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FRI 28 MARCH - SAT 5 APRIL 2014HOBARTBAROQUE.COM.AU

BY GEORGE FRIDERIC HANDELDIRECT FROM GLIMMERGLASS FESTIVAL, NEW YORK

IN HER ONLY AUSTRALIAN APPEARANCE WITH ORCHESTRA

WITH ORCHESTRA OF THE ANTIPODES

WITH LATITUDE 37

ORLANDO

JULIA LEZHNEVAXAVIER SABATAOTTOMAN BANQUET @ MONA

TOWN HALL SERIES

AND THE 5X5X5@5 SERIES

Hobart Baroque is supported by the Tasmanian Government through Events Tasmania.

TIMO-VEIKKO VALVE

DUALLING HARPSICHORDS

SMARO GREGORIADOU

ENSEMBLE HOBART BAROQUE

LATITUDE 37

HOBART BAROQUE

The romance is back

Proud Principal Partner of the Australian Chamber Orchestra.

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I N S P I R E T H E N E X T G E N E R A T I O N O F M U S I C I A N SI have a wonderful sense of pride that our National Education Programs have grown exponentially since they began eight years ago. Thanks to our patrons we are cultivating the musical development of young Australians.

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It is my vision to continue delivering these vastly important programs across the country, introducing more young people to the joys and benefits of music.

Please join us in supporting our National Education Programs.

Richard Tognetti AOArtistic Director

ACO Academy student, ©Fiora Sacco

ABOUT THE MUSIC

Concepts including freedom, simplicity, man’s place in nature and mysticism underpin the thematic writing throughout this program, with works by Australian composer Brenton Broadstock, Swedish composer Göran Fröst, as well as lauded Finnish composer Einojuhani Rautavaara, expressing and exploring these aspects of the human experience.

Th e program is anchored by Mozart works from diff erent points in his life: his rarely performed Symphony No.21, written when he was just 16 and still carving a career for himself throughout Europe, and his Clarinet Concerto, written 19 years after the Symphony, and in the fi nal months of his life. While the Clarinet Concerto remains a pinnacle of the repertoire, the Symphony belongs to a set of works written when the 16-year-old composer was in Salzburg, and throughout, presents brilliantly innovative yet understated musical ideas the young composer was exploring.

We welcome back Martin Fröst, one of this generation’s most exciting and dynamic artists, performing the Mozart concerto on the basset clarinet, the instrument for which the concerto was originally written. Some in the audience will recall Martin’s previous performance with the ACO in 2011, which included a choreographed performance of Peacock Tales by Anders Hillborg. On this tour Martin continues championing and exploring possibilities of choreography alongside performance in concert, with the Australian premiere of his brother Göran Fröst’s DTangled.

ACO principal violinist Satu Vänskä is leading these performances, and is featured soloist in the virtuosic Paganini Caprice No.9, as realised through the compositional lens of the Soviet, Denisov. Satu will also step into the role of heroine in the imaginary musical journey through nature, shared through these premiere performances of Brenton Broadstock’s Never Truly Lost.

TOUR NINEMOZARTCLARINET CONCERTOSATU VÄNSKÄ Lead Violin MARTIN FRÖST Clarinet

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

Einojuhani RAUTAVAARA A Finnish Myth

DENISOV Five Paganini Caprices: Caprice No.9

Göran FRÖST DTangled [AUSTRALIAN PREMIERE]

MOZART Symphony No.21 in A, K.134

INTERVAL

Brenton BROADSTOCK Never Truly Lost* [WORLD PREMIERE]

MOZART Clarinet Concerto in A, K.622

Approximate durations (minutes):6 – 3 – 10 – 20 – INTERVAL – 11 – 25

Th e concert will last approximately one hour and 45 minutes including a 20-minute interval.

NEWCASTLECity HallTh u 14 Nov 7.30pm

CANBERRALlewellyn Hall, ANUSat 16 Nov 8pm

MELBOURNEHamer HallSun 17 Nov 2.30pmMon 18 Nov 8pm

SYDNEYCity Recital Hall Angel PlaceTue 19 Nov 8pmWed 20 Nov 7pmFri 22 Nov 1.30pmSat 23 Nov 7pmOpera HouseSun 24 Nov 2pm

*Brenton Broadstock’s Never Truly Lost has been commissioned by Rob & Nancy Pallin for Rob’s 70th birthday, in memory of Rob’s father, Paddy Pallin.

2 AUSTRALIAN CHAMBER ORCHESTRA

Martin Fröst left an indelible impression on audiences and ACO musicians on his debut Australian tour in 2011. Since then we have released an acclaimed recording with him (Copland and Hillborg concertos), performed with him at Amsterdam’s Concertgebouw and Vienna’s Musikverein, and we now are excited to welcome him back to Australia to perform the Mozart Clarinet Concerto with the ACO in Canberra, Melbourne, Newcastle and Sydney.

Martin’s extraordinary musicianship is matched by his fearless exploration of new repertoire which extends him as a performer. On his last Australian tour, his masked and choreographed performance of Hillborg’s Peacock Tales stunned audiences and on this tour he debuts a new work by his brother Göran in which mime and marionette meet virtuoso instrumentalist.

While Satu Vänskä is directing this program from the ACO’s Stradivarius violin, Richard Tognetti is preparing an intensive program of Bach’s music to be performed next month in Brisbane, Canberra, Melbourne and Sydney, including the Brandenburg Concertos and the Christmas Oratorio. Th e ACO’s incredibly busy 2013 season ends on 19 December in Melbourne, after which a vat of mulled wine will be well earned!

MESSAGE FROM THE GENERAL MANAGER

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ACO ON THE RADIO

ABC CLASSIC FM:

Mozart Clarinet Concerto

Wed 20 November, 7pm EST

Brandenburg ConcertosWed 4 December, 8pm

Christmas OratorioThu 19 December, 6.30pm

UPCOMING TOURS

Brandenburg Concertos3 — 8 December

Christmas Oratorio15 — 19 December

FREE PROGRAMSTo save trees and money, we ask that you please share one program between two people where possible.

PRE-CONCERT TALKSFree talks about the concert take place 45 minutes before the start of every concert at the venue.

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA 3

RAUTAVAARAA Finnish Myth(Composed 1977)

BACKGROUNDBorn in Helsinki in 1928, Einojuhani Rautavaara studied musicology at Helsinki University and composition at the Sibelius Academy, where he became a student of Aarre Merikanto. In 1953, while still a student, he wrote his remarkable A Requiem in Our Time, a Stravinsky-infl uenced neoclassical work for brass and percussion that won him both the 1954 Th or Johnson competition and the attention of Finnish composer-godfather Jean Sibelius. Th at attention paid off the following year when, in honour of the great composer’s 90th birthday, the Koussevitzy Foundation empowered Sibelius to select a young Finnish composer to study on scholarship in the United States. Sibelius chose Rautavaara, who consequently spent the next two years in America, studying with Vincent Persichetti at Juilliard and with Roger Sessions and Aaron Copland at Tanglewood. Rautavaara has been active and prolifi c ever since, composing eight symphonies and numerous smaller orchestral works, more than a half-dozen concertos, plentiful chamber music, choral works, and four operas.

