Steven Isserlis plays Shostakovich Concert Program

STEVEN ISSERLIS PLAYS SHOSTAKOVICH JUNE–JULY 2018

My old, wonderful friends

Telling a life in song

The program

Steven Isserlis on comedy, music and Richard Tognetti

Elena Kats-Chernin’s new commission

Discover the music you’re about to hear

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An illuminating journey through Bach’s keyboard masterpiece reimagined for string orchestra.

Richard Tognetti Director & Violin Erin Helyard Keyboards

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

INSIDE: Welcome

Concert

Musicians

From the ACO’s Managing Director Richard Evans

Program listing and timings

Players on stage for this performance

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My old, wonderful friends

Telling a life in song

The program

Paola Totaro talks to Steven Isserlis

In conversation with Elena Kats-Chernin

Discover the music you’re about to hear

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COVER PHOTO. KEVIN DAVIS | PRINTED BY. PLAYBILL PTY LTD

NATIONAL CONCERT SEASON 2018

“ It was his opera’s fault for being such a success – at home and abroad – it had aroused the curiosity of the Kremlin... it was also Stalin’s fault for imagining himself as a patron and connoisseur of the arts in the first place.”

– Julian Barnes

Russia, Komi Republic, 2014. A former mining town which has been closed and turned into a weapons test site. The building is the cultural centre, one of the targets.

Photo: Danila Tkachenko from the series Restricted Areas

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WELCOME Welcome to Winter.

We have the perfect program for crisp mornings and warm interior evenings as we welcome back one of the ACO’s favourite collaborators and artists, British cellist Steven Isserlis, who re-joins the Orchestra to perform Shostakovich’s First Cello Concerto.

This magnificent concerto was composed during a period of intense oppression in Shostakovich’s life, a theme which is also explored in A Knock One Night, a special commission from Elena Kats-Chernin which tells the dramatic story of one family’s journey from Soviet labour camps to Australia.

In exploring oppression and subjugation in any context, history provides us time and time again with examples of humanity’s extraordinary capacity for hope and endurance.

In this spirit, we conclude the program with Haydn’s London Symphony, a work unapologetic in both its joy and celebration.

I congratulate our National Tour Partner for this program, Johnson Winter & Slattery, on reaching their 25th anniversary this year. Johnson Winter & Slattery share the ACO’s resolute commitment to pursuing excellence in all that we do, and we are extremely grateful for their ongoing partnership and support.

We are all delighted to have Steven Isserlis back with us; I do hope you enjoy the performance.

Richard Evans Managing Director Join the conversation

AUSTRALIAN CHAMBER ORCHESTRA

#ACO18

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PROGRAM Richard Tognetti Director and Violin Steven Isserlis Cello Australian Chamber Orchestra

PRE-CONCERT TALK

45 mins prior to the performance See page 44 for details

mins

SAMUEL ADAMS

Movements (for us and them) World Premiere

Commissioned by the Australian Chamber Orchestra and Stanford Live.

SHOSTAKOVICH

Cello Concerto No.1 in E-flat major, Op.107 I. Allegretto II. Moderato III. Cadenza – IV. Allegro con moto

INTERVAL

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ELENA KATS-CHERNIN

A Knock One Night World Premiere 12

Commissioned by Mirek Generowicz to share the dramatic story of his family’s journey to Australia.

I. Childhood

II. Knock

III. Train

IV. Peace HAYDN Symphony No.104 in D major ‘London’

I. Adagio – Allegro

II. Andante

III. Menuet and Trio: Allegro

IV. Finale: Spiritoso

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Steven Isserlis Plays Shostakovich will be broadcast LIVE on ABC Classic FM on 4 July, 2018.

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Performance at the highest level is critical in business and the concert hall.

We are dedicated supporters of both.

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NATIONAL TOUR PARTNER At Johnson Winter & Slattery we are proud of the company we keep as advisers to Australia’s major corporations on their most important legal issues and challenges. We are particularly proud to be in the company of the ACO, not only as National Tour Partner for Steven Isserlis plays Shostakovich, but also as legal advisers to this iconic Australian orchestra.

2018 marks a significant milestone in our history – it is 25 years since we were founded by a small, eclectic team of lawyers with a commitment to excellence and the development of lasting client relationships.

That commitment remains, and like the ACO we have been continuously developing and transforming. Renowned for its individuality – the ACO pushes boundaries and creates music that takes us all to new places. This is no more apparent than in Steven Isserlis plays Shostakovich, which sees old friends Steven Isserlis and Richard Tognetti reunite to bring us all something remarkable and unforgettable, including two world premieres by Elena Kats-Chernin and Samuel Adams.

We are delighted to be celebrating our 25th anniversary in the company of the ACO, and look forward to an outstanding concert.

Aldo Nicotra Chairman, Johnson Winter & Slattery

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8 MUSICIANS The musicians on stage for this performance.

Mark Ingwersen Violin

Glenn Christensen

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

Violin

Steven Isserlis Cello

Steven plays the 1726 ‘Marquis de Corberon’ Stradivarius, kindly loaned to him by the Royal Academy of Music.

Helena Rathbone

Principal Violin

Ilya Isakovich Violin

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

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

Aiko Goto

Richard Tognetti

Violin

Director and Violin

Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. His Chair is sponsored by Wendy Edwards, Peter & Ruth McMullin, Louise & Martyn Myer ao, Andrew & Andrea Roberts.

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.

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

Aiko plays her own French violin by Jean-Baptiste Vuillaume.

Her Chair is sponsored

by Anthony & Sharon Lee Foundation.

Liisa Pallandi 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.

PLAYERS DRESSED BY SABA

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Nicole Divall Viola

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.

Nikki plays a 2012 Bronek Cison viola.

Her Chair is sponsored

by Ian Lansdown.

Melissa Barnard Cello

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

Ike See Violin

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

His Chair is sponsored

by Peter Weiss ao.

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

Principal Bass

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

Timo-Veikko Valve Principal Cello

Maxime Bibeau

Julian Thompson Cello

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.

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

# GUEST PRINCIPAL

Violin

Double Bass

Clarinet

Trumpet

Ben Adler Thibaud Pavlovic-Hobba

Richard Lynn

Olli Leppäniemi #

Courtesy of Sydney Symphony Orchestra

Courtesy of Turku Philharmonic Orchestra

Simon Munday # Richard Fomison

Guest Principal Viola

Florian Peelman Chair sponsored by peckvonhartel architects

Viola

Nathan Greentree Elizabeth Woolnough Courtesy of Melbourne Symphony Orchestra

Cello

Eve Silver Courtesy of West Australian Symphony Orchestra

PHOTOS. BEN SULLIVAN

Alexander McCracken

Timpani

Sally Walker #

Bassoon

Courtesy of The Australian National University

Frederik Ekdahl #

Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert

Flute

Lina Andonovska Oboe

Courtesy of Swedish Radio Symphony Orchestra

Simone Walters

Michael Pisani #

Horn

Courtesy of Melbourne Symphony Orchestra

Přemysl Vojta # Euan Harvey

Eve Osborn

Brian Nixon #

Celeste

Brenda Jones #

Courtesy of Sydney Symphony Orchestra

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10 AUSTRALIAN CHAMBER ORCHESTRA

“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 a history spanning more than four decades, 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 Mozart’s Last Symphonies, Bach | Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. aco.com.au

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Be inspired Help us create memories and inspire new ways of thinking by supporting the ACO with a tax-deductible donation this financial year.

For more information please call Sarah Morrisby (02) 8274 3803 or visit

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My old, wonderful friends Paola Totaro talks to Steven Isserlis about comedy, music and Richard Tognetti

AUSTRALIAN CHAMBER ORCHESTRA

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PHOTO. EDMOND TERAKOPIAN

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AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. EDMOND TERAKOPIAN

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E

nsconced in his music room at home, dressed comfortably in navy trousers, T-shirt, socks and no shoes, Steven Isserlis decides suddenly, almost like a forgetful schoolboy, to shrug on a jacket. The great British cellist fears he may be “appearing too scruffy”.

Isserlis is 59 now and sits in the pantheon of the greatest cellists to date. According to London’s Financial Times, he is second only to Yo-Yo Ma in contemporary cellist’s fame.

Outside his house, on London’s Abbey Road, it’s a joyously sunny spring day and a huge tree laden with white blooms in the front garden sends a heady fragrance into the music room. Isserlis estimates that he spends less than a third of the year in London, rattling off a schedule over the next month that seems to leave no time to breathe, let alone sleep. His energy and enthusiasm are palpable.

