that his close friend Volodya Kurchavov had died of typhoid fever. In response, the teenaged composer set aside his symphony to write the Prelude, which he dedicated as a memorial to Kurchavov. Shostakovich also began a fugue that was to follow the Prelude as part of a ﬁve-movement suite, but before getting any farther, he changed his focus back to the symphony. He ﬁnally returned to his chamber piece only after completing the First Symphony the following summer, and by this time the idea of a lengthy suite no longer appealed to him. He scrapped the fugue and paired the Prelude with a new Scherzo, allowing the two movements to stand on their own. The Prelude and Scherzo, though brief, are highly energetic and emotionally intense, ﬁlled with incisive rhythms and sweeping gestures.
ACO performance history Shostakovich’s Prelude and Scherzo for String Octet was performed in a tour during 2006.
The Prelude, as beﬁts its inspiration, is passionately mournful, moving quickly through a series of episodes divided into three sections. Tragic chords give way to descending melodies, eerie triplets, and hushed pizzicato, eventually ushering in the restless tossing and turning of the middle section. An earnest, despairing solo for violin begins the closing segment, reaching an emotional climax before the quietly dejected atmosphere of the
10 AUSTRALIAN CHAMBER ORCHESTRA
opening returns to conclude the movement. In contrast, the Scherzo is all swirling motion and sharp edges. This is the music of Shostakovich the deliberate modernist, packed with dissonance and unusual eﬀects, but still with a ﬁrm sense of drama and organisation. The composer was very happy with the Scherzo, calling it shortly after its completion “the very best thing I have written.” © JAY GOODWIN
TCHAIKOVSKY Souvenir de Florence, Op.70 (Composed 1890) Realised for string orchestra
Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro vivace
Peter Ilyich TCHAIKOVSKY (b. Kamsko-Votkinsk 1840 — d. St Petersburg 1893) Peter Ilyich Tchaikovsky was the ﬁrst Russian composer whose work not only demonstrated a professional mastery of Western symphonic tradition, but was also recognised on an international scale. His popular operas, ballets, and works for voice, and chamber and symphonic forces continue to be regarded as masterpieces of their respective genres. Tchaikovsky’s output is celebrated not only for its musical structure but also for its emotional and programmatic richness.
The string sextet Souvenir de Florence was Tchaikovsky’s last chamber work, and came a decade or more after his three String Quartets (1871, 1874 and 1878) and the muchloved Serenade for Strings (1880). An initial sketch was made between 13 and 30 June 1890, at the time that he was orchestrating his penultimate opera The Queen of Spades. A play-through in St Petersburg in November that year caused Tchaikovsky to rework the last two movements over the next two years – at his home near Klin, 80 kilometres west of Moscow, and in Paris. The ﬁrst “real” performance was in St Petersburg on 6 December 1892, a fortnight before the premiere of the ballet The Nutcracker in the same city. In a letter to his patron and friend-by-correspondence Nadezhda von Meck, Tchaikovsky said of the sextet that he “wrote it with the greatest enthusiasm and without the least exertion” – light relief, apparently, from his eﬀorts on The Queen of Spades. This idea of a work idly dashed oﬀ is rather at odds with some comments to his brother Modest in a letter written on 15 June 1890, two days into the work’s composition. He was, apparently, “writing with diﬃculty, AUSTRALIAN CHAMBER ORCHESTRA 11
handicapped by lack of ideas and the new form. One needs six independent but at the same time homogenous voices. This is frightfully diﬃcult. Haydn never managed to conquer this problem and never wrote anything but quartets [for chamber music].” It is interesting that the composer isolates Haydn, and doesn’t mention the distinguished eﬀorts of others writing string chamber music for more than four players: the quintets of Mozart and Schubert, Mendelssohn’s Octet, the sextets of Brahms (1860 and 1865) and Dvořák (1878). And it is neat indeed that the same decade that began with Tchaikovsky’s sextet concluded with a very diﬀerent work for the same forces, Schoenberg’s dark masterpiece, Transﬁgured Night. The composer knew Florence well, having made three visits there in 1877, 1879 and 1890. During the last of these, an extended period, he worked on The Queen of Spades; and it was doubtless these recent experiences in the great Tuscan city that he wished to commemorate in his sextet. There is little explicitly Italian in the work however, and the folk-like tunes in the last two movements have a markedly more Russian ﬂavour. But in spirit, the work has a freshness and charm that could easily conjure Florentine associations. Both the ﬁrst movement’s sweeping second subject, marked dolce, espressivo e cantabile (sweet, expressive and in a singing style) and the conversational melody for violin, viola and cello that dominates the Adagio have a serenadelike feel to them. The second of these, with its plucked accompaniment, is further suggestive of the serenader’s mandolin.
ACO performance history Tchaikovsky’s Souvenir de Florence was ﬁrst programmed in the ACO’s 1985 inaugural subscription series. It was subsequently played in 1991, 1999 and 2005.