ABOUT THE MUSICLike Sibelius before him, Rautavaara writes music that combines the modern with the traditional, the intellectual with the Romantic, and incorporates powerful themes of nature, mysticism, and legend, especially those of his native land. Th e brief 1977 work A Finnish Myth, for string orchestra, illustrates all of these characteristics. ‘Folk music and Finnishness – however one wants to defi ne it – have plainly been one of the stable, ongoing themes of my musical language throughout the diff erent stylistic periods of my work,’ Rautavaara writes, citing A Finnish Myth as a good example. ‘In other respects, this little piece illustrates the preoccupations which were important to me at that time: clusters, textural fi elds, and symmetries of various kinds.’

JAY GOODWIN © 2013

A leading Finnish composer since the early 1950s, Rautavaara was championed in his youth by Jean Sibelius. His eclectic and unique writing eschews dogma and incorporates infl uences from across genres and time periods to create music of immediate intellectual and aural appeal.

Einojuhani RAUTAVAARA(b. 1928, Helsinki)

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Further listening

Conductor Juha Kangas and the Ostrobothnian Chamber Orchestra recorded Rautavaara’s A Finnish Myth (Ondine).


A post-Stalin Soviet Union composer and ideologue, Denisov studied and assimilated the techniques of the world’s leading avant-garde composers acting as a bridge in both directions between Western music and music from behind the Iron Curtain.

Edison DENISOV(b. 1928, Tomsk, Russia — d. 1996, Paris)

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DENISOVFive Paganini Caprices: Caprice No.9(Composed 1985)

BACKGROUNDEdison Denisov, whose infl uence as teacher and ideologue was as great or greater than his impact as a composer, came to music late, having no interest until a chance encounter with a mandolinist neighbour as a teenager. After fi ve years of study at the Tomsk Music School, he was encouraged to continue on his musical path by Shostakovich, who convinced him to pursue further studies at the Moscow Conservatory. Following his graduation, Denisov became one of the most fearless musical fi gures of the post-Stalin Soviet Union, undertaking in-depth surveys and analyses of the work of the world’s leading avant-garde composers, past and present, including Stravinsky, Schoenberg, Webern, Berg, Nono, Stockhausen, Lutoslawski, Bartók, and Hindemith, all of whom, of course, were censured by the government. In addition to assimilating those composers’ techniques into his own music, he made his research and the original works available to fellow composers and students, encouraging them to do the same. He also acted as an artistic conduit in the opposite direction, introducing the work of the USSR’s best composers to the West, most notably that of Alfred Schnittke and Sofi a Gubaidulina.

ABOUT THE MUSICDating from 1985, the Five Paganini Caprices are just one link in a long chain of compositions inspired by the legendary 19th-century violinist-composer’s brilliantly virtuosic solo works, which already boasted re-imaginations by Brahms and Rachmaninoff among many others. Denisov’s versions set the original violin parts above dusky, swirling accompaniments for string orchestra that explore and accentuate the many possible harmonic implications of Paganini’s work and showcase Denisov’s textural and formal inventiveness.

JAY GOODWIN © 2013

Further listening

The Denisov Paganini Caprices have been recorded by I Musici de Montreal conducted by Yuri Turovsky and featuring violinist Stepan Arman (Chandos).


FRÖSTDTangledAUSTRALIAN PREMIERE

(Composed 2013)

BACKGROUNDIn addition to his work as a composer and orchestrator, Göran Fröst is principal violist of the BBC National Orchestra of Wales. He began writing his own music in 2007, and his brother Martin, one of the world’s leading clarinet soloists, has been a source of inspiration and collaborator on several works, including Th ree Klezmer Dances and arrangements of Brahms’ Hungarian Dances.

ABOUT THE MUSICDTangled, a spectacular and innovative work that combines music and choreography, harnesses Martin’s remarkable combination of talents, calling for him to play, sing, dance, and conduct.

Th e composer writes:From a single spark light is lit. In a single moment time begins. In a single breath freedom lives, air is bent, the note is sung, the movement starts. In one single thought your idea is born.

DTangled was born out of an idea to create a fusion between music and movement on the classical music scene. Th e music speaks of humanity’s longing for freedom and simplicity. Th e setting for conducting clarinetist and orchestra points in a new direction, introducing the new concept of ‘conducting choreography.’ Within the piece there is a will to ‘DFormalize’ classical performance and ‘DCrypt’ the code of a newborn form of making music on stage. One solo cello will begin it all on a D.

JAY GOODWIN © 2013

One of Scandinavia’s fi nest violists and a composer since 2007, Göran Fröst and his brother, clarinettist Martin Fröst, have developed conducting choreography, a new form of performance in which a soloist plays and conducts through choreographed movement.

Göran FRÖST(b. 1974, Sweden)


Wolfgang Amadeus MOZART(b. 1756, Salzburg — d. 1791, Vienna)

Mozart, one of history’s most gifted child prodigies, developed into one of history’s greatest composers, mastering virtually every compositional genre of his time despite only living to age 35. He is recognised as a quintessential Classical composer and one of music’s great innovators.

MOZARTSymphony No.21 in A, K.134(Composed 1772) I. Allegro II. Andante III. Menuetto IV. Allegro

BACKGROUNDDuring the early 1770s, Mozart, then in his mid-teens, was outgrowing his label as a child prodigy. Th ough he could still dazzle audiences with his amazing skill at the keyboard and on the violin, he was beginning to receive recognition instead as an emerging composer. Despite this change of emphasis, however, Mozart’s father, Leopold, was no less dedicated to dragging the young Wolfgang across the whole of Europe to showcase his talents for the rich, famous, and infl uential – a process that had been ongoing for almost a decade. From 1770 to 1773, Leopold’s focus was on Italy, and so the Mozarts journeyed south from their native Salzburg three separate times during those years, visiting Turin, Verona, Mantua, Milan, Lodi, Parma, Bologna, Florence, Rome and many of the countless smaller towns in between that boasted an aristocratic soul with a passing interest in music.

All of this travelling would have been impossible however, without Leopold’s and Wolfgang’s salaries from their positions as court musicians in Salzburg, so each time they returned home, much productivity was expected to make up for their extended absences.

ABOUT THE MUSICA case in point, Mozart’s Symphony No.21, K.134, was composed in Salzburg in August 1772 – between the second and third Italian trips – and is the last in a series of eight symphonies composed during that summer which marked the beginning of a burst of symphonic production from the 16-year-old composer that would result in some 30 new works over the next fi ve years. Th e symphonies from this period also display Mozart’s fast-growing sophistication and ambition, evident in his emerging preference for the more rigorous, four-movement Austro-German style of symphonic writing rather than the comparatively lighter, more capricious, three-movement Italianate one.

Calling for a small orchestra of two fl utes (rather than the traditional oboes), two horns, and strings, the Symphony No.21 is a highly accomplished and thoroughly enjoyable piece that, sadly, has not achieved a frequency of performance to


match its praise from critics and scholars. Th e four movements of this work, which musicologist Stanley Sadie considers ‘among Mozart’s most closely argued,’ are strongly linked, and each is unusual for this composer in its thematic focus, largely concentrating on exploring the possibilities of a single musical idea. It also is remarkable for its intensity and breadth of expression, which at times sounds like a distant relative to Haydn’s so-called ‘Sturm und Drang’ style. Th is new aspect in Mozart’s work is described by the composer’s early and most comprehensive biographer Hermann Ebert as a ‘Romantic element,’ which ‘in this particular creation of the young fi reball…fi nds an expression in a mixture of inward rapture, bizarre whimsy, and impassioned outbursts that storm the very portals of heaven.’

