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The rare and beautiful Guadagnini violin has been on tour with the ACO since 1996. It’s on loan from our art collection so that thousands can enjoy its remarkable sound.

Handcrafted in 1759. Rockin’ out in 2012.

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Things to know before you can: This advertisement has been prepared by Commonwealth Private Limited ABN 30 125 238 039 AFSL 314018 a wholly owned but non-guaranteed subsidiary of Commonwealth Bank of Australia ABN 48 123 123 124, AFSL and Australian Credit Licence 234945. The services described are provided by teams consisting of Private Bankers who are representatives of Commonwealth Bank of Australia, and Private Wealth Managers who are representatives of Commonwealth Private Ltd.

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AUSTRALIAN CHAMBER ORCHESTRA 1

NATIONALTOUR PARTNER This year marks 24 years of partnership between

the Commonwealth Bank and the Australian Chamber Orchestra.

Our long and proud association has allowed us the privilege of watching the ACO grow into the innovative and world-leading organisation it is today.

Furthermore, we are honoured to have received a Commitment Award from the Australian Business Arts Foundation in October 2011, acknowledging our ongoing partnership.

One special way we support the ACO is through the loan of our rare 1759 Guadagnini violin. We are pleased to share this special instrument with Australian and international audiences, played by Helena Rathbone, the ACO’s Principal Violin.

On behalf of the Commonwealth Bank, I hope you enjoy this very special performance, Russian Visions, with pianist Steven Osborne.

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NATIONAL TOUR PARTNER


SPEED READ

Today’s all-Russian program opens with Sergei Prokofi ev’s Visions fugitives, written in 1917, before the composer emigrated to the United States immediately after the Russian Revolution. The ACO and Steven Osborne share the stage, interleaving the original piano version with arrangements by Rudolph Barshai in a performance plan conceived by Richard Tognetti.

Prokofi ev’s fellow Soviet composer Dmitri Shostakovich is featured on the program with two dazzling works: his Prelude and Scherzo, and his fi rst Piano Concerto. Written during 1924—25, the Prelude and Scherzo was originally composed for string octet. The composer himself cited the Scherzo as “the best thing I have written”. Composed in 1933, the whimsical First Piano Concerto emulates the style of Prokofi ev’s Visions fugitives. The concerto will feature Steven Osborne, as well as trumpeter David Elton, recently appointed Principal Trumpet of the Sydney Symphony.

Written, according to one account by the composer, “with the greatest enthusiasm and without the least exertion,” Tchaikovsky’s Souvenir de Florence takes its name from a tune he wrote while visiting the capital of Tuscany. Originally for string sextet, it was the last chamber work Tchaikovsky composed. This performance features a realisation for the full complement of ACO strings.

— Alan J. Benson Cover photo: Madeleine Boud © Jon Frank

TOUR SEVENRUSSIAN VISIONSRICHARD TOGNETTI Director & ViolinSTEVEN OSBORNE PianoDAVID ELTON Trumpet

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

Durations (minutes):20 – 21 – INTERVAL – 10 – 34Th e concert will last approximately two hours including a 20-minute interval.

PROKOFIEV arr. Barshai/Tognetti)Visions fugitives

SHOSTAKOVICHPiano Concerto No.1

I N T E R VA L

SHOSTAKOVICHOctet

TCHAIKOVSKYSouvenir de Florence

BRISBANEQPACMon 19 Nov, 8pm

CANBERRALlewellyn HallSat 10 Nov, 8pm

MELBOURNEArts CentreSun 11 Nov, 2.30pmMon 12 Nov, 8pm

NEWCASTLECity HallTh u 22 Nov, 7.30pm

PERTH Concert HallWed 14 Nov, 7.30pm

SYDNEYOpera HouseSun 25 Nov, 2pm

City Recital Hall Angel PlaceSat 17 Nov, 7pmTue 20 Nov, 8pmWed 21 Nov, 7pm


MESSAGE FROM THE GENERAL MANAGER

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ACO ON THE RADIOABC CLASSIC FMSat 17 Nov, 1pmRussian Visions

NEXT TOURTognetti’s Mozart2 – 16 Feb 2013

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

Every year, one of the ACO’s National Tours is sponsored by the Commonwealth Bank and we always look forward to the opportunity of celebrating this long-standing partner of the Orchestra. Th e Commonwealth Bank has been with us for an impressive 24 years. Th roughout this period, the ACO has developed from a small chamber orchestra into a national institution and it has been a privilege for the Orchestra to build its national and international reputation bolstered by the faith which this iconic Australian company has in our vision.

With these concerts, Richard Tognetti and the ACO bring the 2012 subscription season to a stirring conclusion. But the Orchestra’s year is not quite over yet. Over the weekend of 7–9 December, Richard and the musicians take up residence in the idyllic setting of the Vasse Felix vineyard in the Margaret River region of WA for an exquisite music festival hosted by Janet Holmes à Court. Over a chilled glass of superb Heytesbury Chardonnay after the last concert on that Sunday evening, the ACO musicians can look back with a great sense of pride and satisfaction on an extraordinary year which has included such highlights as Th e Reef, Beethoven 9, Project Rameau with the Sydney Dance Company, triumphant concerts in New York, Chicago, Edinburgh and London and two acclaimed recordings on the BIS label.

Year’s end also brings us some sadness as we bid a very fond farewell to our dear colleague Alice Evans, who leaves the Orchestra after 21 years. I very clearly remember the day Alice auditioned for the ACO back in 1990, so when I returned to the Orchestra in 2010, it was Alice’s beaming face which greeted me on my fi rst day. We all wish her the very best for the future.

We all thank you sincerely for your generous support, your applause and your warmth throughout this enormously demanding year, and look forward to bringing you another great year of music in 2013.

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA


ACO performance history

ACO Artistic Director Richard Tognetti arranged Prokofi ev’s Visions fugitives for piano and strings for a 1998 ACO national tour. This is only the second time the ACO have performed this arrangement as part of a tour.

Sergei PROKOFIEV(b. Sontsovka 1891 — d. Moscow 1953)

Sergei Prokofi ev’s life and work can be read as a struggle between the strictures of Soviet cultural policies and the true feelings of the composer within. Like many Russian artists, Prokofi ev fl ed Russia after the October Revolution of 1917, returning nearly 20 years later, however, for reasons still unknown. Masterpieces across several genres have ensured his place in the pantheon of 20th-century composition.

PROKOFIEV (arr. Barshai/Tognetti)Visions fugitives, Op.22 Performed in a combination of the piano originals and arrangements for strings by Rudolf Barshai,realised by Richard Tognetti

(Composed 1915–17)

Lentamente Con vivacitaAndante Assai moderatoAllegretto Allegretto Animato FeroceMolto giocoso InquietoCon eleganza DolentePittoresca PoeticoCommodo Con una dolce lentezzaAllegretto tranquillo Lento irrealmenteRidicolosamente

With his mother Maria Grigorievna giving him piano and theory lessons from soon after toddlerhood, Prokofi ev’s compositional juvenalia had reached generous proportions by his teens. His fi rst piano piece, Indian Gallop, trotted in when he was just six, and there were dozens of other works, including six piano sonatas, before his offi cial First Piano Sonata, Op.1, appeared in 1909.