“I’ve got quite a schedule. It’s a bit mad and I really haven’t been here much,” he says with a smile. “I did my annual teaching stint in Cornwall, then America … six recitals in seven days. Then, I came home for 12 hours and went off to Germany where I spent 12 days. Then Italy. And then I came back to rehearse that day and perform the next. I have a rehearsal tonight. Next week, I am delivering a lecture at a college at Cambridge.”

In a couple of weeks, he will board his 16th long-haul flight to Australia – “or maybe it’s the 17th, I can’t quite remember” – to play with the Australian Chamber Orchestra – “my old, wonderful friends”.

He was recommended to the ACO by the late English conductor Richard Hickox – “Oh, he was lovely, so lovely and much missed” – but says his first meeting with the orchestra in 1992 was rather less than dignified. “It was pelting with rain in London that night and I fell over heavily in the street just before going in.”

It was an omen, he adds, he chose to ignore. “That’s when I first met Tognetti and he was so polite. How times have changed!” Intrigued, I ask him to elaborate, but he shakes his trademark mane of salt and pepper curls vigorously.

“No, no, no. I have many, many stories about Tognetti, most of them unprintable.

I don’t want to give him ammunition. We have weapons of mutual destruction!”

Pushed for more information, Isserlis laughs again and says their banter began years ago when Isserlis stood behind a pane of glass and tried to distract the ACO’s Artistic Director as he was giving a serious interview to The Sydney Morning Herald. Tognetti promptly took revenge, describing the cellist in print as having “a mental age of two”.

A former ACO staffer tells me with NATIONAL CONCERT SEASON 2018

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“This is probably the most exciting of all cello concertos.

There is a manic energy. It is tragic, but it is also great fun to listen to and it has an explosive ending,”

great affection about the duo’s merciless teasing. Isserlis referred to Tognetti as “The Rat” – or “Ratty”, the staffer couldn’t quite recall – and Tognetti called him “The Poodle”. In the magazine Limelight, guest edited by Tognetti, a picture of Isserlis ran next to a picture of a poodle, part of a “Separated at birth” column.

“We are very close, so close we even shared a virus,” Isserlis adds later, trying in vain to keep a straight face.

“We were in London together once and went to this incredibly expensive Thai restaurant, owned by a famous Australian, and we both came down with this terrible, terrible virus. It would come and go over months and he would call me whenever he had it, as did I.” Isserlis is clearly very much looking forward to reuniting with his friend in Australia, this time to play Shostakovich’s mammoth first cello concerto.

“This is probably the most exciting of all cello concertos. There is a manic energy. It is tragic, but it is also great fun to listen to and it has AUSTRALIAN CHAMBER ORCHESTRA

an explosive ending,” he says.

“There’s lots of virtuosity for the soloist and the orchestra, there is a strong narrative and a very tragic story … The Soviet Union is the principal theme that comes up again and again… I find it thrilling to play and I find it thrilling to hear.”

Isserlis was born into a musical family in south-west London: his mother played piano, father violin, an elder sister is a professional on the viola, and his middle sister plays violin. “Music was always there in the house, the sound of my parents practising …”

The relationship stretched further back, to his grandfather Julius Isserlis, a celebrated composer and pianist, who was one of the first 12 Soviet musicians to be allowed out of Russia by Lenin to tour and, ostensibly, spruik the wonders of the Soviet Union. None ever returned.

In 1923, the family, including Isserlis’s father, then a tiny boy, sought lodgings in Vienna and was shown around a flat by a centenarian landlady, who, while PHOTO. EDMOND TERAKOPIAN

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friendly, ultimately refused them lodgings, saying she hated musicians. It turned out that as a young girl, the landlady’s aunt had, had a musician lodger, “a filthy old man who used to spit on the floor”. She hated him – his name was Beethoven.

The cellist says he suffers from terrible nerves before every performance and can be anxious and fearful about memory.

“I will be playing the Shostakovich from music, even though I know it from memory. It is a safety mechanism; it is nice having the music, even if I know it. It doesn’t get in the way.”

Musicians who are no longer nervous, he argues, become blasé and appear not to care.

“I have seen it happen so often, they are recycling a performance that they thought up years before. It is horrible – horrible when a famous musician starts to believe their own publicity and lets their playing go downhill.

“I have just spent 10 days with András,” he says, meaning Sir András Schiff, the Hungarian-born British pianist and conductor. “He practises and practises all the time, wants to keep his standards, raise them if that is possible.

He is truly a great artist and is coming to Australia later in the year – I had something to do with that, actually.”

There is something genuinely playful and optimistic about Isserlis, although he claims to be the opposite. “For me, not only is the glass half-empty,” he wrote last year, “the liquid inside it probably has enough germs floating around in it to wipe out a whole city.” Looking around his music room, he has photos and portraits of his heroes on every square inch of wall – most of them NATIONAL CONCERT SEASON 2018

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AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. EDMOND TERAKOPIAN

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“Friendship is why travelling is so great. Yes, I do have friends in many, many different countries, and I love going to see them and keeping up ... but I adore music more than I adore performing and I would still listen to music all day long if I could, when I am shaving, cleaning my teeth, always. It is an addiction.”

musical, but many of them comedic.

He is an unabashed Marx Brothers aficionado, adores Harpo, is crazy about the Pythons, as well as Laurel and Hardy.

In Isserlis’s sitting room, the walls and shelves speak much about him. A collection of wind-up, brightly coloured old tin toys are on display; a painting by Stuart Sutcliffe, the “fifth Beatle”; a digital photo frame that scrolls through photographs of the people he loves and has loved, family, girlfriend, dogs, places, friends of all ages.

Books and shelves are stacked high and wide: he is an avid reader; literary fiction is his passion second only to music, and closely followed by food. One of the things he loves about coming to Australia, he says, is eating with Tognetti, “who really, really knows his food”.

One of Isserlis’s favourite things about being a globally renowned cellist, he admits happily, is meeting the people he admires, particularly authors. His method is simple – he sends them a CD and, inevitably, a meeting or long lunch will result. The list of those he has met and liked – “until now, nobody whose

book I have loved and then have met has disappointed” – is long and most recently includes Amor Towles, the author of A Gentleman in Moscow. Just the other week, BBC Radio aired a program of Isserlis in conversation with his literary hero, Sebastian Barry, considered one of Ireland’s finest writers, in which they spoke candidly about family histories, fear and how to express emotion.

“That is one of the very good things about being a cellist. It is a great visiting card and they become friends because they are as wonderful as their novels,” he says.

“Friendship is why travelling is so great.

Yes, I do have friends in many, many different countries, and I love going to see them and keeping up. Ah, but I adore music more than I adore performing and I would still listen to music all day long if I could, when I am shaving, cleaning my teeth, always. It is an addiction.”

And with that, he is back at his cello, practising. As I close the door behind me, the César Franck sonata pours out into the spring air.

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Steven Isserlis Cello

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a uniquely varied career as a soloist, chamber musician, educator, author and broadcaster.

Steven Isserlis appears with the world’s leading orchestras and conductors, and gives recitals in major musical centres. As a chamber musician, he has curated concert series for many prestigious venues, including the Wigmore Hall, New York’s 92nd St Y, and the Salzburg Festival. Unusually, he also directs chamber orchestras from the cello in classical programs.

He has a strong interest in historical performance, working with many periodinstrument orchestras and giving recitals with harpsichord and fortepiano. He is also a keen exponent of contemporary music and has premiered many new works, including John Tavener’s The Protecting Veil, Thomas Adès’s Lieux retrouvés, and György Kurtág’s The Hilary Jig and For Steven.

the Elgar and Walton concertos; and the Brahms Double Concerto with Joshua Bell and the Academy of St Martin in the Fields.

Since 1997, Steven has been Artistic Director of the International Musicians Seminar at Prussia Cove, Cornwall. He also enjoys playing for children, and has created three musical stories with the composer Anne Dudley. His two books for children, published by Faber, have been translated into many languages; a new book – a commentary on Schumann’s famous Advice for Young Musicians – has recently been published by Faber.

The recipient of many awards, Steven’s honours include a CBE in recognition of his services to music; the Schumann Prize of the City of Zwickau; the Piatigorgsky Prize, in America; the Glashütte Original Music Festival Award, in Germany; and the Wigmore Hall Gold Medal, and Walter Willson Cobbett Medal for Services to Chamber Music, in the UK. He gives most of his concerts on the Marquis de Corberon (Nelsova) Stradivarius of 1726, kindly loaned to him by the Royal Academy of Music.

Steven’s award-winning discography includes Bach’s complete Solo Cello Suites (Gramophone’s Instrumental Album of the Year); Beethoven’s complete works for cello and piano;

AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. EDMOND TERAKOPIAN

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.