JAY GOODWIN © 2013

Further listening

The Symphony has been recorded as part of a complete cycle of Mozart Symphonies with the Academy of Ancient Music, conducted by Christopher Hogwood (L’oiseau Lyre)

Generally translated as ‘Storm and Stress’, Sturm und Drang was an artistic movement in the 18th century, which is most easily defi ned by its artistic aims: to frighten, to stun and to overcome with emotion.

BROADSTOCK Never Truly LostWORLD PREMIERE

(Composed 2013)

BACKGROUNDBrenton Broadstock was born in Melbourne, studied at Monash University and subsequently enrolled in composition study at Memphis State University with Donald Freund and with Peter Sculthorpe at the University of Sydney. He began teaching at the University of Melbourne in 1982, becoming head of composition in 1990. His Tuba Concerto (1985) won the 1987 Hambacher Preis and after his 1988 residency with the Melbourne Symphony Orchestra he emerged as one of Australia’s most recorded and performed composers. Known for an increasingly lyrical style, Brenton’s music explores themes of personal anguish (Symphony No.1 Towards the Shining Light), environmental concerns (Deserts Bloom … Lakes Die), and vivid literary images (Symphony No.5 Born from Good Angel’s Tears).

‘As a human being, I believe that I have a moral obligation to do what I can to improve the society I live in,’ wrote Brenton Broadstock in 1992. ‘Th e corollary of this, as a human being who is predominantly involved in the artistic expression of music composition, is that I am morally obliged to improve society through my art.’ Th is socially-active compositional philosophy is readily apparent in Broadstock’s works, many of which directly confront or allude to a variety of the world’s ills, most notably the destruction of specifi c natural environments as well as of the world’s ecosystem at large. Th ough not decrying a particular abuse or advocating for a

Prolifi c and driven by idealism, Australian composer Brenton Broadstock takes a socially active approach to his work, writing orchestral, chamber, vocal and fi lm music that seeks to fulfi ll what he describes as his moral obligation to ‘improve society through my art’.

Brenton BROADSTOCK (b. 1952, Melbourne)


Mozart, 1789

MOZARTClarinet Concerto in A, K.622(Composed 1791) I. Allegro II. Adagio III. Rondo

BACKGROUNDTh e Clarinet Concerto dates from the last months of Mozart’s life and stands as the last purely instrumental work the composer produced; only the unfi nished Requiem and Laut verkünde unsre Freude, K.623, (known as the Little Masonic Cantata), received the composer’s attention between the completion of the concerto in October 1791 and his sudden death on December 5. Like almost all of his late music for

Solfege: A term dating from the late 18th century, solfege is the singing of scales, intervals and melodic exercises to syllables, generally used in the teaching of basic music skills. Solfege is best exemplifi ed by the song ‘Do Re Mi’ in the 1965 fi lm The Sound of Music.

particular cause, the new work Never Truly Lost dovetails with this theme by portraying the beauty of nature – and the value of our relationship to it – that is so desperately at risk.

ABOUT THE MUSICTh e composer writes:Never Truly Lost is dedicated to Robert and Nancy Pallin and was commissioned to celebrate Robert’s 70th birthday. It is in memory of Robert’s father, Paddy Pallin. Th e title comes from the book of the same name by Paddy Pallin and is prefaced by this quote: ‘You are only lost when you don’t know where you are or you don’t know where to go to safety. So I’ve never been truly lost, but I’ve sometimes been somewhat bewildered.’Never Truly Lost is a journey through an imaginary landscape, an imaginary ‘bush walk.’ Th e solo violin is the walker, going through an ever changing scenery, sometimes enjoying the walk and at other times battling the rugged bushland and the elements, sitting under a scintillating night sky, fording a turbulent Alpine stream or just immersed in the wonder of the natural environment.It is not a programmatic piece but allows the listener to create their own imaginary journey. Th e solo violin plays a melody throughout, fi rst heard about 2.5 minutes into the piece. Its pitches are derived from Robert’s name. So, “Robert” is: R = D (using solfege), (O is not used), B = B, E = E, R = D, T = B (using solfege).Th is melody is used in many ways and heard played by all the instruments at various times. Sometimes it is clear and sometimes it is hidden, but it always returns in a new guise or in a diff erent environment. It is never lost!

BRENTON BROADSTOCK © 2013

Further listening

As a sampling of Brenton’s other works for orchestra, the Tasmanian Symphony Orchestra has recorded an entire disc of Brenton Broadstock’s music, available from ABC Classics.


Anton Stadler: silhouette

clarinet, Mozart’s concerto was inspired by and written for the virtuoso Anton Stadler, a slightly seedy character and a close – if unreliable – friend of Mozart’s, who shared the composer’s love of food, drink, and (to the dismay of Mozart’s family) gambling. Stadler’s artistry, however, won universal approval and acclaim, sometimes rhapsodically so: ‘Never have I heard the like of what you contrive with your instrument,’ wrote critic Johann Friedrich Schink. ‘Never should I have imagined that a clarinet might be capable of imitating the human voice as faithfully as it was imitated by you. Verily, your instrument has so soft and so lovely a tone that none can resist it who has a heart, and I have one, dear Virtuoso. Let me thank you!’.To complement his prodigious talents and advance the development of his instrument, Stadler developed a clarinet with an extended lower register, completing its deepest octave by adding length and extra keys. Th ough he didn’t have a special name for it (presumably hoping that it would simply become the standard clarinet), it is now referred to as a ‘basset clarinet.’ It was for this extended instrument that Mozart wrote his concerto. Unfortunately, the original manuscript was lost soon after its completion, and so the version known to audiences ever since is a slightly adjusted transcription for standard clarinet, made by publishers in the years following Mozart’s death. In the last 50 years or so, scholars and performers have attempted to reconstruct the original version, but none of these has gained much traction. Barring a new manuscript discovery, the version for standard clarinet will continue its primacy however Martin Fröst will perform the concerto on the basset clarinet for these performances with the ACO.

ABOUT THE MUSICMozart prudently scored his concerto for an orchestra with a full assortment of strings but a wind section of just two bassoons and two horns, sparing the solo clarinet any competition from instruments with a similar timbre. Or perhaps timbres would be more accurate, as the clarinet’s greatest strength is its wide range, each register of which has a distinct and striking voice. Mozart took full advantage of this timbral abundance, including extended sections to showcase each of them – from the crystalline upper register to the husky resonance of the deepest – as well as passages that emphasise the contrast by requiring the soloist to quickly jump between registers. Th e concerto is also a tribute to the clarinet’s and Mozart’s lyric abilities. Judging from Schink’s praise of Stadler’s voice-like playing, this work was perfectly designed for its intended soloist; at times, its ravishing music sounds like it was written for orchestra and voice – if that voice somehow had the combined range of a baritone, tenor, mezzo-soprano, and soprano.

JAY GOODWIN © 2013

Further listening

Martin Fröst is featured in two recordings of the Mozart Concerto, most recently with the Deutsche Kammerphilharmonie Bremen as soloist and director (BIS).


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ay Satu Vänskä was appointed Assistant Leader of the Australian Chamber Orchestra in 2004. Satu was born to a Finnish family in Japan where she took her fi rst violin lessons at the age of three. Her family moved back to Finland in 1989 and she continued her studies with Pertti Sutinen at the Lahti Conservatorium and the Sibelius Academy. From 1997 Satu was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich where she fi nished her diploma in 2001.

In 1998 Sinfonia Lahti named her Young Soloist of the Year. In 2000 she was a prize winner of the Deutsche Stiftung Musikleben and from 2001 she played under the auspices of the Live Music Now Foundation founded by Lord Yehudi Menuhin which gave her the opportunity to perform with musicians like Radu Lupu and Heinrich Schiff .