Th e 20 short piano pieces, Visions fugitives, were written during a particularly fertile period from 1915–17 (1917 was the year of the First Violin Concerto, Piano Sonatas Th ree and Four and the celebrated ‘Classical Symphony’), and followed on from the Second Sonata (1912) and Sarcasms (1912-14). Still only in his early twenties, the composer-pianist had already attracted much attention and controversy. After the premiere of his Second Piano Concerto in September 1913, a journalist wrote of the “astonished public” that: “some express their indignation out loud, some get up and fi nd salvation in retreat,” and at the end “most of the audience are whistling and shouting angrily.”

Such disapproval merely fi red Prokofi ev’s enthusiasm to compose – something which he was able to do through persistent avoidance of military service by enrolment in successive classes at the St Petersburg Conservatorium. Later he wrote of this dizzily active, politically oblivious time: “I would blacken about ten pages of manuscript a day. In the easy passages, I would cover as many as eighteen.”

Prokofi ev drew his title for this set of pieces from some lines of verse by Balmont:Tout ce qui est fugitif me fait voir des mondesQui dans leur jeu chatoyantOnt pour moi la valeur du transitoire.

8 AUSTRALIAN CHAMBER ORCHESTRA

Dmitri SHOSTAKOVICH(b. St Petersburg 1906 — d. Moscow 1975)

SHOSTAKOVICHPiano Concerto No.1 in C minor, Op.35For Piano, Trumpet and Strings(Composed 1933)

Allegro moderatoLentoModeratoAllegro con brio

Born just over a decade before the Bolshevik Revolution, Shostakovich’s youth coincided with the darkest and most horrifi c years of Soviet history. Peasant revolt, mass arrests and martial law under Lenin ran seamlessly into the foundation of the USSR and Stalin’s rise to power from the mid-1920s onwards. Climaxing in the Great Terror of the mid-1930s, this was a deadly period of institutionalised torture, purges, show-trials, collectivisation, and enormous hardship caused by chaotic fl uctuations in agricultural and industrial production. While Stalin exported grain for foreign currency, famine killed seven million in the Ukraine.

After an apparently blandly idyllic boyhood, the grim realities of post-Revolution Russia began to assert themselves on the young Shostakovich. Malnutrition,

All that is fl eeting makes me see worldsWhich have in their shimmering playTh e merit of transience.

Each of the Visions teems with a discrete, vibrant personality, and among the movements’ headings are some more colourful descriptions such as pittoresco (picturesque), ridicolosamente (ludricous), feroce (ferocious) and inquieto (restless). With a range of moods taking in sobriety and boisterousness, wit and violence, the composer’s phenomenal pianism is refl ected at every turn. Prokofi ev premiered these pieces on 15 April 1918 in the newly-named, post-Revolution Petrograd; and the next month he departed for the USA, apparently with the intention of staying only a few months, but in fact remaining there until 1922.

Th e arrangements for strings used in part for these performances were made by the Russian violist and conductor Rudolf Barshai. Born in 1924, a period of study at the Moscow Conservatorium was followed by periods in the Borodin and Tchaikovsky Quartets. In 1955 he became director of the Moscow Chamber Orchestra, for which group he subsequently arranged 15 of the 20 Visions.

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Shostakovich’s First Piano Concerto was performed in ACO tours in 1998 and 1992.

tuberculosis and a period of convalescence in a Crimean sanitorium were all aspects of his teenage student years at the Petrograd Conservatorium. But his remarkable talent, fused with a fi ghting spirit, brought him early success as a composer – both of fi lm scores and of more classical, “serious” works. Still only in his early twenties, Shostakovich had his Tchaikovsky-indebted First Symphony premiered by Bruno Walter in Berlin and Stokowski in New York.

Th e First Piano Concerto is a fascinatingly transitional work, coming as it does between two wildly shocking operas (Th e Nose and Lady Macbeth of the Mtensk District) and works which were intended to appease the increasingly anti-modernist Soviet authorities. After completing Lady Macbeth in December 1932, Shostakovich then worked on 24 Preludes for piano, as well as absorbing much music by Bach, Haydn and Beethoven. Th is served as a bridge between the lurid excesses of his operas and the purer guise of the Piano Concerto, written between March and July 1933. Th e infl uence of the German masters also accounts for the neo-classical gesturing in the work – triadic accompaniment fi gures, neatly defi ned motifs, starkly reproduced harmonic formulae, and the Bach Prelude-like opening of the brief third movement.

But it is Shostakovich’s remarkable sense of parody, of whirligig debunkery, which gives this work its real personality. And even with a fair sprinkling of ironic references to Tchaikovsky and Rachmaninov, and more earnest imitation of “wrong-note” Stravinsky and Prokofi ev, Shostakovich’s emerging hallmarks are present too. Like the high, step-wise violin melody that opens the slow movement above a sombre accompaniment – this turned out to be a familiar Shostakovich-ism, the violins often joined in his symphonies by doubling a fl ute.

And as for all the slapstick convulsions and relentless activity surrounding this centrepiece of seriousness, we are constantly left wondering – as with much of Shostakovich’s output – just where we are on the scales of entertainment and satire, of jocularity and savage mockery. Th e trumpet’s role in all of this is crucial, adding both a tinge of circus-act or court jester, as well as one that is more sinister and militaristic. In view of the increasingly appalling acts of Stalin’s regime in 1933, perhaps the trumpet’s most telling commentary is not something like the fi nale’s obsessive fanfare conclusion, but the way the Lento concludes – a droopy re-appearance of the violin’s opening melody from a not-so-triumphant bugler, lame from a bloody battle.

© MEURIG BOWEN

The life and music of Dmitri Shostakovich are inextricably entwined with the Soviet era, and debate continues to rage over the extra-musical nature of his musical work: whether certain works stand as ironic statements on a subject or society or even contain political messages. His 15 symphonies and string quartets are among the major masterpieces of 20th-century music, refl ective of his society and time.


SHOSTAKOVICH Two Pieces for String Octet, Op.11(Composed 1924–25)

Prelude: AdagioScherzo: Allegro molto

Th ough Shostakovich’s legacy as a composer of chamber music rests largely on his 15 string quartets, which have enshrined him as one of the few great quartet composers of the 20th century, his fi rst work in the genre did not come until 1938, when he was 32 years old and already recognised as a major composer on the strength of several symphonies and various works for the stage.

But Shostakovich demonstrated an interest and facility in chamber music much earlier in his career, writing three pieces for small forces during the fi rst half of the 1920s while still in his student years at the Petrograd Conservatory: the Piano Trio No.1, Th ree Pieces for Cello and Piano (now lost), and the present Prelude and Scherzo, Op.11.

