Transforming Strauss & Mozart Concert Program

TRANSFORMING STRAUSS & MOZART SEPTEMBER 2018

Program in short

Painted from music

A part for the whole

Your five-minute read before lights down

Word painting & musical transformations

Dave Faulkner on the Grande Sestetto Concertante

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

INSIDE: Welcome

Program

Musicians

From the ACO’s Managing Director Richard Evans

Listing and concert timings

Players on stage for this performance

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Program in short

Painted from music

A part for the whole

Your five-minute read before lights down

Word painting and musical transformations

Dave Faulkner on the Grande Sestetto Concertante

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p.16

p.26

COVER PHOTO. JASON CAPOBIANCO | PRINTED BY. PLAYBILL PTY LTD

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WELCOME One of the many qualities of the ACO is that we have an incredible breadth of talent within our ranks. This talent extends well beyond our playing, to programming, leading and interpreting programs of diverse musical taste and experiences. This national concert tour, Transforming Strauss & Mozart, has been curated by our Finnish Principal Cello Timo-Veikko Valve, or ‘Tipi’ as we all know him.

Tipi has combined pieces by Wagner and Richard Strauss and presented them alongside music from JS Bach and 16th-century composer John Dowland. Spanning some 400-years, all four works are bound together through their expression of love, mourning and exaltation.

This powerful music is further intensified through the reimagined presentation in this chamber setting, revealing its innermost core. Strauss’s devastating Metamorphosen (usually performed by 23 string musicians) and the magnificent Overture from Wagner’s Tristan und Isolde (written of course for a full symphony orchestra) will be presented in a way that showcases the talents of the seven ACO musicians onstage.

I would like to take the opportunity to thank our National Tour Partner, Sky News, for their support of this concert series, and their broader support of the ACO over many years.

In designing this program, it was Tipi’s aim to ‘open new doors for our imagination’. Whether you are hearing these pieces for the first time, or are very familiar with them, I hope that our concert helps you find a new path into the worlds of these composers.

Richard Evans Managing Director Join the conversation AUSTRALIAN CHAMBER ORCHESTRA

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PROGRAM Helena Rathbone Violin Aiko Goto Violin Stefanie Farrands Viola Nicole Divall Viola Timo-Veikko Valve Cello Melissa Barnard Cello Jeremy Kurtz-Harris Double Bass

PRE-CONCERT TALK

45 mins prior to the performance See page 35 for details

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DOWLAND

Lachrimæ Antiquæ (Flow, My Teares)

WAGNER (arr. Gürtler)

Prelude from Tristan und Isolde

BACH

Ricercar a 6 from Musical Offering, BWV1079

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STRAUSS (arr. Leopold) Metamorphosen

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INTERVAL

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MOZART

Grande Sestetto Concertante in E-flat major, K.364

I. Allegro II. Andante III. Finale: Presto

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

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

ACO concerts are regularly broadcast on ABC Classic FM. Transforming Strauss and Mozart will be broadcast on ABC Classic FM on Saturday 22 September at 2pm, and again on Wednesday 31 October at 1pm.

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Illustrations to the Metamorphoses of Ovid: Jupiter and Io. Drawing by Godfried Maes.

Australia’s News Channel providing instrumental support to the ACO

David Speers Sky News Political Editor and (amateur) trumpet player

Foxtel magazine/Simon Taylor

skynews.com.au

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NATIONAL TOUR PARTNER The Australian Chamber Orchestra (ACO) has made an enduring contribution to Australian culture for almost 50 years. While Sky News’ support spans a fraction of that time, we have seen how the ACO continually evolves and transforms its performances to better connect with the Australian community. Sky News’ involvement as the National Tour Partner of Transforming Strauss & Mozart reflects our company’s deep respect for the role that music plays in inspiring communities and bringing people together.

As Australia's News Channel, we are dedicated to delivering live 24-hour news and national affairs coverage which is all important to our democracy. Engagement, innovation, authenticity and excellence – these are the qualities that we value. The ACO represents an outstanding model to which Australia’s business community can aspire.

It’s with great pride that we present this special performance.

Angelos Frangopoulos Chief Executive Officer of Australian News Channel

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Aiko Goto Violin

Helena Rathbone Principal 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.

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

“We played Metamorphosen during my trial with the ACO, back in 1998.

I played next to Helena, and I still remember how amazing it felt to play this piece with the ACO. The entire experience gave me goosebumps.”

Aiko plays her own French violin by JeanBaptiste Vuillaume. Her Chair is sponsored

by Anthony & Sharon Lee Foundation.

Stefanie Farrands Guest Principal Viola Stefanie plays her own 2016 viola made by Ragnar Hayn in Berlin.

Stefanie appears courtesy of the Tasmanian Symphony Orchestra.

The Principal Viola Chair is sponsored by peckvonhartel architects.

aco.com.au AUSTRALIAN CHAMBER ORCHESTRA

PLAYERS DRESSED BY SABA

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Melissa Barnard Cello

Nicole Divall Viola

“Mozart’s Grande Sestetto Concertante is just gorgeous, and fun … It works in the sextet, actually, because there’s a lightness that isn’t necessarily present in the full orchestra beefing away.”

Nikki plays a 2012 Bronek Cison viola.

Her Chair is sponsored

by Ian Lansdown.

Timo-Veikko Valve Principal Cello

“I think it is important to be open to new and different ideas. I would not go as far as to say that rearranging something would make it better, but rather reveal it in new light. It is another way of exploring what already exists and what we already accept as amazing.”