This Adagio’s lyrical repose is broken up by a brief but remarkable central passage. With the players instructed to play at the tip of the bow, a sequence of triplet semiquavers form successive, punctuated phrases. Tchaikovsky’s dynamic markings are highly speciﬁc and extreme – crescendo from ppp up to p and the like – creating a delicate texture of scuttling mysteriousness. A similar lightness of touch comes in the central section of the following movement and in much of the ﬁnal Allegro vivace: vigorous accents working against skipping staccato notes, a balletic ﬁnesse converging with the stomping energy of peasant dance. As if to rein in some of this energy, Tchaikovsky turns the main rollicking tune of this ﬁnale into a fugue subject – with a certain disciplined success, until he concludes his Florentine tribute by cranking up the tempo and the volume (to ﬀﬀ), for the ﬁnal ecstatic bars. © MEURIG BOWEN
12 AUSTRALIAN CHAMBER ORCHESTRA
STEVEN OSBORNE © Ben Ealovega
PIANO Steven Osborne is one of Britain’s foremost musicians, renowned for his idiomatic approach to a wide variety of repertoire from the mainstream classical works of Mozart, Beethoven and Brahms to the rareﬁed worlds of Messiaen, Tippett and Britten. His numerous awards and prizes include the 2009 Gramophone Award for his recording of the Britten Piano Concerto, ﬁrst prize at the Naumburg International Piano Competition (New York) and the Clara Haskil Competition. His concert career takes him to major venues worldwide including the Amsterdam Concertgebouw, Konzerthaus Berlin, Konzerthaus Vienna, Palais des Beaux Arts Brussels, Sydney Opera House, Suntory Hall Tokyo and Carnegie Hall. He is a regular visitor to the Wigmore Hall, where he returned this season to complete his four-part survey of the chamber music of Schubert which included performances of Schwanengesang with Dietrich Henschel, piano duets with Paul Lewis, piano trios with Alban Gerhardt and Alina Ibragimova and the last three piano sonatas. He has also made eight appearances at the Proms. Concerto performances take Steven to orchestras all over the world including recent visits to the NHK Symphony, Berlin Symphony, Deutsches Sinfonieorchester Berlin, Munich Philharmonic, Finnish Radio Symphony, Bergen Philharmonic, Residentie Orkest, and the Dallas Symphony Orchestra. In the UK he works regularly with the major orchestras, especially with the Philharmonia, City of Birmingham Symphony and the BBC Philharmonic Orchestras. Highlights of the 2012/13 season include performances of the Britten Concerto with the Oslo Philharmonic/Ilan Volkov, Frankfurt Museumsorchester/Brabbins, Orchestre National de Lille and City of Birmingham Symphony Orchestra alongside performances with the BBC Symphony/Vedernikov (Tippett) at the Barbican, RTVE Madrid (Beethoven), and Netherlands Chamber Orchestra (Mozart). He begins his Beethoven Piano Concerto cycle with the BBC Scottish Symphony in collaboration with Andrew Manze. On the recital circuit he tours Messiaen’s complete Vingt regards sur l’enfant which will include a performance as part of the South Bank’s major series “The Rest Is Noise”. This Steven’s second national tour with the Australian Chamber Orchestra. His extensive discography includes Rachmaninov’s Preludes, Tippett’s Piano Sonatas and Piano Concerto, Messiaen’s Vingt regards sur l’Enfant-Jesus, Debussy’s Preludes, solo works by Liszt, Alkan, Kapustin, Beethoven and most recently Ravel. stevenosborne.com 14 AUSTRALIAN CHAMBER ORCHESTRA
DAVID ELTON © Keith Saunders
TRUMPET David Elton is Principal Trumpet with the Sydney Symphony. Prior to this appointment, he held principal trumpet positions with the West Australian Symphony Orchestra (WASO) and the Adelaide Symphony Orchestra (ASO). He has performed as a guest principal with the Australian Chamber Orchestra, the Hong Kong Philharmonic, the Melbourne Symphony, the Queensland Orchestra, and the Singapore Symphony. As a chamber musician, David has toured Germany with WorldBrass and is a founding member of the Australian Brass Quintet. David is sought after as a soloist and recitalist. Solo performances include Haydn’s Trumpet Concerto with both the ASO and the WASO, and the world premiere of James Ledger’s Trumpet Concerto, written especially for him, with the WASO. David had a solo role with the Absolute Ensemble in the Australian premiere of Mark-Anthony Turnage’s Blood on the Floor at the 2004 Adelaide Festival. He was a featured soloist at the 2010 International Trumpet Guild Conference as well as the Melbourne International Brass Festival. During 2011, David performed the Richard Mills Trumpet Concerto with the ASO with Gilbert Varga conducting, and the James Ledger Trumpet Concerto with the Australian National Academy of Music Orchestra under the baton of Sebastian Lang-Lessing. Raised in Sydney, David studied with Paul Goodchild. He holds a Bachelor of Music from the Queensland Conservatorium, and a Master of Music from Northwestern University (USA) where he studied with Yoram Levy and Charles Geyer respectively. In 1998 David was awarded ﬁrst prize in the International Trumpet Guild’s Solo Competition held in Kentucky, USA. In 2000 and 2001, he was a fellow of the Paciﬁc Music Festival in Sapporo Japan. David is committed to teaching and was formerly Head of Brass at the West Australian Academy of Performing Arts before returning to Sydney. He has served as guest faculty at the Yong Siew Toh Conservatory in Singapore, and is currently on the brass faculty at the Australian National Academy of Music. He was the trumpet tutor at the Australian Youth Orchestra’s National Music Camp in both 2008 and 2009, and returns to tutor in 2013.
AUSTRALIAN CHAMBER ORCHESTRA 15
RICHARD TOGNETTI AO © Paul Henderson-Kelly
ARTISTIC DIRECTOR AUSTRALIAN CHAMBER ORCHESTRA Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.
“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.” THE DAILY TELEGRAPH (UK)
Select Discography As soloist: BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surﬁca (DVD) Best Feature, New York Surf Film Festival As director: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop.
Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony 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 has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank. In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf ﬁlm Horrorscopes and, in 2008, co-created The Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary ﬁlm Musica Surﬁca, which has won best ﬁlm awards at surf 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 repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. Richard Tognetti was appointed an Oﬃcer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.