“ No one writes badly on purpose, nor could anyone make a career as successful as the one Shostakovich made in Soviet Russia while maintaining the kind of moral and aesthetic purity his mythologisers attribute to him.� –Richard Taruskin

Russia, Voronezh region, 2015. Memorial on a deserted nuclear station.

Photo: Danila Tkachenko from the series Restricted Areas

24 Elena Kats-Chernin’s new piece, A Knock One Night, was commissioned by Mirek Generowicz. It tells the story of his mother, Ala, Uncle Marek, and the family’s internment in Soviet labour camps.

Telling a life in song AUSTRALIAN CHAMBER ORCHESTRA

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PAINTING BY WENDY SHARP ‘THE WITCHING HOUR – ELENA KATS-CHERNIN’

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Elena Kats-Chernin spoke with Mirek and Ala about their story. After Ala’s father was taken by secret police, her family was transported from Poland to Kazakhstan, where they survived two terrible winters. They never saw their father again. Eventually, they made it to a British army base in Nazareth and finally to Australia.

ELENA

ALA

Every time we talk about Ala’s story, there’s always a new detail that I learn.

It’s such a rich story and there’s so many parts of it that, at first, I found it hard to choose what to write about – what kind of a piece. But maybe tell me about the start. How old were you when the knock on the door happened?

And of course the children would start crying, and the parents would try to pack, and it would always be a bit of chaos and…

ALA

Eight. Eight years old.

ELENA

And your brother?

ALA

Five.

ELENA

So you can remember it really well still, I’m sure.

ALA

Yes, yes. And when they came to knock on the door, it was always in the middle of night.

MIREK

You would only have about 20 minutes to get everything packed.

ALA

Yes. ELENA

You say “always”. That means there was a lot of that happening?

ALA

Yes. There were a lot of other families.

They had this big long train packed in the station, and they were loading the carriages with people – a cattle car with a big shelf and we were like sardines, kind of trying to sit on that shelf.

ELENA

When you were on the train, you had no idea where you were going, right?

ALA

No, no.

AUSTRALIAN CHAMBER ORCHESTRA

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ELENA

I think that’s the hardest part. When I’m translating this story – and music can only tell a story up to a point, it can reflect on the story, it can describe emotion, it can try to touch on the story or be about the story – I just hope I captured that feeling of not knowing and the anguish.

ALA

Yes, yes.

ELENA

If I could talk a little bit about how I tried to structure the piece: there was a childhood before that?

ALA

Yes, yes – in the Carpathian Mountains.

ELENA

Yes, and I tried to capture the feeling of that. I decided to start just the very first few bars with sort of a held-cluster chord, which is like a fog. And out of the fog there is something growing, like a melody, so it comes in gradually, it’s not right away, you know – it comes as if it’s a film slowly rewinding.

ALA

Yes. ELENA

That was kind of a feeling I had. I just hope that’s how it’s going to come across when we hear it. Music is such an abstract form: you can describe so many things in so many different ways.

ALA

Yes, yes.

ELENA

And the story you’re telling is so rich and so full of detail and so full of names

and what happened. A piece like this could go for a month. But we have a concert so I have to make choices. I hope, Ala, that when you hear it, it evokes something that you can connect to.

ALA

Well, yes.

ELENA

It’s a very simple melody, really, a few notes, and it’s just more like a song you would sing as a child.

ALA

Uh-huh.

ELENA

Then the second movement. I don’t even think I told Mirek this: I decided to use knocking on the instruments to represent a knock.

ALA

Mm-hmm.

ELENA

It’s very rare in the score. The violins almost never do it, because they’re very fragile. I just thought, “Why don’t I actually have a real knock?”

Sorry, Mirek, I did not consult you.

MIREK

That’s okay. I think you did something similar with that piece with seven double basses.

ELENA

Yes, yes. Eight, can you believe it?

Anyway, sorry, I interrupted the story. Maybe just explain to us why you were thrown into this train – you know, why there was a knock on the door and who it was.

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ALA

ALA

Well, I think the communist policy was to remove as much of the local population and transport them into the forced-labour camps.

So that was a political decision. They were sending Russians in to replace the Polish population and sending Polish people to Russia to do labouring there.

ALA

ELENA

They were planning to remove a lot more, but I think there were only two big transports, and one was planned for February and thousands and thousands were deported from eastern Poland.

The third movement is called “Train”.

It’s about the next part of your story, after Hitler turned against Stalin and your family took another journey, this time to the British camps in the Middle East. It has the busyness of a train station and a lot of people and…

ELENA

Which year?

ALA

February 10.

MIREK

1940.

ALA

1940.

Our transport was April 13. And they were planning a lot more transport, they were going to transport a lot more of the Polish population into middle of Russia, but Germany decided to invade Russia and so their plans were changed.

ELENA

Yes, that date I know. In 1941, in June.

ALA

Another policy was to split families up and send them into different part of the Russian continent and use them as free labour in the farms and in the forests and…

ELENA

It’s heartbreaking.

AUSTRALIAN CHAMBER ORCHESTRA

ALA

And travelling towards freedom.

ELENA

Yes, exactly. So it’s looking forward to the…

ALA

Hope, feelings of hope.

ELENA

Exactly, exactly. Can you please tell us about the tango, when you were living in the British camps in Nazareth?

ALA

The school was under army command, so we have to do one hour’s march every morning, and we had to sing, marching, a patriotic song to the marching beat.

And the local coffee shop owner would see the unit approaching, marching fast, he would play a record of tango on his record player in the shop. We would all slow down to this music.

ELENA

Did the children smile when they heard the tango, or you felt confused?

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ALA

Oh, we enjoyed it. We thought it was great fun.

ELENA

My piece then jumped to the Australian times.

ALA

Yes. The army transported us to England in 1947 and eventually we came to Australia. And so my husband came first, and he loved Perth very much, and so he invited us to join him. We came in 1969.

ELENA

My piece just jumps ahead to that time, quite fast between movements. Can I just say that my music of the last movement is almost like a coda, it’s like after everything that happened. I call it “Peace”.

ALA

Wonderful.

ELENA

What I did was bring back that first melody from the first movement, but in a major key.

(Top) Marek & Ala in Tatarów 1938.

(Above) Forestry Commission house where Ala grew up.

ALA

Uh-huh.

ELENA

And that’s kind of how the piece ends, it’s like a cycle. It starts with a cluster and we finish not with a cluster, we finish with a chord, and arrive with a sort of resolution and memory of what happened, but it’s happier. It’s an amazing life, Ala. It’s so hard to put on music. Not an easy task.

ALA

Thank you for trying.

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THE PROGRAM Words Sarah Price

AUSTRALIAN CHAMBER ORCHESTRA

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Isserlis Plays Shostakovich Introduction by Melissa Barnard.

Welcome to Steven Isserlis Plays Shostakovich. I’m excited to be introducing this big, passionate, energetic concert to you. From the familiar to the brand new, it is a program of converging worlds that includes two exciting world premieres and two beloved masterpieces.

For the new, we’re intrigued to discover the young American composer Samuel Adams’ brand new work Movements (for us and them) and also to see what Elena Kats-Chernin has in store for us with A Knock One Night, a musical response to the loss, endurance and ultimate transformation of a family’s life inspired by the story of Ala Schwetz, who lived through the brutal Russian invasion of Poland in WWII. We also welcome the return of our very dear friend Steven Isserlis as soloist to play Shostakovich’s extraordinary First Cello Concerto as the concert’s centrepiece. For as long as I’ve been in the Orchestra Steven has been a regular with us. Our relationship with him in many ways defines the wonderful, intimate PHOTO. BEN SULLIVAN

bond we can form with our guests and is one of the great pleasures of playing in the ACO. We exchange jokes, delve into the music, discuss (even argue) openly and freely. Steven’s warmth, humour, intelligence and passion have always been a great match for us. This concerto – physically demanding, expansive, powerful and dark- will be undoubtably epic in his hands. It’s an arresting musical portrayal of the composer’s life in Soviet Russia and yet transcends his distinctly Russian voice to become universal in expression and pathos.

To finish, Haydn at his pinnacle lifts us all with the glorious Symphony No.104. His elegance, nobility and pure harmonious warmth will surely have us all soaring. With his energetic spirit Haydn is one of the composers we musicians in the ACO love exploring the most.

I do hope you enjoy the concert as much as we’ll enjoy playing for you...

Melissa Barnard, Cello Chair sponsored by Dr & Mrs J Wenderoth

NATIONAL CONCERT SEASON 2018

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Samuel Adams (b. 1985) Movements (for us and them) (new commission)

IN SHORT • Born in San Francisco, Samuel Adams is a composer of acoustic and electroacoustic music.

• His music has been hailed by the New York Times as “mesmerising” and “music of a composer with a personal voice and keen imagination”.