Satu performs regularly as guest director and soloist with the ACO, and features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor. An ardent chamber musician, Satu was presented in recital in July 2012 by the Sydney Opera House as part of their Utzon Music Series.

Satu plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund.

Chair sponsored by Kay Bryan.

aco.com.au/satu_vanska

SATU VÄNSKÄVIOLIN


MARTIN FRÖSTCLARINET

In May 2014 Martin Fröst will be presented with the Léonie Sonning Music Prize, which is now recognised as one of the world’s longest standing and highest musical honours. He is the fi rst clarinettist to be chosen for the award.

Autumn 2013 sees the release on BIS of an all Mozart CD – Clarinet Concerto, in which he directs Th e Deutsche Kammerphilharmonie Bremen, the Kegelstatt Trio with Leif Ove Andsnes and Antoine Tamestit and the Allegro in B fl at with Janine Jansen, Boris Brovtsyn, Maxim Rysanov and Torleif Th edéen. Fröst also performs the Mozart Concerto in his debuts with the Gewandhausorchester Leipzig (Sir Roger Norrington), Rundfunk-Sinfonieorchester Berlin (Stanisław Skrowaczewski), Orpheus Chamber Orchestra at Carnegie Hall, and Bamberg Symphony Orchestra (Jonathan Nott). On tour, he performs the concerto with the Gewandhausorchester Leipzig (Riccardo Chailly), Camerata Salzburg (Louis Langrée), Academy of St Martin in the Fields and the Swedish Chamber Orchestra (Th omas Dausgaard).

Other upcoming highlights include Fröst’s debuts with the Royal Concertgebouw Orchestra, Orchestre National de France, Bamberg Symphony Orchestra, Tonhalle-Orchester Zürich, Orchestre de la Suisse Romande, Luzerner Sinfonieorchester, Cincinnati Symphony, Houston Symphony and Washington’s National Symphony Orchestra. He will also be Artist in Residence at the Gothenburg Symphony, Amsterdam’s Concertgebouw and London’s Wigmore Hall.

A keen recitalist and chamber musician, appearances in 2013/14 include a series of concerts with Marc-André Hamelin and Anthony Marwood, with performances in Boston, San Francisco, and London’s Wigmore Hall.

2014 marks the 10th season of Vinterfest in Mora, Sweden, of which Fröst is Artistic Director. He also holds the post of Artistic Director of the International Chamber Music Festival in Stavanger, Norway.

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AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN

ACO Musicians

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Rebecca Chan Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Alexandru-Mihai Bota Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.

Founded in 1975, this string orchestra comprises leading Australian and international musicians. Th e Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig.

Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised.

Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello on loan from Peter Weiss ao and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor.

Th e ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Award-winning Bach recordings, multi-award-winning documentary fi lm Musica Surfi ca and the complete set of Mozart Violin Concertos.

Th e ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall.

In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.

aco.com.au

Th e Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Th e Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.


MUSICIANS ON STAGE Photos: Paul Henderson-Kelly, Helen White

≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao.# Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andreæ cello kindly on loan from the Australia Council.✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from private Australian benefactors.

MARK INGWERSENViolin

AIKO GOTOViolinChair sponsored by Anthony & Sharon Lee

SATU VÄNSKÄ≈

Principal ViolinChair sponsored by Kay Bryan

REBECCA CHANViolinChair sponsored by Ian Wallace & Kay Freedman

TIMOVEIKKO VALVE❖

Principal CelloChair sponsored by Peter Weiss ao

JULIAN THOMPSON#Cello Chair sponsored by Th e Clayton Family

MELISSA BARNARDCello Chair sponsored by Bruce & Joy Reid Foundation

MAXIME BIBEAU✩

Principal BassChair sponsored by John Taberner & Grant Lang

Players dressed by AKIRA ISOGAWA

Violin

CAMERON HILLSHAUN LEECHEN 1LACHLAN O’DONNELLLIISA PALLANDIViola

CERIDWEN DAVIES

Flute

LLOYD HUDSON 2KATIE ZAGORSKI Bassoon

ANDREW BARNES 3MELISSA WOODROFFE Horn

JOŽE ROŠER 4JENNA BREEN

1 Courtesy of West Australian Symphony Orchestra

2 Courtesy of Tasmanian Symphony Orchestra

3 Courtesy of Sydney Conservatorium of Music, University of Sydney

4 Courtesy of Slovenian Philharmonic Orchestra

ILYA ISAKOVICHViolinChair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

ALEXANDRUMIHAI BOTAViola Chair sponsored by Philip Bacon AM

CHRISTOPHER MOOREPrincipal ViolaChair sponsored by peckvonhartel architects

VERONIQUE SERRETViolin


EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General ManagerJoseph NizetiExecutive Assistant to Mr Calnin and Mr Tognetti AO

ARTISTIC & OPERATIONSLuke ShawHead of Operations & Artistic Planning Alan J. BensonArtistic AdministratorMegan RussellTour ManagerLisa MullineuxAssistant Tour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian/Music TechnologyAssistantBernard RofeAssistant Librarian

EDUCATIONPhillippa MartinActing Education & Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCECathy Davey Chief Financial Offi cerSteve Davidson Corporate Services ManagerRachel O’BrienAccountantShyleja PaulAssistant Accountant

DEVELOPMENTJill ColvinActing Development ManagerRebecca NoonanCorporate Relations ManagerAlexandra Cameron-FraserPublic Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveRetha HowardPatrons & Foundations ManagerAli BrosnanPatrons & FoundationsExecutiveSally CrawfordDevelopment Coordinator

MARKETINGRosie RotheryMarketing ManagerAmy GoodhewMarketing CoordinatorClare MorganNational PublicistJack SaltmirasDigital Content & Publicity CoordinatorChris Griffi thBox Offi ce ManagerDean WatsonCustomer Relations ManagerPoppy BurnettBox Offi ce & CRM DatabaseAssistantChristina HollandOffi ce Administrator

INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestJohn BorghettiLiz CacciottoloChris Froggatt

Janet Holmes à Court acJohn GrillHeather Ridout ao

Andrew StevensJohn TabernerPeter Yates am

ACO BEHIND THE SCENES BOARDGuido Belgiorno-Nettis am Chairman Angus James Deputy

Richard Tognetti ao Artistic Director

ACKNOWLEDGEMENTS

VENUE SUPPORT

We are also indebted to the following organisations for their support:

PO Box 7585St Kilda Road Melbourne Victoria 8004Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMr Tom Harley (President)Ms Deborah Beale, Mr Sandy Clark,Mr Julian Clarke, Ms Catherine McClements,Mr Graham Smorgon am, Mr David Vigo

ARTS CENTRE MELBOURNE FOUNDATIONBOARD OF GOVERNORSMr Sandy Clark ChairmanMr John Haddad ao Emeritus ChairmanMiss Betty Amsden oam, Mrs Debbie Dadon, Mr John Denton, Mr Carrillo Gantner ao,Mr Tom Harley, Ms Dana Hlavacek,Mrs Mem Kirby oam, Mrs Jennifer Prescott

EXECUTIVE GROUPMs Judith Isherwood Chief ExecutiveMs Jodie Bennett Executive Corporate Services (CFO)Mr Tim Brinkman Executive Performing ArtsMs Louise Georgeson General Manager – Development,Corporate Communications & Special EventsMs Sarah Hunt General Manager, Marketing &Audience DevelopmentMr Kyle Johnston Executive Customer Enterprises

Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

FOR YOUR INFORMATIONTh e management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. Th e Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

LLEWELLYN HALLSchool of MusicAustralian National UniversityWilliam Herbert Place (off Childers Street)Acton, Canberra

VENUE HIRE INFORMATIONPhone: +61 2 6125 2527 Fax: +61 2 6248 5288Email: [email protected]

AEG OGDEN (PERTH) PTY LTD

PERTH CONCERT HALLGeneral Manager Andrew BoltDeputy General Manager Helen StewartTechnical Manager Peter RobinsEvent Coordinator Penelope Briff a

Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Th eatre Trust Venues.