Op.11 owes its unusual form and format to the indecision of its composer and the halting nature of its composition. In December 1924, in the midst of working on his First Symphony, Shostakovich received word that his close friend Volodya Kurchavov had died of typhoid fever. In response, the teenaged composer set aside his symphony to write the Prelude, which he dedicated as a memorial to Kurchavov. Shostakovich also began a fugue that was to follow the Prelude as part of a fi ve-movement suite, but before getting any farther, he changed his focus back to the symphony. He fi nally returned to his chamber piece only after completing the First Symphony the following summer, and by this time the idea of a lengthy suite no longer appealed to him. He scrapped the fugue and paired the Prelude with a new Scherzo, allowing the two movements to stand on their own.

Th e Prelude and Scherzo, though brief, are highly energetic and emotionally intense, fi lled with incisive rhythms and sweeping gestures.

Th e Prelude, as befi ts its inspiration, is passionately mournful, moving quickly through a series of episodes divided into three sections. Tragic chords give way to descending melodies, eerie triplets, and hushed pizzicato, eventually ushering in the restless tossing and turning of the middle section. An earnest, despairing solo for violin begins the closing segment, reaching an emotional climax before the quietly dejected atmosphere of the


Shostakovich’s Prelude and Scherzo for String Octet was performed in a tour during 2006.


Peter Ilyich TCHAIKOVSKY(b. Kamsko-Votkinsk 1840 — d. St Petersburg 1893)

Peter Ilyich Tchaikovsky was the fi rst Russian composer whose work not only demonstrated a professional mastery of Western symphonic tradition, but was also recognised on an international scale. His popular operas, ballets, and works for voice, and chamber and symphonic forces continue to be regarded as masterpieces of their respective genres. Tchaikovsky’s output is celebrated not only for its musical structure but also for its emotional and programmatic richness.

TCHAIKOVSKYSouvenir de Florence, Op.70(Composed 1890)

Realised for string orchestra

Allegro con spiritoAdagio cantabile e con motoAllegretto moderatoAllegro vivace

Th e string sextet Souvenir de Florence was Tchaikovsky’s last chamber work, and came a decade or more after his three String Quartets (1871, 1874 and 1878) and the much-loved Serenade for Strings (1880). An initial sketch was made between 13 and 30 June 1890, at the time that he was orchestrating his penultimate opera Th e Queen of Spades. A play-through in St Petersburg in November that year caused Tchaikovsky to rework the last two movements over the next two years – at his home near Klin, 80 kilometres west of Moscow, and in Paris. Th e fi rst “real” performance was in St Petersburg on 6 December 1892, a fortnight before the premiere of the ballet Th e Nutcracker in the same city.

In a letter to his patron and friend-by-correspondence Nadezhda von Meck, Tchaikovsky said of the sextet that he “wrote it with the greatest enthusiasm and without the least exertion” – light relief, apparently, from his eff orts on Th e Queen of Spades. Th is idea of a work idly dashed off is rather at odds with some comments to his brother Modest in a letter written on 15 June 1890, two days into the work’s composition. He was, apparently, “writing with diffi culty,

opening returns to conclude the movement. In contrast, the Scherzo is all swirling motion and sharp edges. Th is is the music of Shostakovich the deliberate modernist, packed with dissonance and unusual eff ects, but still with a fi rm sense of drama and organisation. Th e composer was very happy with the Scherzo, calling it shortly after its completion “the very best thing I have written.”

© JAY GOODWIN



Tchaikovsky’s Souvenir de Florence was fi rst programmed in the ACO’s 1985 inaugural subscription series. It was subsequently played in 1991, 1999 and 2005.

handicapped by lack of ideas and the new form. One needs six independent but at the same time homogenous voices. Th is is frightfully diffi cult. Haydn never managed to conquer this problem and never wrote anything but quartets [for chamber music].”

It is interesting that the composer isolates Haydn, and doesn’t mention the distinguished eff orts of others writing string chamber music for more than four players: the quintets of Mozart and Schubert, Mendelssohn’s Octet, the sextets of Brahms (1860 and 1865) and Dvořák (1878). And it is neat indeed that the same decade that began with Tchaikovsky’s sextet concluded with a very diff erent work for the same forces, Schoenberg’s dark masterpiece, Transfi gured Night.

Th e composer knew Florence well, having made three visits there in 1877, 1879 and 1890. During the last of these, an extended period, he worked on Th e Queen of Spades; and it was doubtless these recent experiences in the great Tuscan city that he wished to commemorate in his sextet. Th ere is little explicitly Italian in the work however, and the folk-like tunes in the last two movements have a markedly more Russian fl avour. But in spirit, the work has a freshness and charm that could easily conjure Florentine associations. Both the fi rst movement’s sweeping second subject, marked dolce, espressivo e cantabile (sweet, expressive and in a singing style) and the conversational melody for violin, viola and cello that dominates the Adagio have a serenade-like feel to them. Th e second of these, with its plucked accompaniment, is further suggestive of the serenader’s mandolin.

Th is Adagio’s lyrical repose is broken up by a brief but remarkable central passage. With the players instructed to play at the tip of the bow, a sequence of triplet semiquavers form successive, punctuated phrases. Tchaikovsky’s dynamic markings are highly specifi c and extreme – crescendo from ppp up to p and the like – creating a delicate texture of scuttling mysteriousness. A similar lightness of touch comes in the central section of the following movement and in much of the fi nal Allegro vivace: vigorous accents working against skipping staccato notes, a balletic fi nesse converging with the stomping energy of peasant dance. As if to rein in some of this energy, Tchaikovsky turns the main rollicking tune of this fi nale into a fugue subject – with a certain disciplined success, until he concludes his Florentine tribute by cranking up the tempo and the volume (to ff ff ), for the fi nal ecstatic bars.

© MEURIG BOWEN


STEVEN OSBORNEPIANO

Steven Osborne is one of Britain’s foremost musicians, renowned for his idiomatic approach to a wide variety of repertoire from the mainstream classical works of Mozart, Beethoven and Brahms to the rarefi ed worlds of Messiaen, Tippett and Britten. His numerous awards and prizes include the 2009 Gramophone Award for his recording of the Britten Piano Concerto, fi rst prize at the Naumburg International Piano Competition (New York) and the Clara Haskil Competition.

His concert career takes him to major venues worldwide including the Amsterdam Concertgebouw, Konzerthaus Berlin, Konzerthaus Vienna, Palais des Beaux Arts Brussels, Sydney Opera House, Suntory Hall Tokyo and Carnegie Hall. He is a regular visitor to the Wigmore Hall, where he returned this season to complete his four-part survey of the chamber music of Schubert which included performances of Schwanengesang with Dietrich Henschel, piano duets with Paul Lewis, piano trios with Alban Gerhardt and Alina Ibragimova and the last three piano sonatas. He has also made eight appearances at the Proms.

Concerto performances take Steven to orchestras all over the world including recent visits to the NHK Symphony, Berlin Symphony, Deutsches Sinfonieorchester Berlin, Munich Philharmonic, Finnish Radio Symphony, Bergen Philharmonic, Residentie Orkest, and the Dallas Symphony Orchestra. In the UK he works regularly with the major orchestras, especially with the Philharmonia, City of Birmingham Symphony and the BBC Philharmonic Orchestras.