• Movements (for us and them) is a response to the baroque concerto grosso form, and explores the relationship between composer, orchestra and audience.

• He is the son of celebrated American composer John Adams.

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The music that affects Samuel Adams the most is experimental. It is the kind of music, he says, where you feel the psychology of the artist changing over time. When he started composing Movements (for us and them), he didn’t know what would happen, or which direction the piece would take. “I try to keep things open as I write. I find that the more flexibility I give myself, the more interesting the piece becomes.”

He says that what fascinates him about creating a new piece of music is that it can mean something to one person, and something completely different to someone else. “With every piece of mine I try to create flexibility and volubility with the music. I never try to be too specific about my intentions.”

Every piece he writes is a response to the world at the moment, some obliquely, others purely through abstraction. He likes the idea of using the dynamic of a group to potentially model a utopian vision.

There are universal syntonic ideas in art, Adams says.

When composing the piece, he was inspired by Italo Calvino’s Six Memos for the Next Millennium. The series of lectures outlines the virtues in literature to which the novelist aspired, as a way to handle the weight of the world. In the writing of his own piece, Adams searched for the same: quickness, exactitude and levity.

The piece is a response to the tradition of investigating the relationship between the composer, the orchestra and the audience. “I am really interested in the possibilities of working in a kind of musical context that explores interpersonal relationships. What fascinates me about the concerto grosso is that it suggests a different kind of narrative – it isn’t necessarily about one individual trying to overcome or join some kind of opposing force, but much more about cooperation and fluidity. That’s what I explore in this piece.”

Adams forced himself to reimagine the process of material generation. He spent a lot of time improvising.

The material came out of the process of listening to himself improvise, transcribing those dramatisations, PHOTO. LENNY GONZALEZ

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“I try to keep things open as I write. I find that the more flexibility I give myself, the more interesting the piece becomes.”

– Samuel Adams

playing different ascriptions, and improvising again.

The piece has a lot of forward momentum and energy, much like some music from the 17th and early 18th centuries. “It is built on repetitive triplet motifs, which, with the exception of one part, drive the piece forward.

One thing I really wanted to explore was the concept of role fluidity. You will hear passages where the two ensembles are very gradually morphing into one another.

Movements flow very easily from one section to another.”

Adams sought to explore “emotionally available” melodies. He wanted to give the musicians something deeply expressive to play. “What strikes me about the ACO is the personality of the ensemble. They have a wonderful profile when they come on stage. So much of this piece is about exploring interpersonal dynamics.

I would be happy if an audience member leaves the concert feeling like they understand something that they didn’t previously, of the personality of the ensemble.”

Dmitri Shostakovich (1906–1975) Cello Concerto No.1 in E-flat major

I. Allegretto II. Moderato III. Cadenza – IV. Allegro con moto

“One must speak the truth about the past or not at all.”

– Dmitri Shostakovich, Testimony: The Memoirs

Shostakovich wrote his First Cello Concerto in 1959.

Depending on your view of his life, it was after a period of intense oppression in the Soviet era or a period of effective collaboration with the regime. The musicologist Richard Taruskin calls this the contention “between those who believe that Shostakovich was a blameless martyr, opposed to and victimised by the Soviet government, and those of us who believe he made pragmatic compromises to survive and prosper”. Taruskin, a provocateur, calls the former view a “sentimental Cold War fable of a passive, pathetic yet saintly figure buffeted by an obtuse, implacable force”.

Throughout his life Shostakovich lived through two denunciations by Stalin’s government. He was NATIONAL CONCERT SEASON 2018

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IN SHORT • Born 1906 in Saint Petersburg, Shostakovich is regarded as one of the major composers of the 20th century.

• His First Cello Concerto was written in less than three months for his friend, the great cellist Mstislav Rostropovich.

• Arriving at Shostakovich’s country home for a first play through, the composer was surprised to find that Rostropovich already knew it from memory, having learnt it in just four days.

• It premiered in the Grand Hall of the Leningrad Philharmonic on 21 Sept 1959 with Rostropovich as soloist and Evgeny Mravinsky conducting.

• The initial theme is derived from the Gregorian song “Suliko”. It was a favourite song of Stalin’s, but has been interpreted to have a hidden symbolic meaning.

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sacked from his posts, had no money, couldn’t create the work he wanted to. He reportedly kept a small suitcase always packed and at times slept in a stairwell out of fear. On the flip side, he had also enjoyed fame and the capacity to leverage that inside the regime. Some compositions became official propaganda. This is the basis of the Shostakovich Wars. Online, they have the shape of conspiracy theories.

It is impossible to know if Shostakovich wrote from his heart or for a regime. But in this concerto, as with his eighth string quartet and the fifth and seventh symphonies, there is the archetypical vision of Shostakovich. There is also a sense of the grief or terror of life under the regime.

“In the music,” says cellist Melissa Barnard, “you can feel the cold. You can feel the Russian Soviet world. You can feel the suffering, the fear and paranoia. The composition is very controlled.” Similar to Shostakovich’s Piano Concerto No.1, the rhythms are taunting, like knocks or machine gun fire. “The first movement is quite military: horn fanfares, the cello’s incessant rhythms building to a frenzy.”

The second movement has a lamenting melodic flow. It promises a warmth that is never achieved.

“This movement has eerie sound effects, with the cello playing artificial harmonics. It has warmth, but it’s also sort of spooky and cold. That’s where the tragedy is, as if that’s the centre of the work.”

The concerto then morphs into a huge cadenza, featuring the solo cello. “It is an entire, massive movement that builds up to a frenzy, leading into the much faster, military finale.”

There is an inevitability to how the rhythm just drives and drives, Barnard says. It is the sort of piece that drives right to the end. To finish, the orchestra crashes in with a fast, abrasive movement. There is no salvation.

“Shostakovich’s music is enthralling in its intensity,” Barnard says. “It’s exhilarating to play such powerfully direct music.”

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Elena Kats-Chernin (b. 1957) A Knock One Night (new commission)

I. Childhood II. Knock III. Train IV. Peace

“As we approach the past, the melody becomes clear. The whole first movement is tinged with bittersweetness.”

– Elena Kats-Chernin

IN SHORT • Elena Kats-Chernin is an Australian composer born in Uzbekistan.

• Her music is often characterised by colour, energy and rhythm.

• A Knock One Night was commissioned

by Mirek Generowicz to share the story of his family’s dramatic journey to Australia.

• Written in four movements, the work captures a range of emotion as it works its way through the moving narrative.

This is a story of fear and forced removal. A family, starved and uncertain, imprisoned at a place where wolves howl in the night. It is the story of a family seeking refuge.

When composing the piece, Elena Kats-Chernin sought to pay tribute to the story, to get it right for the people to whom it happened. Although music is not a narrative form, she tried to make the composition full of content, she says. Her challenge was to pack a complex story into one neat piece.

Written as a prelude, the first movement is called “Childhood”. It depicts the family’s idyllic life in the mountains. Within the music, there are hints of the exotic: children’s folk songs and the traditional music of local villages. “It is a kind of other world, not necessarily a Western world,” Kats-Chernin says.

“There is a very simple melody. It begins, almost like a fog, or a memory going back – a kind of clustering sound, out of which a melody grows. As we approach the past, the melody becomes clear. The whole first movement is tinged with bittersweetness.”

The second movement, “Knock”, leads into slow and oppressive rhythms that represent a train journey into the unknown. This is a movement about fear. The score gets heavier, with real knocks on the instruments sprinkled throughout. The knock is an essential element, like a character in the piece. “When somebody knocks loudly on your door in the night, how do you feel? For your whole life, you will always come back to that knock.

You know it is the beginning of very bad things.”

Music need not be ugly to show ugliness, Kats-Chernin says. “The long melody at the core of this movement is like a waltz. It is almost threatening, almost alluring. Something that could be beautiful, yet also sounds sardonic.” “Knock” NATIONAL CONCERT SEASON 2018

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“When somebody knocks loudly on your door in the night, how do you feel? For your whole life, you will always come back to that knock.

You know it is the beginning of very bad things.”

– Elena Kats-Chernin

AUSTRALIAN CHAMBER ORCHESTRA

has many facets: it is fragmented, with a melody that repeatedly gets broken, then starts again.

In the third movement, “Train”, there is a moment of deliverance. The family is freed from persecution.

“Music here is joyfully active and full of harmonic twists and turns, the rhythmic pattern almost evoking a busy train station. After a couple of minutes a tango element interrupts and takes the material in a different direction. Tango refers to a lighter moment that was mentioned in the family’s story. There is a sense of fun throughout this fast movement. The family is moving towards an optimistic future.”