AEG OGDEN (PERTH) PTY LTDChief Executive Rodney M Phillips

THE PERTH THEATRE TRUSTChairman Dr Saliba Sassine

St George’s Terrace, PerthPO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

GOVERNMENT SUPPORT


All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO–1310 — 17179 — 1/141113

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWINOVERSEAS OPERATIONS:New Zealand – Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au

Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl

Editorial Director Jocelyn Nebenzahl

Manager – Production – Classical Music Alan Ziegler

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

ACKNOWLEDGEMENTS

PO Box 3567,South Bank, Queensland 4101Tel: (07) 3840 7444

Chair: Henry Smerdon amDeputy Chair: Rachel Hunter

TRUSTEESSimon Gallaher, Helene George, Bill Grant oam, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White

EXECUTIVE STAFFChief Executive: John KotzasDirector – Marketing: Leisa BaconDirector – Presenter Services: Ross CunninghamDirector – Corporate Services: Kieron RoostDirector – Patron Services: Tony Smith

ACKNOWLEDGMENT

Th e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Ian Walker mpMinister for Science, Information Technology, Innovation and the ArtsDirector-General, Department of Science, Information Technology, Innovation and the Arts: Andrew Garner

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUSTMr John Symond am (Chair)Mr Wayne Blair, Ms Catherine Brenner, Th e Hon Helen Coonan, Ms Renata Kaldor ao, Mr Chris Knoblanche, Mr Robert Leece am rfd, Mr Peter Mason am, Mr Leo Schofi eld am, Mr Robert Wannan

SYDNEY OPERA HOUSE EXECUTIVEChief Executive Offi cer Louise Herron amChief Operating Offi cer Claire Spencer Director, Programming Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, External Aff airs Brook Turner Director, Commercial David Watson

SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001Administration: 02 9250 7111 Box Offi ce: 02 9250 7777Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

A City of Sydney VenueClover Moore Lord MayorManaged byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix FounderAnne-Marie Heath General ManagerCITY RECITAL HALL ANGEL PLACE

2 –12 Angel Place, Sydney, AustraliaGPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000Box Offi ce 02 8256 2222 or 1300 797 118Facsimile 02 9233 6652Website www.cityrecitalhall.com

PRIME RESTAURANT - $592 courses + a glass of wine

SUBTERRANEAN BAR & GRILL - $19.50Your choice of selected dishes + a glass of wine

INTERMEZZO RISTORANTE - $592 courses + a glass of wine

GPO PIZZA BY WOOD - $19.50Any small pizza + a glass of wine

POSTALES RESTAURANTE - $472 courses + a glass of wine

GPO OYSTER BAR - $19.50Your choice of selected dishes + a glass of wine

POSTALES TAPAS BAR - $19.50Your choice of one tapa + a glass of wine

CRYSTAL BAR - $19.50Your choice of burger, chips, salad + a glass of wine

THEATRE DINING

Bookings: 9229 7700 | Web: www.gposydney.com


ACO MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti aoLead ViolinMichael Ball am & Daria BallWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Christopher MoorePrincipal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter Weiss ao

Maxime BibeauPrincipal Double BassJohn Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAnthony & Sharon Lee

Mark Ingwersen Violin

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Violin ChairTerry Campbell ao & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Alexandru-Mihai BotaViolaPhilip Bacon am

Melissa Barnard CelloTh e Bruce & Joy Reid Foundation

Julian Th ompson CelloTh e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICIBrian Nixon Mr R. Bruce Corlett am & Mrs Ann CorlettPrincipal Timpani Mr Robert Albert ao & Mrs Libby Albert


ACO INSTRUMENT FUNDTh e ACO has established its Instrument Fund to off er patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. Th e Fund’s fi rst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. Th e ACO pays tribute to its Founding Patrons of the Fund.

VISIONARY $1m+Peter Weiss ao

LEADER $500,000–$999,999

CONCERTO $200,000–$499,999Amina Belgiorno-NettisNaomi Milgrom ao

OCTET $100,000–$199,999

QUARTET $50,000–$99,999John Leece am & Anne Leece

SONATA $25,000–$49,999

ENSEMBLE $10,000$24,999Leslie & Ginny Green

SOLO $5,000$9,999Amanda Staff ord

PATRONS $500$4,999June & Jim ArmitageLeith & Darrel ConybeareJohn Landers & Linda SweenyBronwyn & Andrew LumsdenPamela McGawPatricia McGregorAlison ReeveAngela RobertsRobyn TamkeAnonymous (2)

PETER WEISS ao, PATRON

FOUNDING PATRONS

Guido & Michelle Belgiorno-NettisBill BestBenjamin BradySteven DuchenBrendan HopkinsAngus & Sarah JamesJohn TabernerIan Wallace & Kay Freedman

FOUNDING INVESTORS

Bill Best (Chairman)Jessica BlockJanet Holmes à Court acJohn Leece amJohn Taberner

BOARD MEMBERS


ACO SPECIAL COMMISSIONSTh e ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2012 and 2013.

Jane AlbertSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinT Cavanagh & J GardnerAnne Coombs & Susan VargaAmy DenmeadeToni FreckerJohn Gaden amCathy GraySusan Johnston & Pauline Garde

Brian KelleherAndrew LeeceScott Marinchek & David WynneKate Mills & Sally Breen Nicola PennMartin PortusJanne RyanBarbara Schmidt & Peter CudlippRichard SteeleStephen Wells & Mischa WayAnonymous (1)

THE REEFLEAD PATRONSTony & Michelle Grist

PATRONSGraham & Treffi na DowlandWendy EdwardsEuroz Charitable FoundationDon & Marie ForrestTony & Rose PackerNick & Claire PollGavin & Kate RyanJon & Caro StewartSimon & Jenny YeoAnonymous (1)

ELECTRIC PRELUDES by Brett DeanCommissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the 2013 ACO National Concert Season.

NEVER TRULY LOST by Brenton BroadstockCommissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.

SPECIAL COMMISSIONS PATRONSDr Jane Cook & Ms Sara PoguetMirek GenerowiczPeter & Valerie GerrandV GrahamAnthony & Conny HarrisAndrew & Fiona JohnstonLionel & Judy KingDr Suzanne TristMargot Woods & Arn SprogisTeam SchmoopyAnonymous (1)


Th e ACO would like to pay tribute to the following donors who support our international touring activities in 2013.