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

His Chair is sponsored

by Peter Weiss ao.

ACO PHOTOS. BEN SULLIVAN

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

Jeremy Kurtz-Harris Guest Double Bass Jeremy plays a late-16thcentury Gasparo da Salò bass kindly on loan from a private Australian benefactor. Jeremy appears courtesy of the San Diego Symphony.

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

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John Dowland (1563–1626) Lachrimæ Antiquæ (Flow, My Teares)

Regarded as the greatest English composer of lute music and lute songs, Dowland is often associated with melancholy. He was aware of his reputation, even naming one of his pieces “Semper Dowland semper dolans” (Always Dowland, always sorrowful).

Another of these sorrowful pieces is the Lachrymæ pavane, a lute piece Dowland composed in 1596, with words subsequently added when it was published as “Flow, My Teares” in his Second Book of Songs in 1600. This luxuriously beautiful arye would become Dowland’s most famous, and has been called “probably the most widely known English song of the early 17th century”.

In 1604, Dowland published a set of seven instrumental variations on the Lachrymæ pavane titled Lachrimæ, or seven Teares, evoking tears shed not only in sorrow, but “in joy and gladness”.

The first of these, “Lachrimæ Antiquæ” (old tears), presents the theme in its original form. Using the dance form of a pavan, its basis is a descending “tear motif” (a-g-f-e), which has been used in numerous laments throughout history, both as a melody and as a ground bass.

Richard Wagner (1813–1883) (arr. Sebastian Gürtler) Prelude to Tristan und Isolde

Richard Wagner’s imposing legacy cannot be understated. His music, modern for his time, pushed the possibilities of western tonality to its limits such that he is a precursor to every avant-garde movement that has followed. Often controversial, he is a figure of intense debate between those who venerate and revile his music.

Wagner’s style would reach full maturity in his 1859 opera Tristan und Isolde, which embodied his ideals of the “Gesamtkunstwerk” (complete work of art) in fusing together music, literature, the visual arts, dance and architecture.

The opera tells the Medieval tale of Tristan, nephew to King Marke, who is sent to Ireland to retrieve Isolde, the king’s bride to be. During the journey, Tristan and Isolde fall in love and become carnally involved – actions that would result in their eventual deaths.

This dichotomy of love and death underscores the entire Prelude, often performed as a standalone piece.

Wagner intricately combines leitmotifs (musical themes) representing longing, desire and death, fusing them into an overture that becomes an erotically charged love scene with throws of passion that intensify to a climax before dying away into brooding quietness.

In this arrangement for string sextet, Sebastian Gürtler, with great love and finesse, has transformed the “gigantomaniac” Wagner’s orchestral score into a “feast of sound” for chamber ensemble.

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Johann Sebastian Bach (1685–1750) Ricercar a 6 from Musical Offering, BWV1079

In 1747 Bach visited his son, Carl Philipp Emanuel, who was working in the court of Frederick the Great, a model philosopher king with a deep interest in music and ideas. The king was also responsible for bringing Prussia into the 18th century, modernising its economics, politics and industry. Accordingly, his palace housed the latest inventions of his day, including 15 fortepianos. He had often hoped to meet Carl Philipp Emanuel’s father and ask what he thought of these instruments, but did not get the chance until Bach’s visit in 1747.

At this meeting of great minds, Bach was ushered around the palace to perform on the various keyboards. The king also provided Bach with a theme on which to improvise a six-part fugue.

Bach found that the theme wouldn’t work, but upon returning home he turned the theme into an assortment of canons and fugues that he sent to the king as a “Musical Offering”.

The front page bears the motto “Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta” (At the king’s demand, the song (fugue) and the remainder (canons) resolved with canonic art).

The first letters spell “Ricercar”, an Italian term meaning “to search”. The Ricercar a 6 is the highpoint of Bach’s offering – arguably his finest fugue.

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Richard Strauss (1864–1949) (arr. Rudolf Leopold) Metamorphosen

Richard Strauss’s late works heralded the end of German Romanticism. Once at the forefront of the musical avantgarde, Strauss soon became left behind by developments in jazz and serial music. But his indifference to these changes resulted in some of the most brilliant music of the 20th century.

His indifference would be shaken by the horrors of World War II. In 1943 bombs destroyed Munich’s National Theatre. Strauss wrote, “This is the greatest catastrophe of my life, for which there can be no consolation.” He began sketching a new work for strings, jotting the words “Mourning for Munich”. In 1945 the Vienna Opera was bombed. The destruction of places Strauss had such a close musical connection to deeply affected him. He returned to his “Mourning for Munich” sketches, turning them into Metamorphosen for 23 solo strings.

Metamorphosen is like an elegy for the German musical tradition. It recalls the sound worlds of Brahms, Wagner and Mahler, and even the chamber forms of Mozart and Beethoven. After nearly half an hour of the most intense emotions, the themes transform in such a way as to directly quote the funeral march from Beethoven’s “Eroica” symphony.

Strauss wrote the association was subliminal: “It just escaped from my pen”.

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Wolfgang Amadeus Mozart (1756–1791) Grande Sestetto Concertante in E-flat major, K.364

By his 23rd year, the young Mozart was exceptionally well travelled. As a child he completed a grand tour of Europe, establishing his reputation as one of history’s great child prodigies. As a teenager he made three trips to Italy, refining his art. Mozart embarked on yet another journey from 1777-79. By now, life’s pressures were weighing heavily on him: commissions and job offers were scarce, he was unlucky in love, and his frail mother fell ill and died on the journey.