16 AUSTRALIAN CHAMBER ORCHESTRA
AUSTRALIAN CHAMBER ORCHESTRA ACO MUSICIANS Richard Tognetti Artistic Director and Lead Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Madeleine Boud Violin Rebecca Chan Violin Alice Evans Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello
Australia’s national orchestra is a product of its 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 unmatched by other ensembles. The ACO was founded in 1975. 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 crossartform projects and a vigorous commissioning program. Under Richard Tognetti’s inspiring leadership, the ACO has performed as a ﬂexible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience. Several of the ACO’s principal musicians perform with spectacularly ﬁne instruments. Tognetti plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri ﬁlius Andreæ cello, on loan from Peter Weiss AM. Principal Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Principal Violin Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments. Over ﬁfty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein.
The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.
The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.
The ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI and Chandos and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop. Highlights include the three-time ARIA Award-winning Bach recordings and the complete set of Mozart Violin Concertos. The ACO appears in the television series Classical Destinations II and the multi award-winning ﬁlm Musica Surﬁca. 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. AUSTRALIAN CHAMBER ORCHESTRA 17
MUSICIANS ON STAGE
Photos: Paul Henderson-Kelly, Helen White
RICHARD TOGNETTI AO§
Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod
Chair sponsored by Hunter Hall Investment Management Limited
Principal Violin Violin Chair sponsored by Robert & Kay Bryan
Chair sponsored by Terry Campbell AO & Christine Campbell
Chair sponsored by Ian Wallace & Kay Freedman
Chair sponsored by Jan Bowen, The Davies & The Sandgropers
Chair sponsored by Andrew & Hiroko Gwinnett
Chair sponsored by Runge
Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund
18 AUSTRALIAN CHAMBER ORCHESTRA
MUSICIANS ON STAGE
Photos: Paul Henderson-Kelly, Helen White
Chair sponsored by Tony Shepherd AO
Chair sponsored by Ian Lansdown
Chair sponsored by Mr Peter Weiss AM
Chair sponsored by the Clayton Family
Chair sponsored by John Taberner & Grant Lang
◊ Courtesy of West Australian Symphony Orchestra
CERIDWEN DAVIES AMANDA VERNER
Players dressed by
Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group
≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund + Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andræ cello kindly on loan from Peter Weiss AM # Julian Thompson plays a 1721 Giuseppe Guarneri ﬁlius Andræ cello kindly on loan from the Australia Council.
AUSTRALIAN CHAMBER ORCHESTRA 19
ACO BEHIND THE SCENES 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
AUSTRALIAN CHAMBER ORCHESTRA
MARKETING Rosie Rothery Marketing Manager David Sheridan Acting Marketing Coordinator Clare Morgan Acting Publicist Joseph Nizeti Acting Marketing & Publicity Assistant Chris Griﬃth Box Oﬃce Manager Dean Watson Customer Relations Manager Ali Brosnan Box Oﬃce Assistant Christina Holland Acting Oﬃce Administrator 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: firstname.lastname@example.org Website: aco.com.au
AUSTRALIAN CHAMBER ORCHESTRA 21
ACKNOWLEDGEMENTS GOVERNMENT SUPPORT
VENUE SUPPORT We are also indebted to the following organisations for their support:
PO Box 7585 Arts Centre Melbourne PO Box 7585 St Kilda Road, Melbourne VIC 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au VICTORIAN ARTS CENTRE TRUST Ms Janet Whiting (President) Ms Deborah Beale, Ms Terry Bracks, Mr Julian Clarke, Ms Catherine McClements, Mr Graham Smorgon, Prof Leon van Schaik ao, Mr David Vigo EXECUTIVE GROUP Chief Executive Ms Judith Isherwood Corporate Services Ms Jodie Bennett Performing Arts Mr Tim Brinkman Facilities & Asset Management Mr Michael Burns General Manager – Development, Corporate Communications & Special Events Ms Louise Georgeson Customer Enterprises Mr Kyle Johnstone Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.
LLEWELLYN HALL School of Music Australian National University William Herbert Place (oﬀ Childers Street) Acton, Canberra VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: email@example.com
AEG OGDEN (PERTH) PTY LTD PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briﬀa Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine
FOR YOUR INFORMATION The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue. In the interests of public health, Arts Centre Melbourne is a smoke-free area.
22 AUSTRALIAN CHAMBER ORCHESTRA
St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900
ACKNOWLEDGEMENTS VENUE SUPPORT
A City of Sydney Venue Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Jack Frost General Manager
PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444
CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Oﬃce 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com
Chair Henry Smerdon am Deputy Chair Rachel Hunter TRUSTEES Simon Gallaher, Helene George, Bill Grant, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White EXECUTIVE STAFF Chief Executive John Kotzas Director – Marketing Leisa Bacon Director – Presenter Services Ross Cunningham Director – Development Jacquelyn Malouf Director – Corporate Services Kieron Roost Director – Patron Services Tony Smith ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government The Honourable Rachel Nolan mp Minister for Finance, Natural Resouyrces and The Arts Director-General, Department of the Premier and Cabinet John Bradley Deputy Director-General, Arts Queensland Leigh Tabrett PSM Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.
SYDNEY OPERA HOUSE TRUST Mr Kim Williams am (Chair) Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch, Ms Renata Kaldor ao, Mr Robert Leece am rfd, Mr Peter Mason am, Dr Thomas Parry am, Mr Leo Schoﬁeld am, Mr John Symond am EXECUTIVE MANAGEMENT Chief Executive Oﬃcer Louise Herron Executive Producer SOH Presents Jonathan Bielski Director, Theatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia Pucci Chief Financial Oﬃcer Claire Spencer SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Oﬃce: 02 9250 7777 Facsimile: 02 9250 7666 Website: sydneyoperahouse.com
This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.
Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: firstname.lastname@example.org Website: www.playbill.com.au
Chairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie Clarke Manager—Production—Classical Music Alan Ziegler
OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS:
New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: email@example.com. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2—E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333. All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—127 — 16913 — 1/101112
AUSTRALIAN CHAMBER ORCHESTRA 23
Niseko Winter Music Festival with Jessica Block
TOKYO – NISEKO 8 –18 January 2013 The annual Niseko Winter Music Festival, the brainchild of Richard Tognetti, features Tognetti, members of the Australian Chamber Orchestra and invited Japanese guest artists, over three evenings in January at the height of the winter ski season! On the way enjoy three nights in Tokyo to visit stunning temples, shrines and Tokyo’s ﬁsh market and shop in the world’s largest electronics store before you head to the ski ﬁelds for a week of snow and music.
For detailed information call 1300 727 095 or visit www.renaissancetours.com.au
ACO MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.
MEDICI PATRON MRS AMINA BELGIORNO-NETTIS
PRINCIPAL CHAIRS Richard Tognetti AO
Michael Ball AM & Daria Ball Joan Clemenger Wendy Edwards Prudence MacLeod
Robert & Kay Bryan
Principal Double Bass
Tony Shepherd AO
Peter Weiss AM
John Taberner & Grant Lang
Andrew & Hiroko Gwinnett
Australian Communities Foundation – Connie & Craig Kimberley Fund
Mark Ingwersen Violin
Viola Chair Philip Bacon AM
Terry Campbell AO & Christine Campbell
Jan Bowen The Davies The Sandgropers
The Bruce & Joy Reid Foundation
Rebecca Chan Violin
Ian Wallace & Kay Freedman
The Clayton Family
FRIENDS OF MEDICI
Mr R. Bruce Corlett AM & Mrs Ann Corlett
Mr Robert Albert AO & Mrs Libby Albert AUSTRALIAN CHAMBER ORCHESTRA 25
ACO INSTRUMENT FUND The ACO has established its Instrument Fund to oﬀer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s ﬁrst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. The ACO pays tribute to its Founding Patrons of the Fund.
BOARD MEMBERS Bill Best (Chairman) Jessica Block Janet Holmes à Court John Leece OAM John Taberner
FOUNDING PATRONS PETER WEISS AM, PATRON VISIONARY $1m+ Peter Weiss AM
ENSEMBLE $10,000$24,999 Leslie & Ginny Green
CONCERTO $200,000–$499,000 Naomi Milgrom AO
SOLO $5,000 $9,999 Amanda Staﬀord
OCTET $100,000–$199,000 Amina Belgiorno-Nettis
QUARTET $50,000–$99,000 John Leece OAM & Anne Leece
FOUNDING INVESTORS Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Steven Duchen Brendan Hopkins John Taberner Ian Wallace & Kay Freedman
26 AUSTRALIAN CHAMBER ORCHESTRA
PATRONS $500 $4,999 June & Jim Armitage John Landers & Linda Sweeny Angela Roberts Anonymous (1)
NISEKO SUPPORTERS The ACO would like to pay tribute to the following donors who are supporting our continued involvement with the Niseko Winter Music Festival.
NISEKO PATRONS Ann Gamble Myer Louise & Martyn Myer Foundation Peter Yates AM & Susan Yates
NISEKO SUPPORTERS A J Abercrombie Warwick Anderson Breeze Family Tim Burke Simone Carson Suzy Crittenden Cathryn & Andrew Darbyshire AM Phil & Rosie Harkness Louise & Bill Henson Simon & Katrina Holmes à Court Family Trust Lorna Inman Robert Johanson & Anne Swann
Linda Keyte Richard & Lizzie Leder Naomi Milgrom Clarke & Leanne Morgan Andrew Myer James & Catriona Pettit Jill Reichstein Schiavello Peter Scott John & Nicky Stokes Dr Mark & Mrs Anna Yates Oliver Yates
2011 EUROPEAN TOUR PATRONS The ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour. Graeme & Jing Aarons Samantha Allen John & Philippa Armﬁeld Steven Bardy Isla Baring Linda & Graeme Beveridge BG Group Paul Borrud Ben & Debbie Brady Kay Bryan Massel Group Terry Campbell AO & Christine Campbell Jenny & Stephen Charles The Clayton Family Penny Clive & Bruce Neill John Coles Commonwealth Bank Robin D’Alessandro & Noel Philp Jennifer Dunstan Bridget Faye AM Ann Gamble Myer
Rhyll Gardner Alan & Joanna Gemes Tony Gill Global Switch Limited Andrew & Hiroko Gwinnett Peter Henshaw & Fargana Karimova Peter & Sandra Hofbauer Janet L Holmes à Court AC Catherine Holmes à Court-Mather Brendan & Bee Hopkins P J Jopling QC Lady Kleinwort Wayne Kratzmann Prudence MacLeod Bill Merrick P J Miller Jan Minchin Justin Raoul Moﬃtt Alf Moufarrige
Louise & Martyn Myer Foundation Sir Douglas Myers Marianna & Tony O’Sullivan peckvonhartel architects Diana Polkinghorne Rio Tinto Limited Gregory Stoloﬀ & Sue Lloyd David Stone Andrew Strauss Tim & Sandie Summers John Taberner & Grant Lang Patricia Thomas OBE Beverley Trivett Loretta van Merwyk Malcolm Watkins Michael Welch Wesfarmers Limited Gillian Woodhouse Ms Di Yeldham Anonymous (3)
AUSTRALIAN CHAMBER ORCHESTRA 27
ACO SPECIAL COMMISSIONS The ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2011 and 2012.