INTERNATIONAL TOUR PATRONS

International Tour PatronsCatherine Holmes à Court-Mather

International Tour SupportersJan BowenJenny & Stephen CharlesSuellen & Ron EnestromDelysia LawsonJulia Ross

NISEKO SUPPORTERS

NISEKO SUPPORTERSA J AbercrombieWarwick AndersonBreeze FamilyTim BurkeSimone CarsonSuzy CrittendenCathryn Darbyshire & Andrew Darbyshire amKerry Gardner & Andrew Myer Phil & Rosie HarknessRyota HayashiLouise Hearman & Bill HensonSimon & Katrina Holmes à Court Family Trust

Howard & Launa InmanRobert Johanson & Anne SwannRichard & Lizzie LederNaomi MilgromClarke & Leanne MorganRichard & Amanda O’BrienJill Reichstein SchiavelloPeter ScottJohn & Nicky StokesDr Mark & Mrs Anna YatesOliver YatesAnonymous (2)

Th e ACO would like to pay tribute to the following donors who have supported our involvement with the Niseko Winter Music Festival.

NISEKO PATRONSAnn Gamble MyerAlf MoufarrigeLouise & Martyn Myer FoundationPeter Yates AM & Susan Yates


ACO COMMITTEES

Bill Best (Chairman)Guido Belgiorno-Nettis amChairman ACO & Executive Director Transfield HoldingsLeigh BirtlesExecutive DirectorUBS Wealth ManagementAnna Bligh

SYDNEY DEVELOPMENT COMMITTEELiz Cacciottolo Senior Advisor UBS AustraliaIan Davis Managing Director Telstra TelevisionChris Froggatt Tony Gill Jennie Orchard

Tony O’Sullivan Head of Investment Banking Lazard AustraliaHeather Ridout ao DirectorReserve Bank of AustraliaMargie Seale

Peter ShorthouseClient AdvisorUBS Wealth Management John Taberner Consultant Herbert SmithFreehills

Peter Yates am (Chairman)Chairman Royal Institution of Australia Director AIA Ltd

MELBOURNE DEVELOPMENT COUNCILDebbie BradyBen BradyStephen CharlesChristopher Menz

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

EVENT COMMITTEESBowral Elsa AtkinMichael Ball am (Chairman) Daria Ball Cam CarterLinda Hopkins Judy LynchKaren Mewes Keith Mewes Tony O’SullivanMarianna O’SullivanTh e Hon Michael Yabsley

Sydney Lillian ArmitageMargie BlokAlison BradfordLiz Cacciottolo (Chair)Dee de BruynJudy Anne EdwardsJoAnna FisherChris FroggattElizabeth HarbisonBee HopkinsSarah JenkinsVanessa Jenkins

Somna KumarPrue MacLeodJulianne MaxwellJulie McCourtElizabeth McDonaldJulia PincusSandra RoyleNicola SinclairJohn TabernerJennifer TejadaJudi Wolf

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

DISABILITY ADVISORY COMMITTEEAmanda TinkTraining CoordinatorArts Activated National Conference ConvenorAccessible Arts

Morwenna CollettProgram Manager Arts Funding (Music)Australia Council for the Arts


ACO DONATIONS PROGRAM

EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert ao & Mrs Libby AlbertAustralian Communities Foundation – Ballandry FundDaria & Michael BallSteven Bardy & Andrew Patterson Th e Belalberi FoundationGuido & Michelle Belgiorno- NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert-JonesCarapiet FoundationMark CarnegieStephen & Jenny CharlesDarin Cooper FamilyDaryl & Kate Dixon Geoff & Dawn DixonChris & Tony FroggattDaniel & Helen GauchatJohn Grill & Rosie WilliamsBelinda Hutchinson amAngus & Sarah JamesPJ Jopling qcMiss Nancy KimptonBruce & Jenny LanePrudence MacLeod

Alf MoufarrigeLouise & Martyn Myer FoundationBruce NeillJennie & Ivor OrchardAlex & Pam ReisnerMr Mark Robertson oam & Mrs Anne RobertsonMargie Seale & David HardyTony Shepherd aoMr John Singleton amBeverley SmithJohn Taberner & Grant LangAlden Toevs & Judi WolfTh e Hon Malcolm Turnbull mp & Ms Lucy Turnbull aoJohn & Myriam WylieE XipellAnonymous (2)

DIRETTORE $5,000 $9,999Geoff AlderBrad BanducciPatricia BlauMarjorie BullJoseph & Veronika ButtaTerry Campbell ao & Christine CampbellTh e Clayton Family

Victor & Chrissy CominoLeith & Darrel ConybearePeter & Tracey CooperMr R. Bruce Corlett am & Mrs Ann CorlettEllis FamilySuellen & Ron EnestromBridget Faye AMIan & Caroline FrazerMaurice Green ao & Christina GreenAnnie HawkerRosemary HoldenBee HopkinsWarwick & Ann JohnsonJulie KantorKeith & Maureen KerridgeLorraine LoganDavid Maloney & Erin FlahertyTh e Alexandra & Lloyd Martin Family FoundationDavid MathlinJulianne MaxwellP J MillerJan MinchinMarianna & Tony O’SullivanJohn RickardTh e SandgropersPaul Schoff & Stephanie SmeeAnthony Strachan

PATRONS NATIONAL EDUCATION PROGRAMJanet Holmes à Court ac Marc Besen ao & Eva Besen ao

Th e ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. Th ese initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST

THE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS


ACO DONATIONS PROGRAMTamas SzaboCameron WilliamsKaren & Geoff WilsonPeter Yates am & Susan YatesCarla Zampatti FoundationAnonymous (1)

MAESTRO $2,500 $4,999Mrs Jane AllenWill & Dorothy Bailey Charitable GiftDoug & Alison BattersbyTh e Beeren FoundationBerg Family FoundationBill & Marissa BestMr Leigh BirtlesRosemary & Julian BlockDr David & Mrs Anne BolzonelloBen & Debbie BradyAndrew CloustonRobert & Jeanette CorneyJudy CrawfordKate DixonLeigh EmmettMichael FitzpatrickR FreemantleAnn Gamble MyerColin Golvan scWarren GreenNereda Hanlon & Michael Hanlon amLiz HarbisonMrs Yvonne Harvey & Dr John Harvey aoPeter & Helen HearlWendy HughesGraeme HuntGlen Hunter & Anthony NiardoneVanessa JenkinsI KallinikosPeter LovellMacquarie Group FoundationSandra & Michael Paul EndowmentElizabeth PenderPatricia H Reid Endowment Pty Ltd

Ralph & Ruth RenardRuth RitchieSusan & Gary RothwellD N SandersCheryl SavageBrian SchwartzJennifer SeniorGreg Shalit & Miriam FainePetrina SlaytorPhilippa StoneTom Th awleyRalph Ward-Ambler am & Barbara Ward-AmblerDrs Victor & Karen WayneAnonymous (4)

VIRTUOSO $1,000 $2,499Annette AdairPeter & Cathy AirdAntoinette AlbertDavid & Rae AllenAndrew AndersonsAustralian Communities Foundation – Clare Murphy FundVirginia BergerLinda & Graeme BeveridgeJessica BlockIn memory of Peter BorosVicki BrookeSally BuféRowan BunningNeil Burley & Jane MunroMassel Australia Pty LtdBella CarnegieSandra CassellJulia Champtaloup & Andrew RotheryElizabeth CheesemanElizabeth ChernovStephen ChiversCaroline & Robert ClementeAngela & John ComptonBernadette CooperLaurence G Cox ao & Julie Ann CoxAnne & David CraigJudy CrollLindee & Hamish Dalziell