On his return to Salzburg, Mozart commenced a series of concertos for two or more instruments, a form that was all the rage in Mannheim and Paris thanks to the likes of Carl Stamitz. Of these, only the Sinfonia Concertante for violin and viola survives in a completed version.

It stands out as one of Mozart’s most sublime compositions, with its majestic, jubilant, and sometimes humorous outer movements framing a second movement that seems to recall his mother’s passing.

In 1808, an arrangement for string sextet appeared, titled Grande Sestetto Concertante. No arranger is mentioned in the score, but whoever they are, they show unusual ingenuity in reallocating the two solo lines among the six players, transforming this showpiece for two into revelling for the whole ensemble.

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Illustrations to the Metamorphoses of Ovid: Mercury Rescuing Io from Argus. Drawing by Godfried Maes.

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AUSTRALIAN CHAMBER ORCHESTRA

Painted from music Miriam Cosic on word painting and the powerful intensity of musical transformations

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“Tipi refers to the first half of the program as a thoughtprovoking ‘degustation menu’. Following the turbulence of this first half, the return to Mozart’s grounded elegance and clear classical form in the second half is the ‘dessert’.”

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n music, word painting refers to those emotion-stirring lines that evoke the subject matter or the poetry on which the notes are based. These days, we might connect them more with popular music, those earworm-triggering songs that thump out anger or melt with love, but word painting has a long history.

The first four pieces of this program are all thematic: they are about love and death and sorrow, each evoked in the composer’s signature style. The Dowland and the Bach are quietly grounding and offer us musical resolution. The Wagner and the Strauss are the opposite: sweeping drama and experimentation in dissonance. Wagner’s famous “Tristan chord” is still heart-stopping.

In curating the program, Timo-Veikko ‘Tipi’ Valve aimed to make us listen to the music, really listen, and to this end he is making some unusual links and some unusual leaps. He is running the pieces in the first half together and, instead of ordering the works chronologically, he is alternating the eras. He has also chosen “transformations” – he dislikes the term “arrangement” – of the major pieces, written for only six or seven string-players. Both the Wagner, a prelude to an opera with full symphonic forces in the pit, and the Depiction of Tristan and Isolde (Death) by Spanish painter Rogelio de Egusquiza (1845–1915)

Strauss, originally written for a 23-piece chamber orchestra, are scaled down to their most essential inner workings.

“I would argue that, especially in the case of the Wagner and the Strauss, you are really getting to see the infrastructure and bare bones of the music much more clearly,” he says. “So the message should be more laser-like and therefore more understandable.”

For instance, he says, the Strauss becomes less of a shouting match and more of a conversation. “In the more commonly known version, you have 23 people on stage, some playing the same part on opposite sides of the stage, so it becomes a competition, a means of survival. Now that we’ve paired it back to the original seven voices, you can actually hear the conversation held in a normal voice.”

The plan across all four pieces is to give them a level playing field. When the dissonance of the Tristan chord follows immediately on from the comparatively naive simplicity of the Dowland, it’s like time travel, and the composers’ essential musical ideas and common musical language become clear. Tipi refers to the first half of the program as a thought-provoking “degustation menu”. Following the turbulence of this first half, the return to Mozart’s grounded elegance and clear classical form in the second half is the “dessert”.

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John Dowland was a lutenist and composer of the late English Renaissance.

Tipi calls him “the Bob Dylan of his day”.

His air, “Flow, My Teares”, was a hit and became his signature song. Lute songs were verse set to music, and composers aimed to convey both the story and the emotions through their score. Such was Dowland’s skill that his music rivalled the poetry in its beauty.

He wrote in the Italian declamatory style, which presents a contradiction: songs can be very pretty even while very sad. Dowland’s fame was only heightened by the publication in 1601 of Lachrimæ Antiquæ, or seven Teares.

unresolved dissonance, a word painting writ large, conveying fear and hesitation.

The unease evoked by the Tristan chord comes from it being unresolved: a harmonic suspension created by a series of unfinished cadences. Written in a minor key, it has an almost physiological effect on the listener, of suspense and longing and dread.

We crave its resolution – and the resolution doesn’t come. Or rather, it comes four hours later, when Isolde weeps over Tristan’s dead body in the equally famous music of the finale, the “Liebestod” (Love-death).

Wagner’s genius came not only

“I’m afraid the opera will be forbidden – unless the whole thing is turned into a parody by bad production – only mediocre performance can save me! Completely good ones are bound to drive people mad.”

– Richard Wagner “Flow, My Teares”, a typical combination of mournfulness and charm, is based on the falling tear motif: a descending line that evokes sadness and a sense of dismay and defeat. Is it because everything turns downwards when we’re sad, both metaphorically and physically?

We are downcast, our shoulders sag, the corners of our mouth drops. The falling tear motif is used in different note combinations throughout the piece.

Immediately following this sad but charming piece, without pause for breath, comes what Tipi calls the “shock” transition to Wagner, with his terrifying prelude to Tristan und Isolde. From Dowland’s quiet order, we segue to AUSTRALIAN CHAMBER ORCHESTRA

from his skill as a composer but as a dramatist as well. So many conventions of the opera theatre today – even the simple dramatic act, again creating expectancy, of turning down the lights before the music begins – began with him.

Wagner wrote both the music and the libretto for Tristan und Isolde. “Child!

This Tristan is turning into something fearful! That last act!!!” he wrote to his friend and muse, the poet Mathilde Wesendonck. “I’m afraid the opera will be forbidden – unless the whole thing is turned into a parody by bad production – only mediocre performance can save me! Completely good ones are bound to drive people mad.”

