#aco16 - amazon web services · berio sequenza viii for solo violin & sequenza xivb for solo...
TRANSCRIPT
#ACO16
NATIONAL TOUR PARTNER PRINCIPAL PARTNER
HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD?When the violin in question is a rare Guadagnini, handmade in 1759, you celebrate by giving it the biggest possible audience you can find.
That’s why we lent ours to the Australian Chamber Orchestra.That way, thousands of people can experience its remarkable sound. After all, an instrument this special is worth celebrating.
S15322_0116_ACO National Programmes_OL.indd 1 25/01/16 11:07 AM
BOOK NOW ACO.COM.AU | 1800 444 444
(MON–FRI, 9AM–5PM) NO BOOKING FEES
PRINCIPAL PARTNER NATIONAL TOUR PARTNER
One of the most celebrated pianists of our time, Elisabeth Leonskaja, takes on Mozart’s
Jeunehomme Piano Concerto, perhaps the first unequivocal masterpiece of the Classical style.
“ELISABETH LEONSK AJA HAS SOMETHING PRECIOUS AND R ARE” THE TELEGRAPH (UK)
Elisabeth Leonskaja Piano Roman Simović Guest Leader
R STRAUSS Sextet from Capriccio MOZART Piano Concerto No.9 in E-flat major ‘Jeunehomme’
BEETHOVEN (arr. strings) String Quartet in E-flat major, Op.127
6 SEPTEMBER ADELAIDE TOWN HALL
4 & 5 SEPTEMBER MELBOURNE, ARTS CENTRE MELBOURNE
7 SEPTEMBER PERTH CONCERT HALL
26, 30 -31 AUGUST & 3 SEPTEMBER SYDNEY, CITY RECITAL HALL
27 AUGUST WOLLONGONG TOWN HALL
© Z
AK N
OY
LE
C H O O S I N G O N E O F O U R 540 R E L A I S & C H ÂT E A U X I S T H E F I R S T S T E P T O D I S C O V E R I N G E X C E P T I O N A L S E T T I N G S B U T A L S O , P E R H A P S M O R E I M P O R TA N T LY, T O M E E T I N G M E N A N D W O M E N W H O A R E PA S S I O N AT E A B O U T W H AT T H E Y D O B E S T : L I S T E N I N G T O Y O U R E V E R Y W I S H A N D PAY I N G AT T E N T I O N T O T H E S L I G H T E S T D E TA I L T O E N S U R E
T H AT E A C H M O M E N T I S T R U LY U N I Q U E .
E X C E P T I O N A L M O M E N T S
A L W A Y S G O T O O F A S T .
B U T W E W I L L D O E V E R Y T H I N G
T O S L O W T H E M D O W N .
R E L A I S & C H Â T E A U X
R E S E R V AT I O N S 1 3 0 0 1 2 1 3 4 1 ( T O L L - F R E E )
W W W . R E L A I S C H A T E A U X . C O M
ANNONCE 150x240 AUSTRALIE.indd 1 13/04/2016 13:53
Prec i se per formance a t the h ighes t le ve l i s c r i t i ca l i n the boardroom and the concer t ha l l .
We a r e d e d i c a t e d s u p p o r t e r s o f b o t h .
jws.com.au
7
Prec i se per formance a t the h ighes t le ve l i s c r i t i ca l i n the boardroom and the concer t ha l l .
We a r e d e d i c a t e d s u p p o r t e r s o f b o t h .
jws.com.au
Johnson, Winter & Slattery is very proud to be the ACO’s National Tour Partner of Sequenza Italiana, featuring the brilliant Italian cellist and composer, Giovanni Sollima, and outstanding ACO soloists Satu Vänskä and Maxime Bibeau.
As the National Tour Partner for Giovanni’s first Australian appearances in 2014, we are delighted to be associated with his second tour. His first tour was widely acclaimed for his sublime artistry and creativity. Giovanni thrilled audiences around Australia. I recall the spontaneous, irresistible outbursts of applause at the end of the first movement of his composition, LB Files (composed by Giovanni in honour of Luigi Boccherini) and the wide exuberant smiles of orchestra members as he led them on a different path every night. Amongst many other admirers we encouraged him to return as soon as possible.