The final movement, “Peace”, depicts the family’s settling in Australia. At the beginning, the whole orchestra holds a chord of D major. There are many held chords to follow, reflecting space and calmness, the warm dry landscape of Australia. There is the occasional bird-like sound, some whispery murmurs, the cracking of a branch. “The main melody (originally in E minor) from the first movement “Childhood”, has returned, but it is here in D major. The journey from the dramatic childhood has reached contentment.”

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Franz Joseph Haydn (1732 – 1809) Symphony No.104 in D major ‘London’

I. Adagio – Allegro II. Andante III. Menuet and Trio: Allegro IV. Finale: Spiritoso

“There was no one near to confuse me, so I was forced to become original.”

– Joseph Haydn

IN SHORT • Joseph Haydn was an Austrian composer who was a friend and mentor of Mozart, and a teacher of Beethoven.

• His music was instrumental in the development of the string quartet and symphony (he is known as the father of both).

• His Symphony No.104 was composed in London in 1795, and is the last of a group of 12 symphonies known as the “London symphonies”.

Haydn is an artist so great that somebody stole his brain.

Reportedly, the grave robbers were phrenologists. They found “the bump of music” on Haydn’s skull to be “fully developed”. The head took a circuitous route back to Haydn’s body, including being hidden in a straw mattress, and the composer is now buried with two skulls.

Large among Haydn’s genius are his symphonies.

Principal Violin Helena Rathbone describes his London symphony as “perfection”. Written in 1795 in London, at a later time in Haydn’s life, the music reflects his happiness. In London, Haydn was appreciated: it was one of the few times in his life he was making decent money, and audiences loved his music. He wrote and conducted this, his final and most grand symphony, to great acclaim. A review of the premiere described a symphony “which for fullness, richness, and majesty, in all its parts, is thought by some of the best judges to surpass all his other compositions.”

“This was the culmination of writing 104 symphonies,” Rathbone explains, although there may be more. “Haydn had experimented quite a lot along the way, and I guess this is him saying: ‘Okay, I’m going to put all my energies and ideas over the last 103 that I’ve written and give you this piece.’”

Haydn was the master of his time at creating drama, and this symphony is rich with it. “It probably portrays the tension and anxiety that he was feeling himself, being the conductor and the director of these concerts that he put on with his own music.”

With four very different movements, the symphony ranges in emotion from pure joy and elation, to darker, turbulent moments. The grand fanfare opening sets the scene while the final movement has been claimed to be either a Croatian folk tune, or a London street cry to the tune “Hot cross buns”.

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• It premiered on 4 May 1795, and is widely considered his greatest symphony.

• Along with Mozart’s last symphonies, Haydn’s London symphonies represent the pinnacle of 18th-century symphonic music.

“He certainly had a lot of fun when he wrote” Rathbone says, “he had an incredible sense of humour, which always came out...

“Playing a Haydn symphony is always a journey. It is both a musical and an emotional one.” A performer’s job, Rathbone says, is to take the audience on that emotional journey with you. “It is like we are a conduit between the composer and the audience.”

It was a friend of Haydn’s who stole his skull, a personal secretary to the Prince of Austria, in concert with the manager of a Viennese prison. It took 145 years for the skull to be returned to the composer’s body.

“He really was an absolute genius, a forward thinker,” Rathbone says. “It is such imaginative music. He invented a lot of different sound-colours that had never been heard before. He came up with new ideas and instrumentations.”

Haydn is an artist so great that somebody stole his brain.

Join us at Intermezzo after 9pm for a special Post Theatre treat!

Enjoy a cup of coffee or tea with dessert for $19.90 or with a glass of house wine for only $24.90. Only steps away from City Recital Hall!

Post Theatre after 9pm – Dessert and Coffee $19.90, Dessert and glass of dessert wine $24.90

Bookings: www.gpogrand.com or 9229 7788 INTERMEZZO RISTORANTE, GROUND FLOOR, 1 MARTIN PLACE, SYDNEY AUSTRALIAN CHAMBER ORCHESTRA

TRANSFORMING STRAUSS & MOZART 8 – 19 SEPTEMBER Canberra, Melbourne, Adelaide, Wollongong, Sydney

An intimate, emotional journey through despair to elation, featuring music stripped back to its raw and powerful core.

Curated by our Principal Cello Timo-Veikko Valve.

Helena Rathbone Violin Aiko Goto Violin Stefanie Farrands Viola Nicole Divall Viola Timo-Veikko Valve Cello Melissa Barnard Cello Maxime Bibeau Double Bass DOWLAND Lachrimæ Antiquæ WAGNER (arr. Sebastian Gürtler) Prelude to Tristan und Isolde BACH Ricercar a 6 from Musical Offering R STRAUSS (arr. Rudolf Leopold) Metamorphosen MOZART Grande Sestetto Concertante

Tickets from $49*

BOOKINGS

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

NATIONAL TOUR PARTNER

GOVERNMENT PARTNERS

PRINCIPAL PARTNER

Portrait of Dmitry Dmitrievich Shostakovich, 1950

“If they cut off both hands, I will compose music anyway holding the pen in my teeth.�

Shostakovich From his memoir Testimony, published by Solomon Volkov in 1979.

42 ACO Foundations

ACO NEWS The 2018 season continues.

News, highlights and upcoming events to add to your calendar.

The ACO Foundations Pilot Program began in term one of 2018 with a whole year one class learning violin and cello at St Marys North Public School in Sydney's West. In May, all the classroom teachers had a professional development session with leading Australian music and neuroscience academic and speaker, Anita Collins which received overwhelmingly positive feedback.

“Thank you so very much for the wonderfully engaging PD session that you delivered to us today.

It is such a joy to share your passion, enthusiasm and knowledge for music as you help us develop our understanding of the strong role it plays in child development.

Watching our staff highly engaged is such a thrill, knowing that this can be a hard task at times!”

Lisa Parrello, Principal at St Marys North Public School.

Support ACO Foundations with a tax-deductible donation. Please contact Sarah Morrisby on (02) 8274 3803.

AUSTRALIAN CHAMBER ORCHESTRA

(Above) ACO Foundations Pilot Program. (Below) Aiko Goto and ACO Muscians deliver an education session for students at the Toho Gauken Music College.

(Opposite below) ACO perform The Four Seasons in Tokyo’s Yomiuri Otemachi Hall on the 29 May.

The ACO tour Japan in association with Australia now The ACO recently returned from Japan, where they performed two sell-out concerts in Tokyo’s Yomiuri Otemachi Hall on the 29 and 30 May as part of the Australian Government’s Australia now initiative. In addition, ACO violinist Aiko Goto returned with her ACO colleagues to her former school, the Toho Gakuen School of Music, to conduct workshops with the school’s young string players.

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Coming Up...

JUL

AUG

ACO Academy Concert

Goldberg Variations

13 July Melbourne Recital Centre

2–16 August Newcastle, Canberra, Melbourne, Adelaide, Sydney, Brisbane and Wollongong.

After a week of intensive workshops, young string players and ACO musicians take to the stage to perform a free public concert.

Osborne Tognetti Valve in Recital 25–29 July Perth, Melbourne and Brisbane.

World-renowned pianist Steven Osborne (pictured right) joins Richard Tognetti & TimoVeikko ‘Tipi’ Valve, paying homage to Dvořák and Brahms.

An illuminating journey through Bach’s keyboard masterpiece, directed

by Richard Tognetti.

SEP Transforming Strauss & Mozart 8–19 September Canberra, Melbourne, Adelaide, Wollongong and Sydney.

An emotional, moving program featuring music

by Strauss, Mozart and Wagner stripped back to its powerful core.

Curated by our Principal Cello Timo-Veikko ‘Tipi’ Valve (pictured above).

ACO Collective at Crescendo 9 September Sydney Opera House Matthew Truscott directs ACO Collective for Sydney Opera House’s Crescendo, a celebration of Australia’s emerging classical artists.

Hush 18 Launch 16–17 September Sydney and Melbourne.

ACO Collective come together for concerts in Sydney and Melbourne to celebrate the release of our collaborative CD with charity, The Hush Foundation.

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

Llewellyn Hall, Canberra Alastair McKean

Adelaide Town Hall James Koehne

Sydney Alastair McKean

Sat 23 June, 7.15pm

Tue 26 June, 6.45pm

City Recital Hall

Arts Centre Melbourne Andrew Aronowicz

Perth Concert Hall Rosalind Appleby

Sat 30 June, 6.15pm Tue 3 July, 7.15pm Wed 4 July, 6.15pm

Sun 24 June, 1.45pm Mon 25 June, 6.45pm

Wed 27 June, 6.45pm

Sydney Opera House

Sun 1 July, 1.15pm

Pre-concert speakers are subject to change.