THE REEF LEAD PATRONS
Tony & Michelle Grist
Wendy Edwards Euroz Charitable Foundation
Don & Marie Forrest Tony & Rose Packer Nick & Claire Poll
Jane Albert Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin T Cavanagh & J Gardner Anne Coombs & Susan Varga Amy Denmeade Toni Frecker John Gaden AM Cathy Gray Susan Johnston & Pauline Garde
Gavin & Kate Ryan Jon & Caro Stewart Simon & Jenny Yeo
Brian Kelleher Andrew Leece Scott Marinchek & David Wynne Kate Mills & Sally Breen Nicola Penn Martin Portus Janne Ryan Barbara Schmidt & Peter Cudlipp Richard Steele Stephen Wells & Mischa Way Anonymous (1)
QINOTH by Paul Stanhope Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin Austin Bell & Andrew Carter T Cavanagh & J Gardner Chin Moody Family Anne Coombs & Susan Varga Greg Dickson John Gaden AM Cathy Gray Brian Kelleher
Penny Le Couteur Scott Marinchek & David Wynne Kate Mills Janne Ryan Barbara Schmidt & Peter Cudlipp Jane Smith Richard Steele Peter Weiss AM Cameron Williams Anonymous (1)
OTHER COMMISSIONS Jan Minchin: Brett Dean’s Electric Preludes for Richard Tognetti and the 2012 Maribor Festival, and the 2013 National Concert Season. Robert & Nancy Pallin: Brenton Broadstock’s Never Truly Lost for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.
SPECIAL COMMISSIONS PATRONS Peter & Valerie Gerrand
Margot Woods & Arn Sprogis
ACO RECORDINGS PROGRAM MENDELSSOHN The ACO pays tribute to our generous donors who have supported the ACO’s 2012 recording of glorious music by Mendelssohn – his Double Concerto for Violin, Piano and Orchestra featuring Richard Tognetti and renowned Russian pianist, Polina Leschenko; and his renowned Octet Op.20. The ACO’s recording program preserves the essence of the ACO as it is today and allows people to hear the ACO again and again, for many years to come. Edmund & Joanna Capon Mr R. Bruce Corlett AM & Mrs Ann Corlett Rowena Danziger & Ken Coles Leslie & Ginny Green
Katrina Groshinski Angela Isles Ian Lansdown in memory of Nina Lansdown Mr Anthony & Mrs Sharon Lee
28 AUSTRALIAN CHAMBER ORCHESTRA
Bernard & Barbara Leser Emily Simpson Ross Steele AM Victoria Taylor Evan Williams
ACO DONATIONS PROGRAM The ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.
PATRONS NATIONAL EDUCATION PROGRAM Janet Holmes à Court AC Marc Besen AO & Eva Besen AO
TRUSTS AND FOUNDATIONS HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE NEILSON FOUNDATION
EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin John & Janet Calvert-Jones Mark Carnegie Darin Cooper Family John B Fairfax AO Chris & Tony Froggatt PJ Jopling QC Miss Nancy Kimpton Paula Kinnane Alf Moufarrige Alex & Pam Reisner Mr John Singleton AM John Taberner & Grant Lang Alden Toevs & Judi Wolf The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO Peter Weiss AM E Xipell Anonymous (1)
DIRETTORE $5,000$9,999 The Abercrombie Family Foundation Geoﬀ Alder The Belalberi Foundation Jenny & Stephen Charles Ross & Rona Clarke Leith & Darrel Conybeare Bridget Faye AM Ian & Caroline Frazer
Edward C Gray Annie Hawker Rosemary Holden Keith Kerridge Lorraine Logan Peter Lovell David Maloney & Erin Flaherty Louise & Martyn Myer Foundation Marianna & Tony O’Sullivan Sandra & Michael Paul Endowment John Rickard The Roberts Family A J Rogers Paul Salteri Paul Schoﬀ Kerry Stokes AC & Christine Simpson Ian Wallace & Kay Freedman Ian Wilcox & Mary Kostakidis Cameron Williams Anonymous
MAESTRO $2,500$4,999 Jane Allen Tiﬀany Andrews Will & Dorothy Bailey Bequest Doug & Alison Battersby Virginia Berger Patricia Blau Cam & Helen Carter Caroline & Robert Clemente M Crittenden John & Gloria Darroch Kate Dixon Leigh Emmett Liangrove Foundation Goode Family Maurice & Tina Green Warren Green
Georg & Monika Chmiel Angela & John Compton Alan Fraser Cooper Judy Croll Marie Dalziel Lindee & Hamish Dalziell Mrs June Danks Michael & Wendy Davis Martin Dolan Anne & Thomas Dowling Jennifer Dowling Professor Dexter Dunphy AM Bronwyn Eslick Peter Evans Helen Elizabeth Fairfax Elizabeth Finnegan Nancy & Graham Fox Colonel Tim Frost Anne & Justin Gardener Daniel & Helen Gauchat Colin Golvan SC Richard & Jay Griﬃn VIRTUOSO Paul Harris $1,000$2,499 Lyndsey Hawkins Peter Hearl Annette Adair Reg Hobbs & Louise Carbines Antoinette Albert Michael Horsburgh AM & David & Rae Allen Beverley Horsburgh Andrew Andersons Penelope Hughes David Arnott Wendy Hughes Sibilla Baer Pam & Bill