Highlights of the 2012/13 season include performances of the Britten Concerto with the Oslo Philharmonic/Ilan Volkov, Frankfurt Museumsorchester/Brabbins, Orchestre National de Lille and City of Birmingham Symphony Orchestra alongside performances with the BBC Symphony/Vedernikov (Tippett) at the Barbican, RTVE Madrid (Beethoven), and Netherlands Chamber Orchestra (Mozart). He begins his Beethoven Piano Concerto cycle with the BBC Scottish Symphony in collaboration with Andrew Manze. On the recital circuit he tours Messiaen’s complete Vingt regards sur l’enfant which will include a performance as part of the South Bank’s major series “Th e Rest Is Noise”.

Th is Steven’s second national tour with the Australian Chamber Orchestra.

His extensive discography includes Rachmaninov’s Preludes, Tippett’s Piano Sonatas and Piano Concerto, Messiaen’s Vingt regards sur l’Enfant-Jesus, Debussy’s Preludes, solo works by Liszt, Alkan, Kapustin, Beethoven and most recently Ravel.

stevenosborne.com

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DAVID ELTONTRUMPET

David Elton is Principal Trumpet with the Sydney Symphony. Prior to this appointment, he held principal trumpet positions with the West Australian Symphony Orchestra (WASO) and the Adelaide Symphony Orchestra (ASO). He has performed as a guest principal with the Australian Chamber Orchestra, the Hong Kong Philharmonic, the Melbourne Symphony, the Queensland Orchestra, and the Singapore Symphony. As a chamber musician, David has toured Germany with WorldBrass and is a founding member of the Australian Brass Quintet.

David is sought after as a soloist and recitalist. Solo performances include Haydn’s Trumpet Concerto with both the ASO and the WASO, and the world premiere of James Ledger’s Trumpet Concerto, written especially for him, with the WASO. David had a solo role with the Absolute Ensemble in the Australian premiere of Mark-Anthony Turnage’s Blood on the Floor at the 2004 Adelaide Festival. He was a featured soloist at the 2010 International Trumpet Guild Conference as well as the Melbourne International Brass Festival. During 2011, David performed the Richard Mills Trumpet Concerto with the ASO with Gilbert Varga conducting, and the James Ledger Trumpet Concerto with the Australian National Academy of Music Orchestra under the baton of Sebastian Lang-Lessing.

Raised in Sydney, David studied with Paul Goodchild. He holds a Bachelor of Music from the Queensland Conservatorium, and a Master of Music from Northwestern University (USA) where he studied with Yoram Levy and Charles Geyer respectively. In 1998 David was awarded fi rst prize in the International Trumpet Guild’s Solo Competition held in Kentucky, USA. In 2000 and 2001, he was a fellow of the Pacifi c Music Festival in Sapporo Japan.

David is committed to teaching and was formerly Head of Brass at the West Australian Academy of Performing Arts before returning to Sydney. He has served as guest faculty at the Yong Siew Toh Conservatory in Singapore, and is currently on the brass faculty at the Australian National Academy of Music. He was the trumpet tutor at the Australian Youth Orchestra’s National Music Camp in both 2008 and 2009, and returns to tutor in 2013.

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RICHARD TOGNETTI AOARTISTIC DIRECTORAUSTRALIAN CHAMBER ORCHESTRA

Select DiscographyAs soloist:

BACH Sonatas for Violin and KeyboardABC Classics 476 59422008 ARIA Award Winner

BACH Violin ConcertosABC Classics 476 56912007 ARIA Award Winner

BACH Solo Violin Sonatas and PartitasABC Classics 476 80512006 ARIA Award Winner

(All three releases available as a 5CD Box set: ABC Classics 476 6168)

Musica Surfi ca (DVD)Best Feature, New York Surf Film Festival

As director:

GRIEG Music for String OrchestraBIS SACD-1877

Pipe DreamsSharon Bezaly, FluteBIS CD-1789

All available from aco.com.au/shop.

Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.

As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank.

In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: Th e Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf fi lm Horrorscopes and, in 2008, co-created Th e Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary fi lm Musica Surfi ca, which has won best fi lm awards at surf fi lm festivals in the USA, Brazil, France and South Africa.

As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS.

Richard Tognetti was appointed an Offi cer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.”

THE DAILY TELEGRAPH (UK)

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AUSTRALIAN CHAMBER ORCHESTRA

ACO MUSICIANS

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Madeleine Boud Violin

Rebecca Chan Violin

Alice Evans Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality unmatched by other ensembles.

Th e ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia. Th e ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-artform projects and a vigorous commissioning program.

Under Richard Tognetti’s inspiring leadership, the ACO has performed as a fl exible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience.

Several of the ACO’s principal musicians perform with spectacularly fi ne instruments. Tognetti plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri fi lius Andreæ cello, on loan from Peter Weiss AM. Principal Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Principal Violin Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments.

Over fi fty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein.

Th e ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI and Chandos and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop. Highlights include the three-time ARIA Award-winning Bach recordings and the complete set of Mozart Violin Concertos. Th e ACO appears in the television series Classical Destinations II and the multi award-winning fi lm Musica Surfi ca.

In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres.

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

RICHARD TOGNETTI AO§

Artistic Director

Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

SATU VÄNSKÄ≈Principal Violin

Violin

Chair sponsored by Robert & Kay Bryan

HELENA RATHBONE*Principal Violin

Chair sponsored by Hunter Hall Investment Management Limited

MADELEINE BOUDViolin

Chair sponsored by Terry Campbell AO & Christine Campbell

ALICE EVANSViolin

Chair sponsored by Jan Bowen, Th e Davies & Th e Sandgropers

REBECCA CHANViolin

Chair sponsored by Ian Wallace & Kay Freedman

AIKO GOTOViolin

Chair sponsored by Andrew & Hiroko Gwinnett

ILYA ISAKOVICHViolin

Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

MARK INGWERSENViolin

Chair sponsored by Runge


§ Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor* Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund+ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andræ cello kindly on loan from Peter Weiss AM# Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andræ cello kindly on loan from the Australia Council.