Mrs June DanksMichael & Wendy DavisMartin DolanAnne & Th omas DowlingDr William F DowneyMichael DrewEmeritus Professor Dexter Dunphy amPeter EvansJulie EwingtonElizabeth FinneganStephen FitzgeraldLynne FlynnJane & Richard FreudensteinJustin & Anne GardenerJaye GardnerPaul Gibson & Gabrielle CurtinRichard & Jay Griffi nGriffi ths ArchitectsPeter HalsteadLesley HarlandJennifer HershonReg Hobbs & Louise CarbinesMichael Horsburgh am & Beverley HorsburghCarrie & Stanley HowardPenelope HughesStephanie & Michael HutchinsonBrian JonesBronwen L JonesCarolyn Kay & Simon SwaneyMrs Judy LeeMr Michael LeeMr John Leece amSydney & Airdrie LloydCharlotte & Adrian MackenzieJane Mathews aoJanet P MattonKevin & Deidre McCannPaul & Elizabeth McClintockBrian & Helen McFadyenDonald & Elizabeth McGauchieJenny McGeeJ A McKernanPeter & Ruth McMullinJillian & Robert MeyersGraeme L MorganJohn MorganSuzanne Morgan


Jane MorleyMarie MortonNola NettheimGraham NorthElspeth & Brian NoxonOrigin Foundation Brendan OstwaldAnne & Christopher PageLeslie ParsonageRowland Patersonpeckvonhartel architectsDavid Penington acTom PizzeyMichael PowerMark RenehanDr S M Richards am & Mrs M R RichardsWarwick & Jeanette Richmond in Memory of Andrew RichmondJosephine RidgeEm. Prof. A. W. Roberts amJoan RogersPeter J RyanManfred & Linda SalamonJennifer SandersonGarry E ScarfPeter & Ofelia ScottGideon ShawDiana & Brian Snape amMaria Sola & Malcolm DouglasEzekiel Solomon amKeith SpenceCisca SpencerRobert StephensProfessor Fiona StewartAndrew StraussJohn & Josephine Strutt Dr Charles Su & Dr Emily LoKyrenia & Rob Th omasPaul TobinPeter TonaghNgaire TurnerVenture AdvisoryKay VernonDavid WalshJanie Wanless & Nev WitteyG C & R WeirMrs M W Wells

Rachel Wiseman & Simon MooreSir Robert Woods cbeLee WrightDon & Mary Ann YeatsWilliam YuilleAnonymous (18)

CONCERTINO $500 $999A AckermannMrs Lenore Adamson in memory of Mr Ross AdamsonRuth BellMax BenyonTamara BestBrian BothwellDr Sue BoydDenise BraggettDiana BrookesMrs Kay BryanArnaldo BuchTim & Jacqueline BurkeLynda CampbellHelen & Ian CarrigJulie CarriolKirsten CarriolColleen & Michael ChestermanRichard & Elizabeth ChisholmGeorg ChmielElizabeth ClaytonClearFresh WaterJilli CobcroftGeoff Cousins & Darleen BungeyCarol & Andrew CrawfordProfessor John Daley & Dr Rebecca CoatesMarie DalzielMari DavisDefi ance GalleryDavid DixIn Memory of Raymond DudleyAnna DunphyM T & R L ElfordCarol FarlowIan FenwickeJean Finnigan & Peter KerrJanet Fitzwater

Michael FogartyNancy & Graham FoxBrian GoddardSteven GreggKatrina Groshinski & John LyonsAnnette GrossDr Penny Herbert in memory of Dunstan HerbertMarian HillSue & David HobbsGeoff HogbinJulie HopsonHow to Impact Pty LtdPam & Bill HughesDr & Mrs Michael HunterGeoff & Denise IllingDiane IpkendanzMargaret & Vernon IrelandPhilip & Sheila JacobsonOwen JamesBarry Johnson & Davina Johnson oamCaroline JonesMrs Angela KarpinBruce & Natalie KellettProfessor Anne Kelso aoDanièle KempJosephine Key & Ian BredenTFW See & Lee Chartered AccountantsGreg Lindsay ao & Jenny LindsayAndrew & Kate ListerMegan LoweRobin & Peter LumleyBronwyn & Andrew LumsdenJames MacKeanDr & Mrs Donald MaxwellPhilip Maxwell & Jane Th amIan & Pam McGawH E McGlashanColin McKeithJeanne McMullinJoanna McNivenI MerrickJulie MosesDr G NelsonJenny Nichol

ACO DONATIONS PROGRAM


Patrons list is current as of 10 October 2013.

CONTRIBUTIONSIf you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Retha Howard on 02 8274 3835 or at [email protected].

ACO DONATIONS PROGRAMJ NormanRichard & Amanda O’BrienRobin Offl erJosephine PaechLisa PaulsenDeborah PearsonRobin & Guy PeaseKevin PhillipsMiss F V Pidgeon amTh e Hon C W Pincus qcIan PryerRuth RedpathTeam SchmoopyLucille SealeMr Berek Segan obe am & Mrs Marysia SeganAndrew & Rhonda SheltonAnne ShiptonRoger & Ann Smith-JohnstoneAlida Stanley & Harley WrightMrs Judy Ann StewartGeoff rey Stirton & Patricia LoweIn memory of Dr Aubrey SweetLeslie C Th iessMatthew TooheySarah Jane & David VauxEvan Williams amSue Wooller & Ron WoollerRebecca Zoppetti LaubiBrian ZulaikhaAnonymous (19)

CONTINUO CIRCLE BEQUEST PROGRAMTh e late Charles Ross AdamsonTh e late Kerstin Lillemor AndersenSteven BardyDave BeswickRuth BellSandra CassellTh e late Mrs Moya CraneMrs Sandra DentLeigh EmmettTh e late Colin EnderbyPeter EvansCarol FarlowMs Charlene FranceSuzanne GleesonLachie HillTh e late John Nigel HolmanPenelope HughesEstate of Pauline Marie JohnstonTh e late Mr Geoff Lee am oamMrs Judy LeeTh e late Shirley MillerSelwyn M OwenTh e late Richard PonderIan & Joan ScottG.C. & R WeirMargaret & Ron WrightMark YoungAnonymous (11)

LIFE PATRONSIBMMr Robert Albert ao & Mrs Libby AlbertMr Guido Belgiorno-Nettis amMrs Barbara BlackmanMrs Roxane ClaytonMr David Constable amMr Martin Dickson am & Mrs Susie DicksonDr John Harvey aoMrs Alexandra MartinMrs Faye ParkerMr John Taberner & Mr Grant LangMr Peter Weiss ao


ACO PARTNERS

Mr Guido Belgiorno-Nettis amChairmanAustralian Chamber Orchestra &Executive DirectorTransfi eld Holdings

Aurizon Holdings Limited

Mr Philip Bacon amDirectorPhilip Bacon Galleries

Mr David Baff sky ao

Mr Brad BanducciDirector Woolworths Liquor Group

Mr Jeff BondChief Executive Offi cerPeter Lehmann Wines

Mr John BorghettiChief Executive Offi cerVirgin Australia

Mr Hall CannonRegional Delegate, Australia, New Zealand & South Pacifi cRelais & Châteaux

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr Georg ChmielChief Executive Offi cerLJ Hooker

Mr Julian ClarkeChief Executive Offi cerNews Limited

Mr & Mrs Robin Crawford

Rowena Danziger am &Kenneth G. Coles am

Mr Greg EllisChief Executive Offi cerREA Group

Dr Bob EveryChairmanWesfarmers

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr Colin Golvan SC & Dr Deborah Golvan