Hughes The Beeren Foundation Glen Hunter & Anthony Kathy Borrud Niardone Ben & Debbie Brady Roger Massy-Greene & Vicki Brooke Belinda Hutchinson AM Jasmine Brunner Stephanie & Michael Sally Bufé Hutchinson Elizabeth & Nicholas Callinan Phillip Isaacs OAM Michael Cameron Brian Jones Cannings Communication D & I Kallinikos Sandra Cassell Len La Flamme Julia Champtaloup & Andrew Rothery John Landers & Linda Sweeny Nereda Hanlon & Michael Hanlon AM Liz Harbison Angela James & Phil McMaster Alastair Lucas AM The Marshall Family The Michael Family P J Miller Donald & Jane Morley Jennie & Ivor Orchard Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard D N Sanders Greg Shalit & Miriam Faine Ms Petrina Slaytor Amanda Staﬀord Dr & Mrs R Tinning Ralph Ward-Ambler AM & Barbara Ward-Ambler Anonymous (2)
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO DONATIONS PROGRAM Mrs Judy Lee Greg Lindsay AO & Jenny Lindsay Judy Lynch Jennifer Marshall Martin Family in memory of Lloyd Martin AM Roderick & Leonie Matheson Jane Mathews AO Kevin & Deidre McCann Brian & Helen McFadyen Ian & Pam McGaw J A McKernan G & A Nelson Nola Nettheim Anne & Christopher Page David Penington AC Ayesha Penman Mark Renehan Dr S M Richards AM & Mrs M R Richards Warwick & Jeanette Richmond In memory of Andrew Richmond David & Gillian Ritchie Peter J. Ryan In Memory of H. St. P. Scarlett Jeﬀ Schwartz In memory of Elizabeth C Schweig Paul Skamvougeras Diana Snape & Brian Snape AM Maria Sola & Malcolm Douglas Ezekiel Solomon AM K W Spence Cisca Spencer Geoﬀrey Stirton Mr Tom Story John & Jo Strutt Dr Douglas Sturkey CVO AM Dr Charles Su & Dr Emily Lo Rob Thomas Anne Tonkin Ngaire Turner Loretta van Merwyk Kay Vernon Bill Watson M W Wells Janie & Nev Wittey Sir Robert Woods Nick & Jo Wormald Don & Mary Ann Yeats Mark Young William Yuille Anonymous (15)
CONCERTINO $500$999 Antoinette Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Peter & Catherine Aird Joy Anderson & Neil Thomas Elsa Atkin Ruth Bell Max Benyon Baiba Berzins Dr Anthony Bookallil Brian Bothwell Denise Braggett Morena Buﬀon & Santo Cilauro Darcey Bussell Fred & Jody Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers John Clayton ClearFresh Water Joan Clemenger Sam Crawford Architects Professor John Daley Ted & Christine Dauber Mari Davis Dr Christopher Dibden Mike & Pamela Downey In Memory of Raymond Dudley Professor Peter Ebeling & Mr Gary Plover M T & R L Elford Suellen Enestrom Barbara Fargher Michael Fogarty Patricia Gavaghan Mirek Generowicz Peter & Valerie Gerrand Paul Gibson & Gabrielle Curtin Brian Goddard Prof Ian & Dr Ruth Gough Philip Graham Katrina Groshinski Dr Annette Gross Matthew Handbury Lesley Harland Mr Ken Hawkings Virginia Henry Dr Penny Herbert in memory of Dunstan Herbert
Jennifer Hershon M John Higgins & Jodie Maunder Peter & Ann Hollingworth Dr & Mrs Michael Hunter John & Pamela Hutchinson Philip & Sheila Jacobson Barry & Davina Johnson OAM Mrs Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Tony Kynaston & Jenny Fagg Robert Leece AM Megan Lowe John Lui Bronwyn & Andrew Lumsden James MacKean Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Dr Hamish & Mrs Rosemary McGlashan Patricia McGregor Mrs Robyn McLay I Merrick Jan Minchin Graeme L Morgan Julie Moses Helen & Gerald Moylan Susan Negrau J Norman Graham North Robin Oﬄer Allegra & Giselle Overton Selwyn M Owen Josephine Paech L Parsonage Deborah Pearson Kevin Phillips Miss F V Pidgeon AM Michael Power Tomasz Rawdanowicz Larry & Mickey Robertson Sophie Rothery Team Schmoopy Manfred & Linda Salamon Greg & Elizabeth Sanderson Robert Savage AM Garry Scarf & Morgie Blaxill Ken & Lucille Seale Jennifer Sindel John Sydney Smith Dr Fiona Stewart Prof Robert Sutherland In memory of Dr Aubrey Sweet Shaun Tan
Leslie C Thiess Matthew Toohey David Walsh G C & R Weir Gordon & Christine Windeyer Lee Wright Mr Hugh Wyndham Brian Zulaikha Anonymous (20)
CONTINUO CIRCLE BEQUEST PROGRAM The late Kerstin Lillemor Andersen Dave Beswick Ruth Bell Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes The late Pauline Marie Johnston The late Mr Geoﬀ Lee AM OAM Mrs Judy Lee The late Richard Ponder Ian & Joan Scott Margaret & Ron Wright Mark Young Anonymous (13)
LIFE PATRONS IBM Mr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM
CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at Lillian.Armitage@aco.com.au.