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

MAXIME BIBEAUPrincipal Bass

Chair sponsored by John Taberner & Grant Lang

JULIAN THOMPSON#Cello

Chair sponsored by the Clayton Family

NICOLE DIVALLViola

Chair sponsored by Ian Lansdown

CHRISTOPHER MOOREPrincipal Viola

Chair sponsored by Tony Shepherd AO

TIMOVEIKKO VALVE+Principal Cello

Chair sponsored by Mr Peter Weiss AM

Players dressed by AKIRA ISOGAWA

Violin

LACHLAN O’DONNELL

Viola

CERIDWEN DAVIESAMANDA VERNER

Cello

EVE SILVER◊

◊ Courtesy of West Australian Symphony Orchestra


AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Offi ce: 1800 444 444 Email: [email protected] Website: aco.com.au

ACO BEHIND THE SCENES

EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General Manager and Development ManagerMichelle KerrExecutive Assistant to Mr Calnin and Mr Tognetti AO

ARTISTIC & OPERATIONSLuke ShawHead of Operations and Artistic Planning Alan J. BensonArtistic AdministratorErin McNamaraTour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian

EDUCATIONVicki NortonEducation and Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCESteve Davidson Chief Financial Offi cerCathy Davey Senior AccountantShyleja PaulAssistant Accountant

DEVELOPMENTAlexandra Cameron-FraserCorporate Relations andPublic Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveLillian ArmitagePhilanthropy ManagerSally-Anne BigginsPatrons ManagerStephanie IngsInvestor Relations ManagerJulia GlassDevelopment Coordinator

MARKETINGRosie RotheryMarketing ManagerDavid SheridanActing Marketing CoordinatorClare MorganActing PublicistJoseph NizetiActing Marketing & Publicity AssistantChris Griffi thBox Offi ce ManagerDean WatsonCustomer Relations ManagerAli BrosnanBox Offi ce AssistantChristina HollandActing Offi ce Administrator

INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestLiz CacciottoloChris Froggatt

Janet Holmes à Court ACAndrew Stevens

John TabernerPeter Yates AM

BOARD

Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman

Richard Tognetti AOArtistic Director


ACKNOWLEDGEMENTSGOVERNMENT SUPPORT

VENUE SUPPORT

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

PO Box 7585Arts Centre MelbournePO Box 7585St Kilda Road, Melbourne VIC 8004Telephone: (03) 9281 8000Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMs Janet Whiting (President)Ms Deborah Beale, Ms Terry Bracks,Mr Julian Clarke, Ms Catherine McClements,Mr Graham Smorgon, Prof Leon van Schaik ao, Mr David Vigo

EXECUTIVE GROUP

Chief Executive Ms Judith IsherwoodCorporate Services Ms Jodie BennettPerforming Arts Mr Tim BrinkmanFacilities & Asset Management Mr Michael BurnsGeneral Manager – Development, Corporate Communications & Special Events Ms Louise GeorgesonCustomer Enterprises Mr Kyle Johnstone

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.Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue.In the interests of public health, Arts Centre Melbourne is a smoke-free area.

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

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]


All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—127 — 16913 — 1/101112

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 & Graphic Design Debbie ClarkeManager—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 7444Chair Henry Smerdon amDeputy Chair Rachel Hunter

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

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

ACKNOWLEDGMENTTh e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Rachel Nolan mpMinister for Finance, Natural Resouyrces and Th e ArtsDirector-General, Department of the Premier and CabinetJohn BradleyDeputy Director-General, Arts Queensland Leigh Tabrett PSM

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

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUSTMr Kim Williams am (Chair)Ms Catherine Brenner, Th e Hon Helen Coonan,Mr Wesley Enoch, Ms Renata Kaldor ao,Mr Robert Leece am rfd, Mr Peter Mason am,Dr Th omas Parry am, Mr Leo Schofi eld am,Mr John Symond am

EXECUTIVE MANAGEMENTChief Executive Offi cer Louise Herron Executive Producer SOH Presents Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia PucciChief Financial Offi cer Claire Spencer

SYDNEY OPERA HOUSEBennelong Point GPO 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 FounderJack Frost 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 6652 Website www.cityrecitalhall.com

TOKYO – NISEKO

Niseko Winter Music Festival

with Jessica Block

8–18 January 2013

For detailed information call 1300 727 095 or visit www.renaissancetours.com.au

The annual Niseko Winter Music Festival, the brainchild of Richard Tognetti, features Tognetti, members of the Australian Chamber Orchestra and invited

Japanese guest artists, over three evenings in January at the height of the winter ski season! On the way enjoy three nights in Tokyo to visit stunning temples, shrines

and Tokyo’s fish market and shop in the world’s largest electronics store before you head to the ski fields for a week of snow and music.


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 Violin

Michael Ball AM & Daria BallJoan ClemengerWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal Violin

Satu VänskäPrincipal Violin

Robert & Kay Bryan

Christopher MoorePrincipal Viola

Tony Shepherd AO

Timo-Veikko ValvePrincipal Cello

Peter Weiss AM

Maxime BibeauPrincipal Double Bass

John Taberner & Grant Lang

CORE CHAIRS

Aiko Goto Violin

Andrew & Hiroko Gwinnett

Mark Ingwersen Violin

Alice Evans Violin

Jan BowenTh e DaviesTh e Sandgropers

Ilya Isakovich Violin

Australian Communities Foundation – Connie & Craig Kimberley Fund

Madeleine Boud Violin

Terry Campbell AO & Christine Campbell

Rebecca Chan Violin

Ian Wallace & Kay Freedman

Nicole Divall Viola

Ian Lansdown

Viola ChairPhilip Bacon AM

Melissa Barnard Cello

Th e Bruce & Joy Reid Foundation

Julian Th ompson Cello

Th e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICIBrian Nixon Mr R. Bruce Corlett AM &Principal Timpani Mrs Ann CorlettMr 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 AM

LEADER $500,000–$999,999

CONCERTO $200,000–$499,000Naomi Milgrom AO

OCTET $100,000–$199,000Amina Belgiorno-Nettis

QUARTET $50,000–$99,000John Leece OAM & 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 ArmitageJohn Landers & Linda SweenyAngela RobertsAnonymous (1)

PETER WEISS AM, PATRON

FOUNDING PATRONS

Guido & Michelle Belgiorno-NettisBill BestBenjamin BradySteven DuchenBrendan HopkinsJohn TabernerIan Wallace & Kay Freedman

FOUNDING INVESTORS

Bill Best (Chairman)Jessica BlockJanet Holmes à CourtJohn Leece OAMJohn Taberner

BOARD MEMBERS


Th e ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour.

2011 EUROPEAN TOUR PATRONS

Graeme & Jing AaronsSamantha AllenJohn & Philippa Armfi eldSteven BardyIsla Baring Linda & Graeme BeveridgeBG GroupPaul BorrudBen & Debbie BradyKay BryanMassel GroupTerry Campbell AO & Christine CampbellJenny & Stephen CharlesTh e Clayton FamilyPenny Clive & Bruce NeillJohn ColesCommonwealth BankRobin D’Alessandro & Noel PhilpJennifer Dunstan Bridget Faye AMAnn Gamble Myer

Rhyll GardnerAlan & Joanna GemesTony GillGlobal Switch LimitedAndrew & Hiroko GwinnettPeter Henshaw & Fargana KarimovaPeter & Sandra HofbauerJanet L Holmes à Court ACCatherine Holmes à Court-Mather Brendan & Bee HopkinsP J Jopling QCLady KleinwortWayne KratzmannPrudence MacLeodBill Merrick P J MillerJan MinchinJustin Raoul Moffi ttAlf Moufarrige

Louise & Martyn Myer FoundationSir Douglas MyersMarianna & Tony O’Sullivanpeckvonhartel architectsDiana PolkinghorneRio Tinto LimitedGregory Stoloff & Sue LloydDavid StoneAndrew StraussTim & Sandie SummersJohn Taberner & Grant LangPatricia Th omas OBEBeverley TrivettLoretta van MerwykMalcolm WatkinsMichael WelchWesfarmers LimitedGillian WoodhouseMs Di YeldhamAnonymous (3)

NISEKO SUPPORTERSA J AbercrombieWarwick AndersonBreeze FamilyTim BurkeSimone CarsonSuzy CrittendenCathryn & Andrew Darbyshire AMPhil & Rosie HarknessLouise & Bill HensonSimon & Katrina Holmes à Court Family TrustLorna InmanRobert Johanson & Anne Swann

Linda KeyteRichard & Lizzie LederNaomi MilgromClarke & Leanne MorganAndrew Myer James & Catriona PettitJill Reichstein SchiavelloPeter ScottJohn & Nicky StokesDr Mark & Mrs Anna YatesOliver Yates

NISEKO SUPPORTERSTh e ACO would like to pay tribute to the following donors who are supporting our continued involvement with the Niseko Winter Music Festival.