Venue Support AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music William Herbert Place (off Childers St), Acton, Canberra Telephone (02) 6125 2527 Email music.venues@anu.edu.au

ARTS CENTRE MELBOURNE 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 CEO

ADELAIDE TOWN HALL 128 King William Street, Adelaide SA 5000 GPO Box 2252, Adelaide SA 5001 Telephone (08) 8203 7590 Email townhall@adelaidecitycouncil.com Web adelaidetownhall.com.au Martin Haese Lord Mayor Mark Goldstone CEO

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

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

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 CEO

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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Spotlight on Katering The ACO and Katering celebrate 14 years of partnership this year.

We managed to find time in Mark and Kate White’s busy schedule to ask them a few questions.

Mark and Kate White – owners and operators of Katering.

How did you become involved with the ACO?

Has there been a particular ACO event that stands out for you?

What is one of the more unusual requests you have had?

I first met Richard back in 2004 when we worked together on a fundraising dinner: Richard had the creative concept and we brought it to life through the food. That was the start of a longstanding relationship between Katering and the ACO.

A number of years ago we collaborated on a dinner at Richard and Satu’s house where Richard was the one teaching me to cook. He showed me the art of ‘beer can chicken’.

One happy couple asked us to release over 100 butterflies after their wedding ceremony.

Fortunately it went off without a hitch and it was a breathtaking moment.

What is it that has kept you supporting the ACO for so long?

I love what the ACO does! And I really enjoy the relationships we’ve built with the musicians, other corporate partners and guests at the ACO’s events.

Your schedule is so busy – how do you relax?

Turning my phone off and being able to spend time with my family. Seeing my four children play their weekend sport is one of life’s best pleasures.

You have recently launched Katering at Home, tell us about it.

We’ve taken the stress out of midweek cooking by creating Kateringquality meals delivered to your door.

With a focus on healthy, ethicallysourced, delicious food for the whole family. We’ll keep the family satisfied and you less stressed!

Delicious food delivered Made for busy families Meals that move with the seasons, providing the tastiest, locally sourced and highest quality produce available.

All you need to do is heat and serve!

What are you waiting for?

kateringathome.com.au info@kateringathome.com.au kateringathome

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Behind the scenes

Board

Education

Marketing

Guido Belgiorno-Nettis am

Caitlin Gilmour

Antonia Farrugia

Emerging Artists and Education Coordinator

Caitlin Benetatos

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

Finance

Artistic Director

Jill Colvin

Richard Tognetti ao

Administrative Staff Executive Office Richard Evans Managing Director

Alexandra Cameron-Fraser Chief Operating Officer

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

Artistic Operations Luke Shaw Director of Artistic Operations

Anna Melville Artistic Administrator

Lisa Mullineux Tour Manager

Ross Chapman Touring & Production Coordinator

Nina Kang Travel Coordinator

Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

Development Anna McPherson Director of Corporate Partnerships Director of Philanthropy

Tom Tansey Events & Special Projects Manager

Penny Cooper Corporate Partnerships Manager

Sarah Morrisby Philanthropy Manager

Lillian Armitage Capital Campaign Manager

Director of Marketing Communications Manager

Rory O’Maley Digital Marketing Manager

Christie Brewster Lead Creative

Cristina Maldonado CRM and Marketing Executive

Shane Choi Marketing Coordinator

Colin Taylor Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Christina Holland Office Administrator

Robin Hall Archival Administrator

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

Yeehwan Yeoh Investor Relations Manager

In Person

Camille Comtat

Opera Quays, 2 East Circular Quay, Sydney NSW 2000

Corporate Partnerships Executive

Kay-Yin Teoh Corporate Partnerships Administrator

By Mail PO Box R21, Royal Exchange NSW 1225 Australia

Telephone (02) 8274 3800 Box Office 1800 444 444

Bernard Rofe

Email

Librarian

aco@aco.com.au

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

AUSTRALIAN CHAMBER ORCHESTRA

Web aco.com.au

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Acknowledgments ACO Medici Program Medici Patron

Core Chairs

ACO Collective

The late Amina Belgiorno-Nettis

VIOLIN

Pekka Kuusisto

Principal Chairs

Glenn Christensen

Artistic Director & Lead Violin Horsey Jameson Bird

Richard Tognetti ao

Aiko Goto

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

Helena Rathbone Principal Violin Kate & Daryl Dixon

Satu Vänskä Principal Violin Kay Bryan

Principal Viola

Terry Campbell ao & Christine Campbell Anthony & Sharon Lee Foundation

Mark Ingwersen Julie Steiner & Judyth Sachs

Ilya Isakovich

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

Liisa Pallandi The Melbourne Medical Syndicate

Maja Savnik Alenka Tindale

Ike See Di Jameson

peckvonhartel architects

VIOLA

Timo-Veikko Valve

Ripieno Viola

Principal Cello Peter Weiss ao

Philip Bacon am

Nicole Divall

Maxime Bibeau

Ian Lansdown

Principal Double Bass Darin Cooper Foundation

Guest Chairs

CELLO Melissa Barnard Dr & Mrs J. Wenderoth

Julian Thompson The Grist & Stewart Families

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 The ACO would like to thank the following people who remembered the Orchestra in their wills.

Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Director of Philanthropy, on (02) 8274 3835.

The late Charles Ross Adamson The late Kerstin Lillemor Andersen The late Mrs Sybil Baer The late Prof. Janet Carr

AUSTRALIAN CHAMBER ORCHESTRA

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

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ACO Continuo Circle The ACO would like to thank the following people who are generously remembering the ACO in their wills.

If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Director of Philanthropy, on (02) 8274 3835 for more information. Every gift makes a difference.

Steven Bardy Ruth Bell David Beswick Dr Catherine Brown-Watt & Mr Derek Watt Sandra Cassell Mrs Sandra Dent Peter Evans Carol Farlow

Suzanne Gleeson Lachie Hill David & Sue Hobbs Penelope Hughes Toni Kilsby & Mark McDonald Mrs Judy Lee John Mitchell Selwyn M Owen Michael Ryan & Wendy Mead

Ian & Joan Scott Cheri Stevenson Leslie C. Thiess Ngaire Turner G C & R Weir Margaret & Ron Wright Mark Young Anonymous (17)

ACO Reconciliation Circle Contributions to the ACO Reconciliation Circle directly support ACO music education activities 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 about becoming a member of the Circle, please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803 Colin & Debbie Golvan Kerry Landman Peter & Ruth McMullin

Patterson Pearce Foundation Sam Ricketson & Rosie Ayton

ACO Excellence Fund Patrons ACO Excellence Fund Patrons enhance both our artistic vitality and ongoing sustainability. For more information, please call Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

John Adams The Caines Annie Corlett am & Bruce Corlett am Robert & Jennifer Gavshon Carole A.P. Grace Jennifer Hershon

Rohan Haslam Doug Hooley Bruce & Natalie Kellett Megan Lowe Jeannette & Kenchi Ohmae Mimi Packer

Prof. Graham & Felicity Rigby Kim & Keith Spence Susan & Yasuo Takao Mike Thompson Dr Jason Wenderoth Anonymous (3)

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

Members Clare Ainsworth Herschell Adrian Barrett Marc Budge Justine Clarke Este Darin-Cooper & Chris Burgess Amy Denmeade Jenni Deslandes & Hugh Morrow Anthony Frith & Amanda Lucas-Frith Shevi de Soysa Rebecca Gilsenan & Grant Marjoribanks James Hamilton Ruth Kelly Evan Lawson

Aaron Levine & Daniela Gavshon Royston Lim Gabriel Lopata Rachael McVean Carina Martin 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 Max Tobin Karen & Peter Tompkins Nina Walton & Zeb Rice Peter Wilson & James Emmett Thomas Wright Anonymous (2)

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ACO Instrument Fund The ACO’s Instrument Fund offers patrons and investors the opportunity to participate in the ownership 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

SONATA $25,000 – $49,999

Peter Weiss ao

ENSEMBLE $10,000 – $24,999 Leslie C. Thiess Anonymous (1)

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 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 Daniel & Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven The late Ian Wallace & Kay Freedman

Special Commissions Patrons

Jewish Museum Patrons

ACO UK Supporters

Peter & Cathy Aird Josephine Kay & Ian Bredan Mirek Generowicz Anthony & Conny Harris Rohan Haslam Lionel & Judy King Bruce Lane David & Sandy Libling Robert & Nancy Pallin Team Schmoopy Rebecca Zoppetti Laubi

LEAD PATRON

AMBASSADORS Brendan & Bee Hopkins Rupert Thomas & Kate Rittson-Thomas

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

Patrons VISIONARY $1M+ Peter Weiss ao LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 The late Amina Belgiorno-Nettis Naomi Milgrom ao OCTET $100,000 – $199,999 John Taberner QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous (1)