30 AUSTRALIAN CHAMBER ORCHESTRA
ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Bill Best (Chairman) Guido Belgiorno-Nettis AM Chairman ACO & Executive Director Transﬁeld Holdings Leigh Birtles Executive Director UBS Wealth Management
Liz Cacciottolo Senior Advisor UBS Australia Ian Davis Managing Director Telstra Television Chris Froggatt
Tony Gill Rhyll Gardner Jennie Orchard Tony O’Sullivan Head of Investment Banking Lazard Australia
Peter Shorthouse Client Advisor UBS Wealth Management John Taberner Consultant Freehills
MELBOURNE DEVELOPMENT COUNCIL Peter Yates AM (Chairman) Chairman Royal Institution of Australia Director AIAA Ltd
Debbie Brady Ben Brady Stephen Charles
Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan SC
Jan Minchin Director Tolarno Galleries Susan Negrau
EVENT COMMITTEES Bowral
Elsa Atkin Michael Ball AM (Chairman) Daria Ball Cam Carter Linda Hopkins Judy Lynch Karen Mewes Keith Mewes Tony O’Sullivan Marianna O’Sullivan The Hon Michael Yabsley
Ross Clarke Steﬃ Harbert Elaine Millar Deborah Quinn
Margie Blok Helene Burt Liz Cacciottolo (Chair) Judy Crawford Dr Dee Debruyn Di Collins Judy Anne Edwards Chris Froggatt Elizabeth Harbison Susan Harte Bee Hopkins
Sarah Jenkins Vanessa Jenkins Charlotte Mackenzie Prue MacLeod Julianne Maxwell Marianna O’Sullivan Julia Pincus Amanda Purcell David Stewart Tom Thawley Nicky Tindill
ACO CAPITAL CHALLENGE The ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble. We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors: CONCERTO $250,000 – $499,000
OCTET $100,000 – $249,000
QUARTET $50,000 – $99,000
Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-Nettis Mrs Barbara Blackman
Mr Robert Albert AO & Mrs Libby Albert Mrs Amina Belgiorno-Nettis The Thomas Foundation
The Clayton Family Mr Peter Hall Mr & Mrs Philip & Fiona Latham
Mr John Taberner & Mr Grant Lang Mr Peter Yates AM & Mrs Susan Yates
AUSTRALIAN CHAMBER ORCHESTRA 31
ACO PARTNERS 2012 CHAIRMAN’S COUNCIL MEMBERS The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra. Mr Guido Belgiorno-Nettis AM Chairman Australian Chamber Orchestra & Joint Managing Director Transﬁeld Holdings Mr Philip Bacon AM Director Philip Bacon Galleries Mr David Baﬀsky AO
Mr Richard Freudenstein Mr Donald Chief Executive Oﬃcer McGauchie AO FOXTEL Chairman Nufarm Limited Mr Colin Golvan SC & Dr Deborah Golvan Mr John Meacock Managing Partner NSW Mr John Grill Deloitte Chief Executive Oﬃcer WorleyParsons Ms Naomi Milgrom AO Mrs Janet Holmes à Court AC
Mr Brad Banducci Mr & Mrs Simon & Director Katrina Holmes à Court Woolworths Liquor Group Observant Pty Limited Mr Jeﬀ Bond General Manager Peter Lehmann Wines Mr John Borghetti Chief Executive Oﬃcer Virgin Australia Mr Michael & Mrs Helen Carapiet Mr Stephen & Mrs Jenny Charles Mr Georg Chmiel Chief Executive Oﬃcer LJ Hooker Mr & Mrs Robin Crawford
Mr John James Managing Director Vanguard Ms Catherine Livingstone AO Chairman Telstra Mr Andrew Low Founder & Chairman/CEO RedBridge Grant Samuel Mr Steven Lowy AM Chief Executive Oﬃcer Westﬁeld Group
Mr Didier Mahout CEO Australia & NZ Rowena Danziger AM & Kenneth G. Coles AM BNP Paribas Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance
Mr David Mathlin Senior Principal Sinclair Knight Merz
Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Oﬃcer Servcorp Mr Scott Perkins Head of Global Banking Deutsche Bank Australia/New Zealand Mr John B Prescott AC Chairman Mr Hans Anneveldt Vice President Intermodal Business QR National
32 AUSTRALIAN CHAMBER ORCHESTRA
Mr Paul Sumner Director Mossgreen Pty Ltd Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd Mr Alden Toevs Group Chief Risk Oﬃcer Commonwealth Bank of Australia Mr Michael Triguboﬀ Managing Director MIR Investment Management Ltd The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO Ms Vanessa Wallace Director Booz & Company
Mr Oliver Roydhouse Managing Director Inlink
Mr Kim Williams AM Chief Executive Oﬃcer News Limited
Mr Glen Sealey General Manager Maserati Australia & New Zealand
Mr Geoﬀ Wilson Chief Executive Oﬃcer KPMG Australia
Ms Julianne Maxwell
Mr Michael Maxwell Mr Angelos Mr Geoﬀ McClellan Frangopoulos Partner Chief Executive Oﬃcer Australian News Channel Freehills
Mr Andrew Stevens Managing Director IBM Australia & New Zealand
Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities
Mr Peter Yates AM Chairman, Royal Institution of Australia Director, AIAA Ltd
ACO CORPORATE PARTNERS The ACO would like to thank its corporate partners for their generous support. PRINCIPAL PARTNER
NATIONAL TOUR PARTNERS
PERTH SERIES & WA REGIONAL TOUR PARTNER
CONCERT AND SERIES PARTNERS
Peter Weiss AM Daryl Dixon EVENT PARTNERS
AUSTRALIAN CHAMBER ORCHESTRA 33
ACO NEWS • NOVEMBER 2012
news PIER 2/3 CHAMBER MUSIC SERIES
Above and below: ACO players, led by Principal Violin Helena Rathbone, performing Brahms’ String Quintet No. 2.
Above: Rebecca Chan and Timo-Veikko Valve performing Ravel’s Duo for violin and cello.
© Lisa Tomasetti
© Lisa Tomasetti
The next instalment of this series is scheduled for 24 November, when we partner with actors from Bell Shakespeare in the ﬁrst of what we hope will be many collaborative projects at the Pier.