NISEKO PATRONSAnn Gamble MyerLouise & Martyn Myer FoundationPeter Yates AM & Susan Yates


Edmund & Joanna CaponMr R. Bruce Corlett AM & Mrs Ann CorlettRowena Danziger & Ken ColesLeslie & Ginny Green

Katrina GroshinskiAngela IslesIan Lansdown in memory of Nina LansdownMr Anthony & Mrs Sharon Lee

Bernard & Barbara LeserEmily SimpsonRoss Steele AMVictoria TaylorEvan Williams

ACO RECORDINGS PROGRAM MENDELSSOHNTh e ACO pays tribute to our generous donors who have supported the ACO’s 2012 recording of glorious music by Mendelssohn – his Double Concerto for Violin, Piano and Orchestra featuring Richard Tognetti and renowned Russian pianist, Polina Leschenko; and his renowned Octet Op.20. Th e ACO’s recording program preserves the essence of the ACO as it is today and allows people to hear the ACO again and again, for many years to come.

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 2011 and 2012.

QINOTH by Paul StanhopeSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinAustin Bell & Andrew CarterT Cavanagh & J GardnerChin Moody FamilyAnne Coombs & Susan VargaGreg DicksonJohn Gaden AMCathy GrayBrian Kelleher

Penny Le CouteurScott Marinchek & David WynneKate Mills Janne RyanBarbara Schmidt & Peter CudlippJane SmithRichard SteelePeter Weiss AMCameron WilliamsAnonymous (1)

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

PATRONSWendy EdwardsEuroz Charitable Foundation

Don & Marie ForrestTony & Rose PackerNick & Claire Poll

Gavin & Kate RyanJon & Caro StewartSimon & Jenny Yeo

OTHER COMMISSIONSJan Minchin: Brett Dean’s Electric Preludes for Richard Tognetti and the 2012 Maribor Festival, and the 2013 National Concert Season.Robert & Nancy Pallin: Brenton Broadstock’s Never Truly Lost for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.

SPECIAL COMMISSIONS PATRONSPeter & Valerie Gerrand Margot Woods & Arn Sprogis V Graham Anonymous (1)


ACO DONATIONS PROGRAM

EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert AO & Mrs Libby AlbertDaria & Michael BallSteven BardyGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert-JonesMark CarnegieDarin Cooper FamilyJohn B Fairfax AOChris & Tony FroggattPJ Jopling QCMiss Nancy KimptonPaula KinnaneAlf MoufarrigeAlex & Pam ReisnerMr John Singleton AMJohn Taberner & Grant LangAlden Toevs & Judi WolfTh e Hon Malcolm Turnbull MP & Ms Lucy Turnbull AOPeter Weiss AME XipellAnonymous (1)

DIRETTORE $5,000$9,999Th e Abercrombie Family FoundationGeoff AlderTh e Belalberi FoundationJenny & Stephen CharlesRoss & Rona ClarkeLeith & Darrel ConybeareBridget Faye AMIan & Caroline Frazer

Edward C GrayAnnie HawkerRosemary HoldenKeith KerridgeLorraine LoganPeter LovellDavid Maloney & Erin FlahertyLouise & Martyn Myer FoundationMarianna & Tony O’SullivanSandra & Michael Paul EndowmentJohn RickardTh e Roberts FamilyA J RogersPaul SalteriPaul Schoff Kerry Stokes AC & Christine SimpsonIan Wallace & Kay FreedmanIan Wilcox & Mary KostakidisCameron WilliamsAnonymous

MAESTRO $2,500$4,999Jane AllenTiff any AndrewsWill & Dorothy Bailey BequestDoug & Alison BattersbyVirginia BergerPatricia BlauCam & Helen CarterCaroline & Robert ClementeM CrittendenJohn & Gloria DarrochKate DixonLeigh EmmettLiangrove FoundationGoode FamilyMaurice & Tina GreenWarren Green

Nereda Hanlon & Michael Hanlon AMLiz HarbisonAngela James & Phil McMasterAlastair Lucas AMTh e Marshall FamilyTh e Michael FamilyP J MillerDonald & Jane MorleyJennie & Ivor OrchardPatricia H Reid Endowment Pty LtdRalph & Ruth RenardD N SandersGreg Shalit & Miriam FaineMs Petrina SlaytorAmanda Staff ordDr & Mrs R TinningRalph Ward-Ambler AM & Barbara Ward-AmblerAnonymous (2)

VIRTUOSO $1,000$2,499Annette AdairAntoinette AlbertDavid & Rae AllenAndrew AndersonsDavid ArnottSibilla BaerTh e Beeren FoundationKathy BorrudBen & Debbie BradyVicki BrookeJasmine BrunnerSally BuféElizabeth & Nicholas CallinanMichael CameronCannings CommunicationSandra CassellJulia Champtaloup & Andrew Rothery

Georg & Monika ChmielAngela & John ComptonAlan Fraser CooperJudy CrollMarie DalzielLindee & Hamish DalziellMrs June DanksMichael & Wendy DavisMartin DolanAnne & Th omas DowlingJennifer DowlingProfessor Dexter Dunphy AMBronwyn EslickPeter EvansHelen Elizabeth FairfaxElizabeth FinneganNancy & Graham FoxColonel Tim FrostAnne & Justin GardenerDaniel & Helen GauchatColin Golvan SCRichard & Jay Griffi nPaul HarrisLyndsey HawkinsPeter HearlReg Hobbs & Louise CarbinesMichael Horsburgh AM & Beverley HorsburghPenelope HughesWendy HughesPam & Bill HughesGlen Hunter & Anthony NiardoneRoger Massy-Greene & Belinda Hutchinson AMStephanie & Michael HutchinsonPhillip Isaacs OAMBrian JonesD & I KallinikosLen La FlammeJohn Landers & Linda Sweeny

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 TRUSTTHE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS


Mrs Judy LeeGreg Lindsay AO & Jenny LindsayJudy LynchJennifer MarshallMartin Family in memory of Lloyd Martin AMRoderick & Leonie MathesonJane Mathews AOKevin & Deidre McCannBrian & Helen McFadyenIan & Pam McGawJ A McKernanG & A NelsonNola NettheimAnne & Christopher PageDavid Penington ACAyesha PenmanMark RenehanDr S M Richards AM & Mrs M R RichardsWarwick & Jeanette Richmond In memory of Andrew RichmondDavid & Gillian RitchiePeter J. RyanIn Memory of H. St. P. ScarlettJeff SchwartzIn memory of Elizabeth C SchweigPaul SkamvougerasDiana Snape & Brian Snape AMMaria Sola & Malcolm DouglasEzekiel Solomon AMK W SpenceCisca SpencerGeoff rey StirtonMr Tom StoryJohn & Jo StruttDr Douglas Sturkey CVO AMDr Charles Su & Dr Emily LoRob Th omasAnne TonkinNgaire TurnerLoretta van MerwykKay VernonBill WatsonM W WellsJanie & Nev WitteySir Robert WoodsNick & Jo WormaldDon & Mary Ann YeatsMark YoungWilliam YuilleAnonymous (15)

CONCERTINO $500$999Antoinette AckermannMrs Lenore Adamson in memory of Mr Ross AdamsonPeter & Catherine AirdJoy Anderson & Neil Th omasElsa AtkinRuth BellMax BenyonBaiba BerzinsDr Anthony BookallilBrian BothwellDenise BraggettMorena Buff on & Santo CilauroDarcey BussellFred & Jody ChaneyColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversJohn ClaytonClearFresh WaterJoan ClemengerSam Crawford ArchitectsProfessor John DaleyTed & Christine DauberMari DavisDr Christopher DibdenMike & Pamela DowneyIn Memory of Raymond DudleyProfessor Peter Ebeling & Mr Gary PloverM T & R L ElfordSuellen EnestromBarbara FargherMichael FogartyPatricia GavaghanMirek GenerowiczPeter & Valerie GerrandPaul Gibson & Gabrielle CurtinBrian GoddardProf Ian & Dr Ruth GoughPhilip GrahamKatrina GroshinskiDr Annette GrossMatthew HandburyLesley HarlandMr Ken HawkingsVirginia HenryDr Penny Herbert in memory of Dunstan Herbert

Jennifer HershonM John Higgins & Jodie MaunderPeter & Ann HollingworthDr & Mrs Michael HunterJohn & Pamela HutchinsonPhilip & Sheila JacobsonBarry & Davina Johnson OAMMrs Caroline JonesMrs Angela KarpinBruce & Natalie KellettTony Kynaston & Jenny FaggRobert Leece AMMegan LoweJohn LuiBronwyn & Andrew LumsdenJames MacKeanDr & Mrs Donald MaxwellPhilip Maxwell & Jane Th amDr Hamish & Mrs Rosemary McGlashanPatricia McGregorMrs Robyn McLayI MerrickJan MinchinGraeme L MorganJulie MosesHelen & Gerald MoylanSusan NegrauJ NormanGraham NorthRobin Offl erAllegra & Giselle OvertonSelwyn M OwenJosephine PaechL ParsonageDeborah PearsonKevin PhillipsMiss F V Pidgeon AMMichael PowerTomasz RawdanowiczLarry & Mickey RobertsonSophie RotheryTeam SchmoopyManfred & Linda SalamonGreg & Elizabeth SandersonRobert Savage AMGarry Scarf & Morgie BlaxillKen & Lucille SealeJennifer SindelJohn Sydney SmithDr Fiona StewartProf Robert SutherlandIn memory of Dr Aubrey SweetShaun Tan

Leslie C Th iessMatthew TooheyDavid WalshG C & R WeirGordon & Christine WindeyerLee WrightMr Hugh WyndhamBrian ZulaikhaAnonymous (20)

CONTINUO CIRCLE BEQUEST PROGRAMTh e late Kerstin Lillemor Andersen Dave BeswickRuth Bell Sandra Cassell Th e late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett Th e late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes Th e late Pauline Marie JohnstonTh e late Mr Geoff Lee AM OAM Mrs Judy Lee Th e late Richard Ponder Ian & Joan ScottMargaret & Ron Wright Mark Young Anonymous (13)

LIFE PATRONS IBMMr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM

ACO DONATIONS PROGRAM

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 Lillian Armitage on 02 8274 3835 or at [email protected].


ACO CAPITAL CHALLENGETh e ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble.

We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:

CONCERTO $250,000 – $499,000Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-NettisMrs Barbara Blackman

OCTET $100,000 – $249,000Mr Robert Albert AO & Mrs Libby AlbertMrs Amina Belgiorno-NettisTh e Th omas Foundation

QUARTET $50,000 – $99,000Th e Clayton FamilyMr Peter HallMr & Mrs Philip & Fiona Latham

Mr John Taberner & Mr Grant LangMr Peter Yates AM & Mrs Susan Yates

ACO COMMITTEES

Bill Best (Chairman)Guido Belgiorno-Nettis AMChairman ACO & Executive Director Transfield HoldingsLeigh BirtlesExecutive DirectorUBS Wealth Management

SYDNEY DEVELOPMENT COMMITTEELiz Cacciottolo Senior Advisor UBS AustraliaIan Davis Managing Director Telstra TelevisionChris Froggatt

Tony Gill Rhyll GardnerJennie OrchardTony O’Sullivan Head of Investment Banking Lazard Australia

Peter ShorthouseClient AdvisorUBS Wealth Management John Taberner Consultant Freehills

Peter Yates AM (Chairman)Chairman Royal Institution of Australia Director AIAA Ltd

MELBOURNE DEVELOPMENT COUNCILDebbie BradyBen BradyStephen Charles

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

Jan Minchin DirectorTolarno GalleriesSusan Negrau

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

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

Sydney Margie BlokHelene BurtLiz Cacciottolo (Chair)Judy CrawfordDr Dee DebruynDi CollinsJudy Anne EdwardsChris FroggattElizabeth HarbisonSusan HarteBee Hopkins

Sarah JenkinsVanessa JenkinsCharlotte MackenziePrue MacLeodJulianne MaxwellMarianna O’SullivanJulia PincusAmanda PurcellDavid StewartTom Th awleyNicky Tindill


ACO PARTNERS 2012 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.