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Wagner was something of a selfdramatist. Bryan Magee, in his famous book, Aspects of Wagner, suggests that the many people who consider Wagner’s music to be “uniquely evil” can ground their argument in the way “it speaks with almost overpowering eloquence of incest wishes, and unrestrained eroticism, of hatred and malice, spite, anxiety, guilt, isolation, concealed menace, the whole dark side of life. Second, there is serious reason to believe that this may imperil the stability of some people...”

Others, of course, consider Wagner’s music to be uniquely beautiful. Certainly it continues to inspire composers to this day, particularly composers of film music, who have learnt his way of jerking our emotions to heighten the dramatic content of the plot. He composed Tristan und Isolde in the 1850s, based on a 12thcentury German romance that was one of many variations of the Tristan and Iseulte myth. Matthew Arnold wrote a narrative poem about it, too. Wagner was under the spell of the German philosopher Schopenhauer at the time, particularly his The World as Will and Representation.

In the operatic score of Tristan, the first foreboding chords work up almost to a frenzy in the prelude and the listener is tossed on stormy seas created by a symphonic orchestra in full flight. Imagine the Vienna Philharmonic playing it in the pit of the Vienna State Opera. The version here was originally scored for string sextet. The violinist Gidon Kremer called it “a brilliant piece of chamber music” and continued, “To explore Wagner’s score as colourful chamber music is a true voyage of discovery into a wonderland so well known to all of us.”

Top. Tristan and Iseult as depicted in The End of the Song by Edmund Leighton (1902) Above. German philosopher Arthur Schopenhauer in 1815. Portrait

by Ludwig Sigismund Ruhl.

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“We’re not trying to take anything away from the original; we’re just trying to look at the original in a new light, to examine minutely what already exists and what we already accept as amazing.”

– Timo-Veikko Valve Which is precisely Tipi’s intention. “I’m not saying the overture to Tristan und Isolde is ‘better’ like this,” he emphasises, “but if you listen to it in this setting you will probably understand it better. A lot of people say this is ludicrous. When we perform a string quartet as a string orchestra, one can say that you lose so much of the original. They’re missing the point. We’re not trying to take anything away from the original; we’re just trying to look at the original in a new light, to examine minutely what already exists and what we already accept as amazing.”

With Bach’s “Ricercar a 6” we’re back to traditional rigour and resolution. It is, Tipi says, music “not as illusion but as reality; perfectly in proportion”. The “Ricercar a 6” is part of Bach’s Musical Offering, a collection of fugues and canons based on a theme given to Bach

by Frederick II of Prussia, to whom it is dedicated. A ricercar is an elaborately contrapuntal piece in fugue or canon style typical of the Baroque period and the “Ricercar a 6” is considered the collection’s high point. The American musicologist Charles Rosen once wrote in The New York Times that, along with Bach’s The Art of Fugue, “the six-voice ricercar is among the greatest achievements of Western European civilization”.

Frederick set the bar high when he Frederick II (the Great), King of Prussia, aged 68

challenged Bach to turn his theme into a fugue for six voices. Although it was meant for the keyboard, it is often played with different instrumentations and in this version for string ensemble, the six voices are much easier to untangle.

With Strauss, we are plunged back into the troubled waters of post-industrial modernity: the dissonance, the irresolution, the alienation, the nostalgia for a golden past. The magnificent Metamorphosen was written for a 23-piece chamber orchestra – 10 violins, five violas, five cellos, and three double basses.

Here, we hear it in Rudolf Leopold’s pared-down adaption of Strauss’s original idea for seven string players. Tipi calls it “a perfect mess; abstract at a cellular level”. He says, “It’s an incredible feat of contrapuntal writing, and yet Strauss wouldn’t have been able to do it if Bach hadn’t done it before him.”

Strauss had already started work on this music, scoring it for string septet, but had left it on his work table, never finishing it. When a call came from Paul Sacher, the founder and director of the Kammerorchester Basel and the Collegium Musicum Zürich, asking him to write a larger piece, he took up the original material and started to expand and rework it.

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permission to travel to Switzerland. Sacher ignorance and anti-culture under and the conductor Karl Bohm finessed the greatest criminals, during which it, and he was able to conduct the final Germany’s 2000 years of cultural evolution rehearsal and attend the premiere that met its doom.” The author Alan Jefferson, Sacher conducted in January 1946. who connected the work to the bombing Several themes permeate of Munich and its famous opera house in Metamorphosen, including another the absence of any explanation by Strauss unsettling opening sequence and an himself, called Metamorphosen “possibly invocation of the funeral march from the saddest piece of music ever written”.

Beethoven’s Third Symphony, the Eroica.

The work is also connected to It was such a terrible time, for the world Strauss’s lifelong veneration of Goethe. and for Strauss himself. Musicologists Goethe’s worldliness and humanism wonder if it was a memorial for spoke to Strauss during this time of Germany, destroyed by the war: he upheaval, and he turned to Goethe’s wrote “in memoriam” on the score. poem, “Niemand wird sich selber kennen” Strauss is supposed to have started (No one can know himself), with, as work on the Sacher commission on Charles D. Youmans puts it in The Richard March 13, 1945, the day after the Strauss Companion, “it’s despairing verdict working sections of the Vienna Opera on the limits of human knowledge”. As House – the auditorium and stage, the he aged, Youmans continues, Strauss set and costume departments – were increasingly “saw himself as a Goethean burned down in Allied bombing. He figure, a lonely protector of a dying finished it a month later. A few days after tradition”. Not only is Metamorphosen that, his biographer, Michael Kennedy, not redemptive, as Youmans says, but notes, Strauss wrote in his diary, “The “only man’s most degenerate nature is most terrible period of human history is revealed”. Strauss’s Metamorphosen is the at an end, the 12-year reign of bestiality, Goethean spirit defeated, one might say.