© Lisa Tomasetti
Last month we presented the ﬁrst concert of our new Pier 2/3 chamber music series, curated by ACO Principal Cellist Timo-Veikko Valve. The raw heritage Pier in Sydney’s Walsh Bay was transformed into a unique, intimate performance space complete with seating that surrounded the stage.
34 AUSTRALIAN CHAMBER ORCHESTRA
EDUCATION NEWS This year we have visited every state and territory in Australia, with the ﬁnal state being ticked off in October when ACO2 toured to Tasmania. The tour, led by Aiko Goto, included concerts in Hobart, Port Arthur, Devonport, St Helens, Launceston, Zeehan and Stanley plus String Workshops and Schools’ Concerts in Burnie, Launceston, Nubeena and Zeehan. A tour highlight was performing in an old Asylum building in Port Arthur at one of Australia’s oldest convict settlements.
Secondary students in Sydney who attended the Project Rameau matinee schools concert, had the unique opportunity of putting Richard Tognetti and Sydney Dance Company’s Artistic Director, Rafael Bonachela, in the hot seat, asking them questions about the recent ACO and SDC collaboration.
© Fiora Sacco
The education program ﬁnishes the year with visits to Picton Primary School, Matraville Soldiers Settlement School and Our Lady of Carmel School, as well as an Open Rehearsal for Students with Disability.
© Fiora Sacco
Our most recent regional tour was the ACO Ensemble Queensland tour where we ran a full day of workshops with local students in Bundaberg and performed concerts in Brisbane, Bundaberg and Mt Isa. Students from the Mt Isa School of the Air travelled
hundreds of kilometres to perform with us in the annual Mt Isa and District Gala Instrumental Concert. Many of these students are taught how to play their instruments over the phone and their dedication was inspiring.
Aiko Goto rehearses with students during a 2012 string workshop.
© Vicki Norton
William Clark and Caroline Henbest rehearse for the ACO2 tour.
Aiko Goto leads a school’s concert with ACO2 at Tasman District School in Nubeena, Tasmania.
AUSTRALIAN CHAMBER ORCHESTRA 35
© Jonatan May
A FOND FAREWELL TO ALICE EVANS As someone who has had the pleasure of playing violin alongside Alice Evans for 18 years, I am especially sad to be saying goodbye to her at the end of the year. Alice has been one of the longest serving members of the ACO in its entire history — an impressive 21 years — and has seen the Orchestra grow into the wide-ranging musical institution it is today. She has played a vital part of that growth, touring the world and performing to audiences all over Australia. Somehow, Alice managed to be super-mum to her two wonderful children Edward and Molly whilst juggling the heavy demands of the ACO’s schedule, so she was very much a role model for me when I was contemplating motherhood. On a personal note, I would very much like to thank both Alice and Antony for their friendship and especially for making me feel so welcome when I ﬁrst arrived in Australia.
Alice’s dedication to the ACO will be sorely missed. We thank her for her huge contribution to the Orchestra and wish her the very best as she embarks on the next chapter of her life. Helena Rathbone, ACO Principal Violin
YOUR SAY Feedback about the Richard Egarr Tour “Richard Egarr was a breath of fresh air... Great performance, great showmanship and thank you so much for the two encores.” Leone Moffat “Egarr live was an experience not to be missed. Watching him play and direct the K.414 Piano Concerto, I felt it could be Mozart himself at the keyboard: now that surely IS period authenticity!” John Hart
“I had a wonderful night last night… The encores were amazing; fancy having enough energy left to ﬁnish with part of Brandenburg 3. Congratulations to Helena, she is always so professional.” Suzan Aslin “Loved the snare drum, Maxime. Loved the rest of the performance too. Thank you.” Kane Alchin
“Extraordinary! Richard is simply the best!” Jennifer Lee
Let us know what you thought about this concert at firstname.lastname@example.org.
36 AUSTRALIAN CHAMBER ORCHESTRA
ACO BABY NEWS Violinist Mark Ingwersen is proud to present the newest member of the ACO family. Baby Freya Ruth Ingwersen was born on
1 September at the Mater Hospital, North Sydney. She joins two doting siblings – Annika, ﬁve years old, and Leif, three.
WE DANCE TO A DIFFERENT TUNE. Event Emporium orchestrates events like no other. From gala dinners and corporate parties to conferences and product launches, our repertoire is original, daring and different, inspiring audiences to engage, celebrate, applaud and delight. Pictured: ACO Gala Dinner Fundraiser, Out Of Africa
Event Emporium. Making beautiful music with the ACO as ofﬁcial event partner. p: 02 9955 7107 | w: www.eventemporium.com.au
Smarter computing builds a smarter planet:
Bringing smarter computing to big data. 90% of the data in the world today has been created in the last two years alone. Just as data is increasing, so are the possibilities. We now have the capacity to understand, with greater precision, how our world actually works. Advanced technologies such as stream computing, can ﬁlter gigabytes of data per second, analyse these while they’re still in motion and decide on the appropriate action for the data, such as real-time alerts or store an insight in a data warehouse for later analysis. Continuously analysed data can help organisations be what they want to be. From farmlands and universities, to hospitals and large corporations, these organisations are empowered to make better informed decisions, which helps them increase revenue and reduce operation costs. Let’s build a smarter planet. Join us and see what others are doing at ibm.com/smarterplanet/au
TRADEMARKS: IBM, the IBM logos, ibm.com, Smarter Planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services marks of IBM or others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade.shtml. © Copyright IBM Australia Limited 2012 ABN 79 000 024 733 © Copyright IBM Corporation 2012 All Rights Reserved. IBMNCA0626/SCDATA/ACO