JWS is also proud to be the ACO’s national legal adviser on many exciting and creative projects. We appreciate the extraordinary support we receive in return in organising our participation in this tour.
We look forward to Sequenza Italiana!
N AT I O N A L T O U R P A R T N E R
John KenchChairman Johnson Winter & Slattery
NATIONAL TOUR PARTNER
8
E N G A G E W I T H U S
S O C I A L LY We’d love to hear from you – join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don’t forget the hashtag #ACO16.
@a_c_o facebook.com/AustralianChamberOrchestra @AustChamberOrchestra
L I S T E N Join us for a Spotify Session, hear concert tasters and playlists, and revisit past concerts on Spotify.
aco.com.au/Spotify
A C O B L O G Visit the ACO Blog for up-to-date Orchestra news, interviews and insights. aco.com.au/blog
L O O K Watch us Live in the Studio, go behind-the-scenes and watch ACO concert footage on YouTube.
youtube.com/AustralianCO
Y O U R S AY Did you enjoy the concert? What was your favourite piece? Is this your first ACO experience? We love to hear what you think about our concerts and recordings or anything else you’d like to tell us. [email protected]
R A D I O ACO concerts are regularly broadcast on ABC Classic FM.
9
Richard EvansManaging Director
M E S S A G E F R O M T H E M A N A G I N G D I R E C T O R
Richard Tognetti first became acquainted with Italian musical dynamo Giovanni Sollima in Slovenia at Festival Maribor, where Richard serves as Artistic Director. Their friendship has continued to grow, and everyone at the ACO is delighted to welcome Maestro Sollima back.
Among the many enthusiastic ovation-givers at Giovanni Sollima’s first performances with the ACO in 2014 was John Kench, Chairman of Johnson Winter & Slattery. JWS presented that first tour and as soon as they heard that Sollima was returning, immediately put up their hand to present his return run. We thank all of the team at JWS, who not only support our national touring, but provide us with indispensable legal advice in our endeavours at home and abroad.
The Orchestra begins another exciting tour of Europe at the end of July. The tour starts with performances at the Gstaad Menuhin Festival in Switzerland, a reciprocal invitation arising from our exchange last year with the Basel Chamber Orchestra. From there, it is back to London and four performances of Weimar Cabaret with Barry Humphries and Meow Meow in Cadogan Hall. Then, another quick continental side trip to Copenhagen, before coming back to the Edinburgh Festival for three more concerts. Finally, the Orchestra comes home via Massachusetts and the prestigious Tanglewood Festival.
International touring not only gives us the opportunity to meet and play with soloists like Giovanni Sollima, but benchmarks the ACO against the very best in the world. This is only possible thanks to the unstintingly generous support of our patrons, and we thank in particular our International Patrons and members of our Chairman’s Council.
I do hope that you enjoy the concert, and many thanks for all of your continued support of the ACO.
To donate please visit aco.com.au/2016education For more information, please phone Sally Crawford, Patrons Manager,
on (02) 8274 3830 or email [email protected]
INSPIRE THE NEXT GENERATION OF MUSICIANS
Our National Education Program includes a wide range of programs focused on bringing music to young people regardless of background – from primary school children in significantly disadvantaged communities to talented young musicians at the post-tertiary level.
Your contribution will help fund our schools’ programs, which allow us to make quality music education available to children across Australia, delivering tangible benefits above and beyond the music itself.
Your donation will make a difference – please join us by supporting our National Education Program.
Richard Tognetti AO Artistic Director
Julian Thompson with students from Soldiers’ Settlement Public School Matraville, following a workshop presented in partnership with the Australian Children’s Music Foundation. Image © Fiora Sacco.
11
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
S E Q U E N Z AI T A L I A N A
Approximate durations (minutes): 7 – 13 – 17 – 6 – INTERVAL – 10 – 3 – 20
The concert will last approximately 1 hour and 40 minutes, including a 20-minute interval.