“The author Alan Jefferson, who connected the work to the bombing of Munich and its famous opera house in the absence of any explanation by Strauss himself, called Metamorphosen ‘possibly the saddest piece of music ever written’.”

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“...word painting in music, once named, gives us a hook, a reason, for our emotions. And those images remain long after the final chord fades.”

Tipi is keen audiences don’t get too caught up in historical context or the arrangements of these scores, though both are unavoidable to a degree and explain the “word painting”. The Strauss arrangement goes in the opposite direction from the Bach, scaling down instead of up. Where the six voices of the Ricercar disentangle the immensely detailed contrapuntalism of the keyboard original, the reduction of the musical forces in Metamorphosen simplifies the work of listening.

Metamorphosen is written loosely in sonata form, its mood established from the very start in the tonic key C major undermined by shifts into C minor and E minor harmonies. The whole first section is tonally indeterminate and that suspension of order comes and goes throughout. Like Wagner, who also keeps us destabilised throughout, the finale is not a resolution at all: the sad minor key of C minor triumphs over sunny C major in one last invocation of the sombre movement of the Eroica.

The musicologist Timothy L. Jackson elaborated on the concept of “word paintings” as Strauss had them: he considered the “slippery harmonic relationships” of the work, which he called the Metamorphosenmotiv, alongside the elusiveness of Goethe’s unknowable self.

Strauss comes full circle to Dowland,

and to word painting. Suzanne M. Lodato, also writing in The Richard Strauss Companion, considers his Der Abend, the second of Zwei Gesänge (Two Songs), 16-voice a cappella choral pieces with similar indeterminacy to Metamorphosen: “The stunning beauty of Der Abend lies both in Schiller’s text in which the sunset is seen as the lovemaking of the gods, and Strauss’s delicate word painting. Indeed, it was both the word painting and the complex contrapuntal writing that caused one critic to compare Strauss’s style in this piece to that of the madrigal composers of the Renaissance.”

Although the human voices create a soft wash of sound and the string instruments are more articulated, similar could be said of Metamorphosen.

Since classical times, musicologists, music-lovers and psychologists have strained to understand music’s effect on our nervous system. More recently, neuroscientists have joined the inquiries.

Studies have observed physiological reactions in the heart, in the intestinal tract, in the air passage leading to the lungs. That is in addition to the tears, the quickened heartbeat, the chills we observe in ourselves. The Tristan chord and the deep rumination of Metamorphosen would have a physiological effect on us even if we didn’t know the composers’ inspiration.

Planting ideas in our mind’s eye beforehand, from the simplicity of a love lost to the destruction of total war, only heightens the intensity of that effect: word painting in music, once named, gives us a hook, a reason, for our emotions. And those images remain long after the final chord fades.

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A part AUSTRALIAN CHAMBER ORCHESTRA

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for the whole Dave Faulkner on the Grande Sestetto Concertante, after Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra, K.364

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T

he Grande Sestetto Concertante is a chamber music adaptation of Mozart’s celebrated Sinfonia Concertante for Violin, Viola and Orchestra, K.364. Originally published in 1808, 17 years after the composer’s death, this anonymous arrangement of Mozart’s masterpiece was lost for more than a century. Surprisingly, that was a fate that also befell Mozart’s brilliant original.

The sinfonia concertante form enjoyed a brief popularity during the Classical era, in the latter half of the 18th century.

Neither a symphony nor a concerto, but a hybrid of both, it features a group of soloists who would join in with the ensemble during the extensive orchestral passages. Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra was composed in Salzburg in 1779, when he was only 23. It is now considered by many to be his greatest composition for strings but, suddenly unfashionable, K.364 disappeared from concert halls until the beginning of the 20th century. The great English violist Lionel Tertis revived it in 1924, performing it for the first time in New York with legendary violinist Fritz Kreisler, and this extraordinary work finally began to receive its due.

Mozart’s Sinfonia Concertante might have been known by a handful of music scholars in 1924, but the Grande Sestetto Concertante transcription of it from 1808 AUSTRALIAN CHAMBER ORCHESTRA

was completely forgotten, and remained that way for another 10 years. In 1934, a copy of the 1808 edition was found by chance in an antiquarian bookshop in Vienna, by noted Ukrainian–American violinist and chamber music enthusiast Louis Krasner. He was visiting the city to commission a new work from Alban Berg, inspiring Berg to write his justifiably famous Violin Concerto as a result. Krasner’s trip thus resulted in two important additions to the classical musical canon, although the Grande Sestetto Concertante had to wait nearly another half century for its existence to become widely known. The score ended up in the hands of music historian Gunther Schuller and he republished it in 1981, also producing the first recording of it a few years later for his GM label.

Schuller’s importance in championing the Grande Sestetto Concertante can’t be overstated; however, the version being used by the Australian Chamber Orchestra for this program also bears the insight of a figure from the ACO's earliest years, the noted early music specialist and musicologist Christopher Hogwood.