Mr Guido Belgiorno-Nettis AMChairmanAustralian Chamber Orchestra &Joint Managing DirectorTransfi eld Holdings

Mr Philip Bacon AM DirectorPhilip Bacon Galleries

Mr David Baff sky AO

Mr Brad BanducciDirector Woolworths Liquor Group

Mr Jeff BondGeneral ManagerPeter Lehmann Wines

Mr John BorghettiChief Executive Offi cerVirgin Australia

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr Georg ChmielChief Executive Offi cerLJ Hooker

Mr & Mrs Robin Crawford

Rowena Danziger AM & Kenneth G. Coles AM

Dr Bob EveryChairmanWesfarmersMr Robert ScottManaging DirectorWesfarmers Insurance

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr Colin Golvan SC & Dr Deborah Golvan

Mr John GrillChief Executive Offi cerWorleyParsons

Mrs Janet Holmes à Court AC

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited

Mr John JamesManaging DirectorVanguard

Ms Catherine Livingstone AOChairmanTelstra

Mr Andrew LowFounder & Chairman/CEO RedBridge Grant Samuel

Mr Steven Lowy AMChief Executive Offi cerWestfi eld Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr David MathlinSenior PrincipalSinclair Knight Merz

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Geoff McClellanPartnerFreehills

Mr Donald McGauchie AOChairmanNufarm Limited

Mr John MeacockManaging Partner NSWDeloitte

Ms Naomi Milgrom AO

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Alf MoufarrigeChief Executive Offi cerServcorp

Mr Scott PerkinsHead of Global BankingDeutsche Bank Australia/New Zealand

Mr John B Prescott ACChairmanMr Hans AnneveldtVice President Intermodal BusinessQR National

Mr Oliver RoydhouseManaging DirectorInlink

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Mr Paul Sumner DirectorMossgreen Pty Ltd

Mr Mitsuyuki (Mike) Takada Managing Director & CEOMitsubishi Australia Ltd

Mr Alden ToevsGroup Chief Risk Offi cerCommonwealth Bank of Australia

Mr Michael Triguboff Managing DirectorMIR InvestmentManagement Ltd

Th e Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO

Ms Vanessa WallaceDirectorBooz & Company

Mr Kim Williams AMChief Executive Offi cerNews Limited

Mr Geoff WilsonChief Executive Offi cerKPMG Australia

Mr Peter Yates AM Chairman, Royal Institution of AustraliaDirector, AIAA Ltd


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

FOUNDING PARTNER NATIONAL TOUR PARTNERS

CONCERT AND SERIES PARTNERS

EVENT PARTNERS

Daryl Dixon

Peter Weiss AM

OFFICIAL PARTNERS

PERTH SERIES &WA REGIONAL TOUR PARTNER

PRINCIPAL PARTNER


newsACO NEWS • NOVEMBER 2012

PIER 2/3 CHAMBER MUSIC SERIESLast month we presented the fi rst concert

of our new Pier 2/3 chamber music series,

curated by ACO Principal Cellist Timo-Veikko

Valve. The raw heritage Pier in Sydney’s

Walsh Bay was transformed into a unique,

intimate performance space complete with

seating that surrounded the stage.

The next instalment of this series is

scheduled for 24 November, when we partner

with actors from Bell Shakespeare in the fi rst

of what we hope will be many collaborative

projects at the Pier.

Above: Rebecca Chan and Timo-Veikko Valve performing Ravel’s Duo for violin and cello.

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Above and below: ACO players, led by Principal Violin Helena Rathbone, performing Brahms’ String Quintet No. 2.

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EDUCATION NEWSThis year we have visited every state and

territory in Australia, with the fi nal state being

ticked off in October when ACO2 toured to

Tasmania. The tour, led by Aiko Goto, included

concerts in Hobart, Port Arthur, Devonport,

St Helens, Launceston, Zeehan and Stanley

plus String Workshops and Schools’ Concerts

in Burnie, Launceston, Nubeena and Zeehan.

A tour highlight was performing in an old

Asylum building in Port Arthur at one of

Australia’s oldest convict settlements.

Our most recent regional tour was the ACO

Ensemble Queensland tour where we ran

a full day of workshops with local students

in Bundaberg and performed concerts in

Brisbane, Bundaberg and Mt Isa. Students

from the Mt Isa School of the Air travelled

hundreds of kilometres to perform with

us in the annual Mt Isa and District Gala

Instrumental Concert. Many of these students

are taught how to play their instruments over

the phone and their dedication was inspiring.

Secondary students in Sydney who attended

the Project Rameau matinee schools concert,

had the unique opportunity of putting Richard

Tognetti and Sydney Dance Company’s

Artistic Director, Rafael Bonachela, in the hot

seat, asking them questions about the recent

ACO and SDC collaboration.

The education program fi nishes the year with

visits to Picton Primary School, Matraville

Soldiers Settlement School and Our Lady of

Carmel School, as well as an Open Rehearsal

for Students with Disability.

Aiko Goto rehearses with students during a 2012 string workshop.

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William Clark and Caroline Henbest rehearse for the ACO2 tour.

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Aiko Goto leads a school’s concert with ACO2 at Tasman District School in Nubeena, Tasmania.

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YOUR SAYFeedback about the Richard Egarr Tour

“Richard Egarr was a breath of fresh air...

Great performance, great showmanship and

thank you so much for the two encores.”

Leone Moffat

“Egarr live was an experience not to be

missed. Watching him play and direct the

K.414 Piano Concerto, I felt it could be

Mozart himself at the keyboard: now that

surely IS period authenticity!” John Hart

“Extraordinary! Richard is simply the best!”

Jennifer Lee

“I had a wonderful night last night…

The encores were amazing; fancy having

enough energy left to fi nish with part of

Brandenburg 3. Congratulations to Helena,

she is always so professional.”

Suzan Aslin

“Loved the snare drum, Maxime. Loved the

rest of the performance too. Thank you.”

Kane Alchin

Let us know what you thought about this concert at [email protected].

A FOND FAREWELL TO ALICE EVANSAs someone who has had the pleasure of

playing violin alongside Alice Evans for

18 years, I am especially sad to be saying

goodbye to her at the end of the year.

Alice has been one of the longest serving

members of the ACO in its entire history —

an impressive 21 years — and has seen the

Orchestra grow into the wide-ranging

musical institution it is today. She has played

a vital part of that growth, touring the

world and performing to audiences all over

Australia.

Somehow, Alice managed to be super-mum

to her two wonderful children Edward and

Molly whilst juggling the heavy demands of

the ACO’s schedule, so she was very much a

role model for me when I was contemplating

motherhood.

On a personal note, I would very much like

to thank both Alice and Antony for their

friendship and especially for making me feel

so welcome when I fi rst arrived in Australia.

Alice’s dedication to the ACO will be

sorely missed. We thank her for her huge

contribution to the Orchestra and wish her

the very best as she embarks on the next

chapter of her life.

Helena Rathbone, ACO Principal Violin

Alice Evans

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WE DANCE TOA DIFFERENTTUNE.Event Emporiumorchestrates events like no other. From gala dinners and corporate parties to conferences and product launches, our repertoire is original, daring and different, inspiring audiences to engage, celebrate, applaud and delight.

Event Emporium. Making beautiful music with the ACO as official event partner.p: 02 9955 7107 | w: www.eventemporium.com.au

Pictured: ACO Gala Dinner Fundraiser, Out Of Africa

ACO BABY NEWSViolinist Mark Ingwersen is proud to present

the newest member of the ACO family.

Baby Freya Ruth Ingwersen was born on

1 September at the Mater Hospital, North

Sydney. She joins two doting siblings –

Annika, fi ve years old, and Leif, three.

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Smarter computing builds a smarter planet:

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