SOLO $5,000 – $9,999 PATRON $500 – $4,999 In memory of Lindsay Cleland Merilyn & David Howorth Luana & Kelvin King John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Peter McGovern John & Virginia Richardson Robyn Tamke Anonymous (2)

Investors

ACO Special Projects

International Tour Patrons Linda & Graeme Beveridge Anthony & Sharon Lee Foundation Professor Anne Kelso ao Bruce & Jenny Lane Delysia Lawson Friends of Jon & Caro Stewart Mike Thompson Oliver Walton Anonymous (1)

AUSTRALIAN CHAMBER ORCHESTRA

PATRONS Marc Besen ac & Eva Besen ao SUPPORTERS The Ostroburski Family Julie Steiner FRIEND Leo & Mina Fink Fund

Emanuel Synagogue Patrons

FRIENDS John Coles John & Kate Corcoran Hugo & Julia Heath Dr Caroline Lawrenson John Taberner Patricia Thomas Paula Bopf & Rob Rankin SUPPORTER Isla Baring

ACO Academy

CORPORATE PARTNERS Adina Apartment Hotels Meriton Group

LEAD PATRONS Louise & Martyn Myer ao

LEAD PATRON The Narev Family

PATRONS Peter Jopling am qc Walter Barda & Thomas O’Neill

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

SUPPORTER Hilary Goodson Naomi Migrom ao Tom Smyth

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ACO Special Projects ACO Mountain Producers’ Syndicate The Australian Chamber Orchestra would like to thank 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

European Tour Patrons Philippa & John Armfield Walter Barda & Thomas O’Neill Steven Bardy & Andrew Patterson Chris & Katrina Barter Russell & Yasmin Baskerville David Bohnett & Maria Bockmann Paula Bopf & Robert Rankin Paul Borrud Craig & Nerida Caesar Terry Campbell ao & Christine Campbell Michael & Helen Carapiet Stephen & Jenny Charles Andrew Clouston & Jim McGown John Coles Robin Crawford am & Judy Crawford Graham & Treffina Dowland Dr William F Downey Vanessa Duscio & Richard Evans Terry & Lynn Fern Fitzgerald Foundation Daniel & Helen Gauchat Robert & Jennifer Gavshon Nick & Kay Giorgetta Colin Golvan qc & Debbie Golvan John Grill ao & Rosie Williams

Tony & Michelle Grist Eddie & Chi Guillemette Liz Harbison Paul & April Hickman Catherine Holmes à Court-Mather Simon & Katrina Holmes à Court Family Trust Jay & Linda Hughes Di Jameson Andrew & Lucie Johnson Simon Johnson Steve & Sarah Johnston Russell & Cathy Kane John & Lisa Kench Wayne Kratzmann Dr Caroline Lawrenson John Leece am & Anne Leece David & Sandy Libling Patrick Loftus-Hills & Konnin Tam Dr Wai Choong Lye & Daniel Lye Christopher D. Martin & Clarinda Tjia-Dharmadi Janet Matton & Robin Rowe Julianne Maxwell Nicholas McDonald & Jonnie Kennedy

Andrew & Cate McKenzie Peter & Ruth McMullin Jim & Averill Minto Rany & Colin Moran Usmanto Njo & Monica Rufina Tjandraputra Dr Eileen Ong James Ostroburski Susan Phillips Simon Pinniger & Carolyne Roehm Andrew & Andrea Roberts The Ryan Cooper Family Foundation Carol Schwartz am & Alan Schwartz am Rosy Seaton & Seumas Dawes Jennifer Senior & Jenny McGee Peter & Victoria Shorthouse Hilary Stack Jon & Caro Stewart John Taberner Jamie & Grace Thomas Alenka Tindale Dr Lesley Treleaven Beverley Trivett & Stephen Hart Phillip Widjaja & Patricia Kaunang Simon & Jenny Yeo

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ACO National Education Program The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive. If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au.

Program names as at 6 June 2018

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

Libby & Nick Wright E Xipell Peter Young AM & Susan Young Anonymous (3)

Emerging Artists & Education Patrons $10,000 +

Direttore $5,000 – $9,999

Australian Communities Foundation – Ballandry Fund Mr Robert Albert ao & Mrs Libby Albert Geoff Alder Karen Allen & Dr Rich Allen Allens – In memory of Ian Wallace Steven Bardy & Andrew Patterson Dr Catherine Brown Watt psm & Mr Derek Watt Rod Cameron & Margaret Gibbs Stephen & Jenny Charles Jane & Andrew Clifford In memory of Wilma Collie Ryan Cooper Family Foundation Irina Kuzminsky & Mark Delaney Eureka Benevolent Foundation Terry & Lynn Fern Mr & Mrs Bruce Fink Dr Ian Frazer ac & Mrs Caroline Frazer Daniel & Helen Gauchat John Grill ao & Rosie Williams Angus & Kimberley Holden Catherine Holmes à Court-Mather Belinda Hutchinson am & Roger Massy-Greene GB & MK Ilett John & Lisa Kench Miss Nancy Kimpton Anthony & Sharon Lee Foundation Liz & Walter Lewin Andrew Low Anthony & Suzanne Maple-Brown Jim & Averill Minto Servcorp Louise & Martyn Myer Foundation Jennie & Ivor Orchard James Ostroburski & Leo Ostroburski The Bruce & Joy Reid Trust The Barbara Robinson Family Margie Seale & David Hardy Rosy Seaton & Seumas Dawes Tony Shepherd ao Anthony Strachan Leslie C. Thiess Alden Toevs & Judi Wolf Shemara Wikramanayake Cameron Williams

AUSTRALIAN CHAMBER ORCHESTRA

Jennifer Aaron Walter Barda & Thomas O’Neill The Belalberi Foundation Carmelo & Anne Bontempo Helen Breekveldt Veronika & Joseph Butta Rowena Danziger am & Ken Coles am Suellen Enestrom Paul & Roslyn Espie Bridget Faye am Vivienne Fried Liz Harbison Annie Hawker John Griffiths & Beth Jackson 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 Libby & Peter Plaskitt John Rickard Greg Shalit & Miriam Faine Victoria & Peter Shorthouse J Skinner Sky News Australia Petrina Slaytor Jeanne-Claude Strong Tamas & Joanna Szabo Vanessa Tay Alenka Tindale Simon & Amanda Whiston Woods5 Foundation Anonymous (3)

Maestro $2,500 – $4,999 Annette Adair Rae & David Allen Stephen & Sophie Allen Will & Dorothy Bailey Charitable Gift Lyn Baker & John Bevan The Beeren Foundation

Neil & Jane Burley Caroline & Robert Clemente Laurie & Julie Ann Cox Carol & Andrew Crawford Anne & Tom Dowling Angelos & Rebecca Frangopoulos In memory of Rosario Razon Garcia Cass George Warren Green Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Ruth Hoffman & Peter Halstead Warwick & Ann Johnson Peter & Ruth McMullin Roslyn Morgan Jane Morley Jenny Nicol David Paradice & Claire Pfister Sandra & Michael Paul Endowment Prof David Penington ac Patricia H Reld Endowment Pty Ltd Kenneth Reed am Ruth & Ralph Renard Mrs Tiffany Rensen Fe & Don Ross D N Sanders Carol Schwartz am & Alan Schwartz am Kathy & Greg Shand Maria Sola Ezekiel Solomon am Josephine Strutt Susan Thacore Ralph Ward-Ambler am & Barbara Ward-Ambler Don & Mary Ann Yeats William & Anne Yuille Anonymous (4)

Virtuoso $1,000 – $2,499 Barbara Allan Jane Allen Lillian & Peter Armitage In memory of Anne & Mac Blight David Blight & Lisa Maeorg Lyn Baker & John Bevan Adrienne Basser Doug & Alison Battersby Robin Beech Berg Family Foundation Graeme & Linda Beveridge Leigh Birtles Jessica Block