Giovanni Sollima Director & Cello
Satu Vänskä Leader & Violin
Maxime Bibeau Double Bass
MONTEVERDI (arr. strings) Lamento della ninfa (The Nymph’s Lament)
BERIO Sequenza VIII for Solo Violin & Sequenza XIVb for Solo Double Bass
LEO Cello Concerto No.3 in D minor, L.60
I. Andante grazioso II. Con spirito III. Amoroso IV. Allegro
PAGANINI Introduction and Variations on ‘Dal tuo stellato soglio’ from Rossini’s Mosè in Egitto
Interval
ROSSINI (arr. Eliodoro Sollima) Une Larme: Thème et Variations from Péchés De Vieillesse (A Tear: Theme and Variations from Sins of Old Age)
SCELSI C’est bien la nuit from Nuits
GIOVANNI SOLLIMA Fecit Neap. 17. . . for Cello, Strings and Continuo
12
Sequenza Italiana celebrates Italian composers from the middle of the 16th century through to the present day, complete with an original concerto by our visiting Italian soloist, Giovanni Sollima.
There is a deliberate Neapolitan thread that runs through this program, spanning five centuries of Italian music – Leo was part of the so-called Neapolitan School of which Monteverdi was an immediate precursor, Rossini wrote numerous ‘Neapolitan’ operas (including the one on which Paganini based his Fantasy), and Sollima’s own concerto is ‘in the Neapolitan style’.
But what of Berio and Scelsi? While they were unflinchingly avant-garde, both were Italian to the core.
Berio’s Sequenzas are not for the faint of heart. This is music that grabs you by the throat. It is worth keeping in mind that Berio is exploring the concept of a single line opening out into a series of dialogues, just as Monteverdi does in his Lament. So while each sequenza is notionally for one voice, there is something masterful and Italianesque in the way he unfolds the music's polyphonic twists and turns.
Scelsi’s double bass solo, C’est bien la nuit, is a mere three minutes in duration, but within those 180 seconds we glimpse the inner workings of a man who was consumed by ‘the art of sound’. Scelsi could happily play a single note over and over, in his quest to drain every last ounce of timbral diversity from it.
Giovanni Sollima is not only a brilliant performer and director, but also an exceptional composer: ‘I see through sound, and so it’s like a flow . . . sound is liquid matter, it encompasses you, it covers you, disappears, it transfixes you. It can also be violent; it may be like a blade. It depends. But it’s never something you can grasp, because it embraces you, it takes you with it.’
W H AT Y O U A R E A B O U T T O H E A R
Phot
o by
Gia
n M
aria
Mus
arra
PICTURED, ABOVE: Joining guest director and cellist Giovanni Sollima as soloist for the Berio and Paganini is ACO Principal Violin Satu Vänskä and for the Berio and Scelsi is ACO Principal Double Bass Maxime Bibeau.
13
A B O U T T H E M U S I C
PICTURED: Monteverdi by Bernardo Strozzi, c.1630
CLAUDIO MONTEVERDI Born Cremona, 1567. Died Venice, 1643.
LAMENTO DELLA NINFA (THE NYMPH’S LAMENT) FROM MADRIGALI GUERRIERI, ET AMOROSI, LIBRO OTTAVO (MADRIGALS OF WAR AND LOVE, BOOK EIGHT)
Published 1638.
The assertion that Monteverdi was the ‘creator of modern music’ might be somewhat hyperbolic, but it’s not that far from the truth. He was the first great operatic composer – L’Orfeo being one of the earliest examples of opera and still a stalwart of the modern repertory – and without him, musical style would have undoubtedly moved in a very different direction.
14
It is about a woman mourning her lost love, and is filled with passion, heartache and utter devastation.
Monteverdi published a collection of three-part motets when he was just 15, and his first book of madrigals led to his first job – in Mantua, in the Court of Duke Gonzaga – where he eventually rose to the position as maestro di cappella.
One of the key points of difference between Monteverdi and other composers of the time was that he believed that text was the ‘mistress of the harmony’ and not vice-versa – an opinion that sparked an altercation with theorist Giovanni Maria Artusi, whose firmly held belief was that musical form took precedence over words and that rules should be strictly observed at all times.