Although Mozart had no hand in the transcription, its unknown author did a magnificent job in adapting Mozart’s complex score for string sextet, redistributing solo and orchestral parts evenly between the three pairs of

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“...the sharp focus and intimacy of the chamber version is a revelation in itself, highlighting Mozart’s brilliant powers of melodic invention and thematic development.”

violins, violas and cellos to create an exquisitely balanced chamber version.

“Yes, it is quite evenly distributed,” says ACO violist Nicole Divall. “It’s not two soloists with quartet accompaniment by any stretch of the imagination.”

Divall has performed the Sinfonia Concertante many times but this will be her first time playing the sextet version and she’s relishing the opportunity. “It’s just gorgeous, and fun … It works in the sextet, actually, because there’s a lightness that isn’t necessarily [present] in the full orchestra beefing away.”

Before the invention of radio and mechanical reproduction, there was a huge demand for chamber music versions of larger works and many major composers took up the challenge, frequently adapting their own works or those of other composers. For example, Mozart reputedly adapted several of Bach’s fugues, setting them for string trio. Composers sometimes did this for their own private enjoyment, but at other times it was so they could derive inspiration and gain firsthand knowledge of their musical predecessors.

Remarkably, the Grande Sestetto Concertante condenses the Sinfonia Concertante without sacrificing any of the original piece’s harmonic complexity.

Of course, there is a profound difference between the texture and dynamics that

Top. The title page of the printed parts, published by Chemische Druckerei Vienna in 1808. Above. Nicole Divall, ACO Violist.

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get a solo concerto out of Mozart, that can be achieved by a full orchestra we then have to share our one solo and what is possible by only six moment with a couple of cellos.” She instruments; however, the sharp focus complains, although she is also laughing: and intimacy of the chamber version is “It’s well-documented that viola was his a revelation in itself, highlighting favourite string instrument to play, so Mozart’s brilliant powers of melodic why we didn’t get a concerto I don’t invention and thematic development.

The first two movements of the Sinfonia know; but I guess he didn’t give them to cellists either. We get a glimpse.”

Concertante contain glorious cadenzas Some people will never be happy at for dual violin and viola. These are the hearing famous pieces stripped of their only examples of cadenzas known to orchestral luxuriousness, but for others it’s have been through-composed by Mozart himself, rather than left up to the ingenuity a chance to experience familiar music in a new, revealing light. Divall counts herself of the individual soloists, as was common among the latter. “I think the program is practice at the time. In the Grande such an interesting idea,” she said, “to Sestetto Concertante, Mozart’s cadenzas choose truly iconic, great works and see largely remain intact, although a solo what happens when you transform them.” cello replaces the solo viola in some I told Divall that I would even go so places. Accompaniment has been added far as to say that the third movement, in these passages so the entire sextet “Presto”, sounds even better as a sextet, is involved throughout the length of and she does not disagree: “Certainly the piece, which is a radical departure a movement like that, where it’s just full from Mozart’s original score. This may of high-spirited delight, it really springs be the most controversial aspect of off a sextet. I think that it works really the entire transcription, and, as a violist well … It’s a different animal, but I herself, Divall feels some pangs: “It think the great music wins through.” doesn’t seem fair, seeing as we didn’t

“Certainly a movement like that, where it’s just full of highspirited delight, it really springs off a sextet … It’s a different animal, but I think the great music wins through.”

– Nicole Divall

AUSTRALIAN CHAMBER ORCHESTRA

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

Canberra, Llewellyn Hall

Sally Walker Sat 8 Sep, 7.15pm Melbourne Recital Centre

Peter Clark Mon 10 Sep, 6.45pm Adelaide Town Hall

Kane Moroney Tue 11 Sep, 6.45pm Wollongong Town Hall

Liisa Pallandi Thu 13 Sep, 6.45pm City Recital Hall, Sydney

Liisa Pallandi Sat 15 Sep, 6.15pm Tue 18 Sep, 7.15pm Wed 19 Sep, 6.15pm Pre-concert speakers are subject to change.

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ACO Academy returns to Melbourne

ACO NEWS

Our flagship education program, ACO Academy, returned to Melbourne in July.

Twenty-nine school-age students from around Australia spent an intensive week in rehearsals and performances, alongside their ACO mentors.

The 2018 season continues.

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

Above. Soloist Benett Tsai

“I have just enjoyed this program so much overall and I would mostly like to thank Aiko and the other ACO mentors for making this a fantastic last year of ACO Academy for me. I really appreciated the care and effort they put in for all us to create an amazing program and concert.”

– Yasmin Omran, 2018 ACO Academy Participant

AUSTRALIAN CHAMBER ORCHESTRA

“I made some fantastic new friends and was given a reinforcement of why I love music - for the music itself, and for the exceedingly friendly and talented people that are often making it.”

– Noah Lawrence, 2018 ACO Academy Participant

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Coming Up...

SEP 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 The Hush Foundation.

SEP/OCT Ilya Gringolts Plays Paganini 30 September – 8 October Adelaide, Brisbane, Melbourne, Perth and Sydney Russian violin prodigy Ilya Gringolts directs the ACO through a virtuosic display featuring music by Vivaldi and Paganini.

NOV Tognetti’s Beethoven 8 – 21 November Adelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney Richard Tognetti directs our monumental season finale, featuring Beethoven’s Violin Concerto and Fifth Symphony.

OCT 2018 Barbican Residency 22 – 24 October London, England The first of three ACO seasons at London's Barbican Centre as International Associate Ensemble at Milton Court.