Mr John GrillChairmanWorleyParsons

Mr Andrew & Mrs Hiroko Gwinnett

Mrs Janet Holmes à Court ac

Mr & Mrs Simon & Katrina Holmes à CourtObservant Pty Limited

Ms Catherine Livingstone aoChairmanTelstra

Mr Tim Longstaff Managing Director, Corporate Finance, Deutsche Bank, Australia/New Zealand

Mr Andrew LowChief Executive Offi cerRedBridge Grant Samuel

Mr Steven Lowy amLowy Family Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr David MathlinSenior PrincipalSinclair Knight Merz

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Geoff McClellanPartnerHerbert Smith Freehills

Mr Donald McGauchie aoChairmanNufarm Limited

Ms Naomi Milgrom ao

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Alf MoufarrigeChief Executive Offi cerServcorp

Mr Robert Peck am &Ms Yvonne von Hartel ampeckvonhartel architects

Mr Neil Perry amRockpool

Mr Mike Sangster Managing DirectorTotal E&P Australia

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Tony Shepherd aoPresidentBusiness Council of Australia

Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Mr Paul SumnerDirectorMossgreen Pty Ltd

Mr Mitsuyuki (Mike) TakadaManaging Director & CEOMitsubishi Australia Ltd

Mr Michael Triguboff Managing DirectorMIR Investment Management Ltd

Th e Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa WallaceDirectorMr Malcolm GarrowDirectorBooz & Company

Mr Peter Yates amChairman, Royal Institution of AustraliaDirector, AIA Ltd

2013 CHAIRMAN’S COUNCIL MEMBERSTh e Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.


ACO CORPORATE PARTNERS Th e ACO would like to thank its corporate partners for their generous support.

PRINCIPAL PARTNER

FOUNDING PARTNER NATIONAL TOUR PARTNERS FOUNDING PARTNER:

ACO VIRTUAL

OFFICIAL PARTNERS

PERTH SERIES PARTNER

REGIONAL TOURING PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

CONCERT AND SERIES PARTNERS

Daryl DixonPeter Weiss AO Warwick & Ann Johnson

EVENT PARTNERS

on george


newsACO NEWS • NOVEMBER 2013

NEW CD RELEASEBach, Beethoven & BrahmsRichard Tognetti’s latest album of classical

solo repertoire by Bach and Beethoven has

just been released. Accompanied by ACO

friends Neal Peres Da Costa (continuo) and

Daniel Yeadon (cello) the track list includes

excerpts from Beethoven’s Violin Concerto in

D and Brahms’ Symphony No.1 plus Bach’s

Violin Concerto in A minor BWV1041.

Buy a copy and explore our full list of

recordings at aco.com.au/shop

or call

1800 444 444 during business hours.

TOGNETTI AS LIMELIGHTGUEST EDITORDecember edition on sale 21 NovemberFor the fi rst time ever, Richard Tognetti

is doing a celebrity shift at Limelight

Magazine editing their special Christmas

edition. The December issue includes

an in-depth look at Bach’s sacred

masterpiece, the Christmas Oratorio

(which we perform in Sydney, Melbourne

and Canberra next month); Richard’s

interview with the Radiohead guitarist

and respected contemporary composer

Jonny Greenwood, and much more.

See limelightmagazine.com.au for

details.


Penny Clive and Janet Holmes à Court AC

MELBOURNE GALA DINNERQuintessentialOur annual Melbourne gala dinner, presented

by Tiffany & Co., was held on Tuesday

27 August in the elegance and grandeur of

the Australian Club. Guests were treated to a

wonderful private performance led by Richard

Tognetti with a surprise guest appearance by

transgressive cabaret sensation Meow Meow.

The event was a great success, raising

$140,000 to support our Education Program

and, in particular, our education activities

in Victoria in 2014. These funds will help us

bring our ACO Academy to Melbourne next July

and deliver workshops and masterclasses.

We would like to thank Peter Yates and the

Melbourne Development Committee for their

support.

Angelos Frangopoulos and Katherine Sroka

Terry Campbell AO, Christine Campbell, Daria Ball and Michael Ball AM

Tamas and Joanna Szabo


YOUR SAY…Brahms 4 & Isserlis’ Dvorák“Steven Isserlis endeared himself to

the audience with his sense of humour.

ACO brilliant as usual and Steven Isserlis

absolutely fantastic! Thank you all for a

wonderful concert.” — M. Markovic

“The ACO absolutely on form yet again

tonight. Sublimely expressive, perfectly

together. Their playing simply sparkled.”

— E. Cliff

“ACO was on fi re tonight! Nearly took the

roof off Llewellyn Hall. Fantastic!!” — R. White

“Thank you Richard Tognetti and Steven

Isserlis for reigniting my love for Dvorák and

Brahms tonight. Beautiful performances.”

— Emily

“What a fantastic performance yesterday,

such colours, dynamics, virtuosity in

ensemble…ACO is truly the best chamber

orchestra in the world. Especially the

Dvorák cello concerto was mesmerising.

See you next year in Amsterdam!”

— F. Steijns

Let us know what you thought about today’s concert on Facebook, Twitter or at [email protected]

STUDENTS MEET THEIRACO SKYPE TUTOR IN PERSON!Picton public school music and art program

Throughout this year, primary students from

Picton Public School have been taking part in

a new ACO initiative which teaches students

about music through visual art. US-based ACO

casual violinist Sharon Roffman (pictured) has

been teaching Picton students via Skype for

almost one year, essentially taking the class

room around the world with her as she tours

internationally. Working with local Picton

visual artist and classroom teacher Melissa

Wheeler, Sharon has taught the class about

expression and emotion in music.

Earlier this month, Sharon fl ew from the USA

to spend a week with the students in person.

Having become something of a celebrity with

students, it was a heartwarming reception

followed by a hugely successful week of

activities.

In 2014, we expand the Music and Art Program

by hosting professional courses for primary

school teachers interested in implementing

the program in their own schools. If you would

like to register your interest, please email

[email protected].

Building a smarter planet:

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Each individual’s data is the key to connecting the value chain to the customer – helping businesses to understand and predict customer needs and to orchestrate partners and suppliers in greater responsiveness to changes in buying behaviour.

The opportunity is enormous. According to a recent IBM® Institute for Business Value survey, more than US$15 trillion in ineffi ciencies comes from waste throughout the global commerce system, such as inventory backlogs and failed product launches*.

Given the rise of new generations of empowered and digitally literate customers, it’s clear that the world’s commercial systems have to become as smart as the individuals who are now driving them. Fortunately, they can – and in the process, will redefi ne how we buy, market and sell on a smarter planet.

Let’s build a smarter planet. Join us and see what others are doing at ibm.com/smarterplanet/au

TRADEMARKS: IBM, the IBM logos, ibm.com, Smarter Planet, Let’s build a smarter planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services of IBM or others. A current list of IBM trademarks is available on the Web at “Copyright and trademarks information” at www.ibm.com/legal/copytrade.shtml. © Copyright IBM Australia Limited 2012 ABN 79 000 024 733 © Copyright IBM corporation 2012 All Rights Reserved. These customer stories are based on information provided by the customers and illustrate how certain organisations use IBM products. Many factors have contributed to the results and benefi ts described. IBM does not guarantee comparable results elsewhere.* The IBM Business Value survey is available at: http://www.ibm.com/ibm/fi les/Y067208R89372O94/11The_worlds_4_trillion_dollar_challenge-Executive_Report_1_3MB.pdf. IBMNCA0626/SCOMMERCE/ACO

Smarter customers demand smarter commerce.

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