The eighth of his nine books of madrigals, published in 1638, represents, in many ways, the genre’s absolute pinnacle. The dramatic expressiveness is pushed to the extreme. Monteverdi called it ‘Madrigals of War and Love’, and whether or not it was intended, there is a definite narrative progression to the opus.
The Lamento della Ninfa is one of the most famous of Monteverdi’s madrigals from the ‘Madrigals of War and Love’. With its rich and dynamic tonalities, it is designed to not so much pull at the heartstrings, but to rip them to shreds. It is about a woman mourning her lost love, and is filled with passion, heartache and utter devastation. A hypnotic four-note ground bass accompanies her anguished cries.
While this performance is arranged for strings alone, the beauty of the writing is such, that one can hear the exquisite words by Ottavio Rinuccini.
Lamento della ninfa The Nymph’s Lament
Non havea Febo ancora The Sun had not brought recato al mondo il dí, The day to the world yet, ch’una donzella fuora When a maiden del proprio albergo uscí. Went out of her dwelling
Sul pallidetto volto On her pale face scorgeasi il suo dolor, Grief could be seen, spesso gli venia sciolto Often from her heart un gran sospir dal cor. A deep sigh was drawn.
Sí calpestando fiori Thus, treading upon flowers, errava hor qua, hor là, She wandered, now here, now there,
PICTURED: Monteverdi’s Madrigals, Libro Ottavo (Book 8).
15
i suoi perduti amori And lamented her lost loves cosí piangendo va: Like this:
“Amor”, dicea, il ciel “Oh Love” she said, mirando, il piè fermo, Gazing at the sky, as she stood. “dove, dov’è la fè “Where’s the fidelity, ch’el traditor giurò?” That the deceiver promised?”
Miserella. Poor her!
“Fa’ che ritorni il mio “Make my love come back amor com’ei pur fu, as he used to be o tu m’ancidi, ch’io Or kill me, so that non mi tormenti più.” I will not suffer anymore.”
Miserella, ah più no, no, Poor her! She cannot bear tanto gel soffrir non può. All this coldness.
“Non vo’ più ch’ei sospiri “I don’t want him to sigh any longer se non lontan da me, But if he’s far from me. no, no che i martiri No! No he will not make me suffer più non dirammi affè. Anymore, I swear!
“Perché di lui mi struggo, “Because he’s proud tutt’orgoglioso sta, That I languish for him. che si, che si se’l fuggo Perhaps if I fly away from him ancor mi pregherà? He will come to pray to me again.
“Se ciglio ha più sereno “If her eyes are more serene colei, che’l mio non è, Than mine,
già non rinchiude in seno, O Love, she does not hold in her heart Amor, sí bella fè. A fidelity so pure as mine.
“Ne mai sí dolci baci “And you will not receive from those lips da quella bocca havrai, Kisses as sweet as mine, ne più soavi, ah taci, Nor softer. Oh don’t speak! taci, che troppo il sai.” Don’t speak! You know better than that!”
Sí tra sdegnosi pianti So, amidst disdainful tears, spargea le voci al ciel; She spread her crying to the sky; cosí ne’ cori amanti Thus, in the lovers’ hearts mesce amor fiamma, e gel. Love mixes fire and ice.
16
PICTURED: Luciano Berio
LUCIANO BERIO Born Oneglia, 1925. Died Rome, 2003.
SEQUENZA VIII FOR SOLO VIOLIN
Composed 1976.
SEQUENZA XIVb FOR SOLO DOUBLE BASS
Composed for Cello in 2002. Posthumous authorised revision by Stefano Scodanibbio for double bass in 2004.
Luciano Berio was the original enfant terrible of the avant garde. With all his ancestors dating back to the 18th-century musicians, it seemed inescapable that Berio too would take up the family trade. His style is notable for combining lyric and expressive musical qualities with the most advanced techniques of electronic and aleatoric music.
Berio was one of the most prolific and pioneering composers of the 20th century and the leading Italian composer of his generation. His extensive and varied output included five major works for the stage along with several shorter dramatic pieces, an array of both choral and orchestral music, such as the Sinfonia, instrumental works and vocal pieces, of which many were written for his first wife, Cathy Berberian.