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Behind the scenes

Board

Learning & Engagement

Philanthropy

Guido Belgiorno-Nettis am

Tara Smith

Jill Colvin

Learning & Engagement Manager

Director of Philanthropy

Caitlin Gilmour

Lillian Armitage

Emerging Artists and Education Coordinator

Capital Campaign Manager

Stephanie Dillon

Events & Special Projects Manager

Chairman

Liz Lewin Deputy

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

Artistic Director

Assistant to the Learning & Engagement and Operations Teams

Sarah Morrisby

Finance

Yeehwan Yeoh

Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

Richard Tognetti ao

Market Development

Administrative Staff Executive Office

Antonia Farrugia

Richard Evans Managing Director

Alexandra Cameron-Fraser Chief Operating Officer

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

Claire Diment HR Manager

Tom Tansey

Director of Market Development

Caitlin Benetatos Communications Manager

Rory O’Maley Digital Marketing Manager

Christie Brewster Lead Creative

Cristina Maldonado

Philanthropy Manager Investor Relations Manager

Anna Booty Philanthropy Executive

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

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

By Mail PO Box R21, Royal Exchange NSW 1225 Australia

CRM and Marketing Executive

Telephone

Shane Choi Marketing Coordinator

(02) 8274 3800 Box Office 1800 444 444

Leigh Brezler

Email

Artistic Operations Luke Shaw Director of Artistic Operations

Director of Partnerships

Anna Melville

Penny Cooper

Artistic Administrator

Corporate Partnerships Manager

Lisa Mullineux

Camille Comtat

Tour Manager

Corporate Partnerships Executive

Ross Chapman

Kay-Yin Teoh

Touring & Production Coordinator

Nina Kang Travel Coordinator

Bernard Rofe Librarian

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

aco@aco.com.au

Web aco.com.au

Corporate Partnerships Administrator

Colin Taylor Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Mel Piu Box Office Assistant Christina Holland Office Administrator

Robin Hall Archival Administrator NATIONAL CONCERT SEASON 2018

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.

@pohoflowers www.poho.com.au

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Venue Support

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

MELBOURNE RECITAL CENTRE 31 Sturt Street, Southbank Victoria 3006 Telephone +613 9699 3333 Email mail@melbournerecital.com.au Web melbournerecital.com.au Kathryn Fagg Chair Euan Murdoch CEO

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

WOLLONGONG TOWN HALL Wollongong Town Hall is managed

by Merrigong Theatre Company Crown & Kembla Streets, Wollongong NSW 2500 PO Box 786, Wollongong NSW 2520 Telephone (02) 4224 5959 Email info@merrigong.com.au Web wollongongtownhall.com.au

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

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

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

Helena Rathbone

Core Chairs VIOLIN

CELLO

Glenn Christensen

Melissa Barnard

Terry Campbell ao & Christine Campbell

Dr & Mrs J Wenderoth

Aiko Goto

Julian Thompson

Anthony & Sharon Lee Foundation

The Grist & Stewart Families

Mark Ingwersen

Principal Violin Kate & Daryl Dixon

Prof Judyth Sachs & Julie Steiner

ACO Collective

Satu Vänskä

Liisa Pallandi The Melbourne Medical Syndicate

Pekka Kuusisto

Principal Violin Kay Bryan

Principal Viola peckvonhartel architects

Timo-Veikko Valve Principal Cello Peter Weiss ao

Maxime Bibeau Principal Double Bass Darin Cooper Foundation

Maja Savnik Alenka Tindale

Ike See

Artistic Director & Lead Violin Horsey Jameson Bird

Guest Chairs

Di Jameson

Brian Nixon

VIOLA

Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

Nicole Divall Ian Lansdown

Ripieno Viola Philip Bacon am

ACO Life Patrons IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman ao

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

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

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

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

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

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

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

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

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

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

ACO Mountain Producers’ Syndicate The ACO 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

NATIONAL CONCERT SEASON 2018

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

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

Patron Peter Weiss ao

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

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

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

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

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

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

Colin Golvan qc & Debbie Golvan Kerry Landman

Peter & Ruth McMullin Patterson Pearce Foundation

Sam Ricketson & Rosie Ayton

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

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

AUSTRALIAN CHAMBER ORCHESTRA

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

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

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Chairman’s Council The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis am Chairman, ACO

Mr Philip Bacon am Director, Philip Bacon Galleries

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

Mr Craig Caesar & Mrs Nerida Caesar Mr Michael & Mrs Helen Carapiet

Australian News Channel

Mr Martyn Myer ao

Mr Daniel Gauchat

Mr Aldo Nicotra

Principal, The Adelante Group

Mr Robert Gavshon & Mr Mark Rohald 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

Mr John Casella

Observant

Managing Director, Casella Family Brands (Peter Lehmann Wines)

Mr Andrew Low

Mr Michael Chaney ao

Mr David Mathlin

Chairman, Wesfarmers

Mr Matt Comyn Chief Executive Officer Commonwealth Bank

Ms Julianne Maxwell Mr Michael Maxwell Ms Naomi Milgrom ao

Mr Robin Crawford am & Mrs Judy Crawford

Ms Jan Minchin

Rowena Danziger am & Kenneth G. Coles am

Mr Jim & Mrs Averill Minto

Mr Doug & Mrs Robin Elix

Chief Executive Officer, Servcorp

Mr Bruce Fink Executive Chairman Executive Channel Holdings

Mr Angelos Frangopoulos

Director, Tolarno Galleries

Mr Alf Moufarrige ao Mr John P Mullen Chairman, Telstra

Chairman, Johnson Winter & Slattery

Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am 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 Ms Vanessa Wallace & Mr Alan Liddle Mr Rob & Mrs Jane Woods Mr Peter Yates am Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young