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Virtuoso $1,000 – $2,499 (Continued) In memory of Peter Boros Brian Bothwell Vicki Brooke Diana Brookes Stuart Brown Sally Bufé Gerard Byrne & Donna O’Sullivan Ian & Brenda Campbell Ray Carless & Jill Keyte Alex & Elizabeth Chernov Ann Cebon-Glass Julia Champtaloup & Andrew Rothery Kaye Cleary Dr Peter Clifton John & Chris Collingwood Angela & John Compton Leith & Darrel Conybeare R & J Corney Anne Craig Cruickshank Family Trust Ian Davis & Sandrine Barouh Michael & Wendy Davis Martin Dolan In memory of Ray Dowdell Dr William F Downey Pamela Duncan Emeritus Professor Dexter Dunphy Carmel Dwyer Karen Enthoven Peter Evans Julie Ewington Patrick Fair Penelope & Susan Field Elizabeth Finnegan Jean Finnegan & Peter Kerr Don & Marie Forrest John Fraser Chris & Tony Froggatt Anne & Justin Gardener Kay Giorgetta Brian Goddard Jack Goodman & Lisa McIntyre Ian & Ruth Gough Melissa & Jonathon Green Grussgott Trust In memory of Jose Gutierrez Lyndsey Hawkins Kingsley Herbert Lachie Hill Vanessa & Christian Holle Christopher Holmes Doug Hooley Michael Horsburgh am & Beverley Horsburgh Penelope Hughes Professor Emeritus Andrea Hull ao Stephanie & Mike Hutchinson Owen James Anthony Jones & Julian Liga Brian Jones Bronwen L Jones Mrs Angela Karpin

Michael Kohn Airdrie Lloyd Gabriel Lopata Prof Roy & Dr Kimberley MacLeod Garth Mansfield oam & Margaret Mansfield oam Mr Greg & Mrs Jan Marsh Janet Matton & Robin Rowe Kevin & Deidre McCann Helen & Phil Meddings Jim Middleton Peter & Felicia Mitchell Baillieu & Sarah Myer Dr G Nelson Nola Nettheim Jenny Nichol Paul O’Donnell Fran Ostroburski Chris Oxley Leslie Parsonage Rosie Pilat Dr S M Richards am & Mrs M R Richards Em Prof A W Roberts am Mark & Anne Robertson J Sanderson In Memory of H. St. P. Scarlett Jennifer Senior & Jenny McGee Morna Seres & Ian Hill Diana Snape & Brian Snape am Dr Peter & Mrs Diana Southwell-Keely Keith Spence Cisca Spencer Dr Charles Su & Dr Emily Lo The Hon James Spigelman ac qc & Mrs Alice Spigelman David & Judy Taylor Jane Tham & Philip Maxwell Dr Jenepher Thomas Rob & Kyrenia Thomas Anne Tonkin Ngaire Turner Kay Vernon Jason Wenderoth Harley Wright & Alida Stanley Peter Yates am & Susan Yates Rebecca Zoppetti Laubi Anonymous (21)

Concertino $500 – $999 Mr & Mrs H T Apsimon Juliet Ashworth Elsa Atkin am Rita Avdiev Philomena Billington Christine Barker Helen Barnes In memory of Hatto Beck Mrs Kathrine Becker Ruth Bell Elizabeth Bolton Lynne & Max Booth Carol Bower Denise Braggett Henry & Jenny Burger Mrs Pat Burke

Josphine Cai Helen Carrig Connie Chaird Pierre & Nada Chami Angela & Fred Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Captain David Clarke Richard Cobden sc Dr Jane Cook Sam Crawford Architects Donald Crombie am John Curotta Marie Dalziel Amanda Davidson Mari Davis Rosemary Dean Kath & Geoff Donohue Jennifer Douglas In Memory of Raymond Dudley Agnes Fan Susan Freeman Louisa Geddes M Generowicz Paul Gibson & Gabrielle Curtin Don & Mary Glue Sharon Goldie Colin Golvan qc & Debbie Golvan Mrs Megan Grace Paul Greenfield & Kerin Brown Annette Gross Kevin Gummer & Paul Cummins Rita Gupta Hamiltons Commercial Interiors Lesley Harland Paul & Gail Harris Sue Harvey Gaye Headlam Henfrey Family Dr Penny Herbert in memory of Dunstan Herbert Dr Marian Hill Charissa Ho Sue & David Hobbs Geoff Hogbin Peter & Edwina Holbeach Richard Hunstead Geoff & Denise Illing Caroline Jones Phillip Jones Irene Kearsey & Michael Ridley Bruce & Natalie Kellett Megan Lowe Diana Lungren Joan Lyons Dr & Mrs Donald Maxwell HE & RJ McGlashan J A McKernan Claire Middleton Andrew Naylor G & A Nelson Nevarc Inc. Robyn Nicol Robin Offler

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ACO National Education Program Concertino $500 – $999 (Continued) Sue Packer Effie & Savvas Papadopoulos Ian Penboss Helen Perlen Kevin Phillips Denis & Erika Pidcock Beverly & Ian Pryer Jennifer Rankin Jedd Rashbrooke Michael Read Joanna Renkin & Geoffrey Hansen Alexandra Ridout Jennifer Royle Irene Ryan & Dean Letcher qc Trish Ryan & Richard Ryan ao Scott Saunders Garry Scarf & Morgie Blaxill

Marysia Segan David & Daniela Shannon Agnes Sinclair Ann & Quinn Sloan Ken Smith Brian Stagoll Patricia Stebbens Ross Steele am Cheri Stevenson Nigel Stoke Douglas Sturkey cvo am In memory of Dr Aubrey Sweet Dr Niv & Mrs Joanne Tadmore Gabrielle Tagg TWF See & Lee Chartered Accountants

Visionads Pty Ltd Joy Wearne GC & R Weir Westpac Group Harley & Penelope Whitcombe Kathy White James Williamson Sally Willis Janie Wittey Lee Wright Dr Mark & Mrs Anna Yates Gina Yazbek Joyce Yong LiLing Zheng Anonymous (25)

Heather Ridout ao (Chair)

John Kench

Mark Stanbridge

Chair Australian Super

Jason Li

Partner Ashurst

ACO Committees Sydney Development Committee

Chairman Vantage Group Asia

Guido Belgiorno-Nettis am Chairman ACO

Alden Toevs Group Chief Risk Officer CBA

Jennie Orchard Peter Shorthouse

Gauri Bhala

Senior Partner Crestone Wealth Management

CEO Curious Collective

Nina Walton

Melbourne Development Committee Colin Golvan qc

James Ostroburski

Susan Thacore

Peter McMullin

CEO Kooyong Group

Peter Yates am

Chairman McMullin Group

Rachel Peck Principal peckvonhartel architects

Martyn Myer ao Chairman, Cogslate Ltd President, The Myer Foundation

Deputy Chairman Myer Family Investments Ltd & Director, AIA Ltd

Disability Advisory Committee 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

Event Committees Brisbane

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

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

AUSTRALIAN CHAMBER ORCHESTRA

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

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

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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.

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

Ms Gretel Packer

Partner, Johnson Winter & Slattery

Ms Ann Gamble Myer

Mr Philip Bacon am

Mr Daniel Gauchat

Mr Robert Peck am & Ms Yvonne von Hartel am

Director, Philip Bacon Galleries

Principal, The Adelante Group

Mr David Baffsky ao

Mr Robert Gavshon & Mr Mark Rohald

Mr Matthew Allchurch

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

Quartet Ventures

Mr James Gibson Chief Executive Officer Australia & New Zealand BNP Paribas

Mr John Grill ao & Ms Rosie Williams Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant

Mr Andrew Low

peckvonhartel architects

Mrs Carol Schwartz am Ms Margie Seale & Mr David Hardy Mr Glen Sealey Chief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd ao Mr Peter Shorthouse Senior Partner Crestone Wealth Management

Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Chairman, Wesfarmers

Mr David Mathlin

Mr Matt Comyn

Ms Julianne Maxwell

Ms Vanessa Wallace & Mr Alan Liddle

Chief Executive Officer Commonwealth Bank

Mr Michael Maxwell

Mr Rob & Mrs Jane Woods

Mr Robin Crawford am & Mrs Judy Crawford

Ms Naomi Milgrom ao

Mr Peter Yates am

Ms Jan Minchin

Rowena Danziger am & Kenneth G. Coles am

Director, Tolarno Galleries

Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Doug & Mrs Robin Elix

Mr Alf Moufarrige ao

Mr Bruce Fink Executive Chairman Executive Channel Holdings

Mr Jim & Mrs Averill Minto

Mr Peter Young am & Mrs Susan Young

Chief Executive Officer, Servcorp

Mr John P Mullen Chairman, Telstra

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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

OSBORNE TOGNETTI VALVE IN RECITAL 25–29 JULY Perth, Melbourne, Brisbane

World-renowned pianist Steven Osborne joins Richard Tognetti and Principal Cello Timo-Veikko Valve for an intimate homage to Dvořák and Brahms.

BRAHMS Piano Trio No.1 in B major DVOR� ÁK Piano Trio No.4 in E minor ‘Dumky’

“Osborne unleashed a spectacular performance...packed with wit, fireworks and dazzling pianism.”

– THE HERALD

Tickets from $54*

BOOKINGS

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

GOVERNMENT PARTNERS

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