Chief Executive Officer

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

Program names as at 1 August 2018

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

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

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

Servcorp Jon & Caro Stewart Anthony Strachan Susan Thacore Alden Toevs & Judi Wolf Pamela Turner Shemara Wikramanayake Cameron Williams Anonymous (1)

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

Simon & Amanda Whiston Hamilton Wilson Anonymous (3)

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

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

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

Anne Tonkin Ngaire Turner Kay Vernon John & Susan Wardle Simon Watson Libby & Nick Wright Mark & Anna Yates Peter Yates am & Susan Yates Anonymous (23)

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

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National Patrons’ Program (continued) $500–$999 (Continued) Rob Hamer Jones Hamiltons Commercial Interiors Lesley Harland Sue Harvey Rohan Haslam Henfrey Family Dr Penny Herbert in memory of Dunstan Herbert Dr Marian Hill Charissa Ho Sue & David Hobbs Geoff Hogbin Peter & Edwina Holbeach Geoff & Denise Illing Steve & Sarah Johnston Caroline Jones Phillip Jones Agu Kantsler Bruce & Natalie Kellett Ruth Kelly Lionel & Judy King Peter & Katina Law Irene Ryan & Dean Letcher qc Megan Lowe Bronwyn & Andrew Lumsden Joan Lyons Geoffrey Massey Dr & Mrs Donald Maxwell Paddy McCrudden Pam & Ian McDougall J A McKernan Margaret A McNaughton Michelle Mitchell Justine Munsie & Rick Kalowski Nevarc Inc. Andrew Naylor J Norman Paul O’Donnell Robin Offler Mr Selwyn Owen S Packer Ian Penboss Helen Perlen Kevin Phillips Erika Pidcock Beverly & Ian Pryer

AUSTRALIAN CHAMBER ORCHESTRA

Jennifer Rankin Michael Read Joanna Renkin & Geoffrey Hansen Alexandra Ridout Prof. Graham & Felicity Rigby Jakob Vujcic & Lucy Robb Vujcic Jennifer Royle Scott Saunders Garry Scarf & Morgie Blaxill Marysia Segan Jan Seppelt Jenny Senior & Jenny McGee David & Daniela Shannon Agnes Sinclair Ann & Quinn Sloan Ken Smith Michael Southwell Brian Stagoll Patricia Stebbens Ross Steele AM Cheri Stevenson Nigel Stoke C A Scala & D B Studdy Dr Douglas Sturkey cvo am In memory of Dr Aubrey Sweet Team Schmoopy Dr Niv & Mrs Joanne Tadmore Gabrielle Tagg Susan & Yasuo Takao C Thomson TWF See & Lee Chartered Accountants Visionads Pty Ltd Oliver Walton Joy Wearne GC & R Weir Westpac Group Harley & Penelope Whitcombe James Williamson Sally Willis Janie Wittey Lee Wright Gina Yazbek Joyce Yong LiLing Zheng Anonymous (37)

51

ACO Government Partners We thank our Government Partners for their generous support

The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

The ACO is supported by the NSW Government through Create NSW.

ACO Committees Sydney Development Committee Heather Ridout ao (Chair)

John Kench

Mark Stanbridge

Chair Australian Super

Jason Li

Partner Ashurst

Chairman Vantage Group Asia

Guido Belgiorno-Nettis am Chairman ACO

Alden Toevs

Jennie Orchard Peter Shorthouse

Gauri Bhalla

Senior Partner Crestone Wealth Management

CEO Curious Collective

Melbourne Development Council Martyn Myer ao (Chair)

Colin Golvan qc

Chairman, Cogslate Ltd President, The Myer Foundation

James Ostroburski

Ken Smith CEO & Dean ANZSOG

CEO Kooyong Group

Susan Thacore

Rachel Peck Principal peckvonhartel architects

Deputy Chairman Myer Family Investments Ltd & Director, AIA Ltd

Morwenna Collett

Alexandra Cameron-Fraser

Dean Watson

Director Major Performing Arts Projects Australia Council for the Arts

Chief Operating Officer, ACO

Customer Relations & Access Manager, ACO

Peter McMullin (Deputy Chair) Chairman McMullin Group

David Abela

Peter Yates am

Managing Director 3 Degrees Marketing

Disability Advisory Committee

Event Committees Brisbane

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

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

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

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

NATIONAL CONCERT SEASON 2018

52

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

ILYA GRINGOLTS PLAYS PAGANINI 30 SEP – 8 OCT Melbourne, Adelaide, Perth, Sydney, Brisbane

Russian violin sensation Ilya Gringolts directs the ACO in a virtuosic display featuring Paganini’s First Violin Concerto and Vivaldi’s Concerto for Violin and 2 Cellos in C major.

Ilya Gringolts Guest Director & Violin Timo-Veikko Valve Cello Julian Thompson Cello

“Where we were once content to marvel at the pyrotechnics, now, because of Gringolts, we hear the music.”

– GRAMOPHONE

Tickets from $49* *Booking fee of $7.50 applies. Prices vary according to venue and reserve.

BOOKINGS

aco.com.au | 1800 444 444

NATIONAL TOUR PARTNER

GOVERNMENT PARTNERS

PRINCIPAL PARTNER

2019 A NEW LIGHT

Richard Tognetti Artistic Director

Subscriptions now on sale.

DISCOVER THE FULL SEASON

aco.com.au/2019

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