However, as Richard Whitehouse wrote, ‘the music of Luciano Berio is encapsulated in the Sequenza series running through 34 years of his creativity.’ The composer himself said of the Sequenzas that they were ‘written for performers whose virtuosity is above all a virtuosity of knowledge.’
There were 14 in all, although several were arranged for alternate instruments:
Sequenza I, written in 1958 for the flautist Severino Gazzelloni.
Sequenza II, written in 1963 for the harpist Francis Pierre.
Sequenza III, written in 1966 for the vocalist Cathy Berberian.
Sequenza IV, written in 1966 for the pianist Jocy de Corvalho.
Sequenza V, written in 1965 for the trombonist Stuart Dempster.
Sequenza VI, written in 1967 for the violist Serge Collot.
Sequenza VII, written in 1969 for the oboist Heinz Holliger.
Sequenza VIIb, arranged in 1995 for soprano saxophonist Claude Delangle.
Sequenza VIII, written in 1976 for violinist Carlo Chiarappa.
Sequenza IXa, written in 1980 for the clarinettist Michel Arrignon.
Sequenza IXb, arranged in 1981 for alto saxophonist Claude Delangle.
17
. . . the Sequenzas were ‘written for performers whose virtuosity is above all a virtuosity of knowledge.’ LUCIANO BERIO
Sequenza X, written in 1984 for the trumpeter Thomas Stevens.
Sequenza XI, written in 1988 for the guitarist Eliot Fisk.
Sequenza XII, written in 1995 for the bassoonist Pascal Gallois.
Sequenza XIII, written in 1995 for the accordionist Teodoro Anzellotti.
Sequenza XIV, written in 2002 for the cellist Rohan de Saram.
Sequenza XIVb, arranged posthumously by and for double bassist Stefano Scodanibbio.
Berio’s Sequenzas are difficult both to play and to listen to. He makes the performer and the audience work for it. This is not prosaic music. But one could argue that no good music is, because without effort there is no reward. Music journalist for The Guardian Tom Service described the Sequenzas as ‘a compositional love-letter from Berio to the repertoires and possibilities of each instrument,’ and this love runs deeply and passionately through both the Double Bass and Violin Sequenzas you will hear.
For this performance, our soloists, Max and Satu, have chosen to heighten the inner theatrics of the works by shortening both individual Sequenzas and combining them to create a unique interplay. This linear narrative will cross and diverge as both players tackle the many extended techniques and challenges of the works. The Double Bass Sequenza calls for specific tuning and requires a very bright and resonant sound to highlight the harmonics of the score, so Max will play on a different instrument for the Berio.
The composer writes:
Sequenza VIII
To compose Sequenza VIII has been like paying a personal debt to the violin, which to me is one of the most subtle and complex of instruments. I studied violin myself, while I was already learning the piano and before starting the clarinet (my father wanted me to practise ‘all’ the instruments), and I have always maintained a strong attraction for this instrument, mixed, however, with rather tormented feelings (perhaps because I was already 13 – much too late – when I started my violin lessons).
While almost all the other Sequenzas develop to an extreme degree a very limited choice of instrumental possibilities,
18
Sequenza VIII deals with a larger and more global view of the violin . . . BERIO
Sequenza VIII deals with a larger and more global view of the violin: and can be listened to as a development of instrumental gestures.
Sequenza VIII is built around two notes (A and B), which – as in a chaconne – act as a compass in the work’s rather diversified and elaborate itinerary, where polyphony is no longer virtual but real, and where the soloist must make the listener constantly aware of the history behind each instrumental gesture. Sequenza VIII, therefore, becomes inevitably a tribute to that musical apex which is the Ciaccona from Johann Sebastian Bach’s Partita in D minor, where – historically – past, present and future violin techniques coexist.
Sequenza VIII was written in 1976 for Carlo Chiarappa.
Stefano Scodanibbo writes:
Sequenza XIVb
This version was prompted by an invitation I received from Luciano Berio in 2002 to ‘re-invent’ (rather than transcribe) for the double bass his Sequenza XIV for violoncello, putting into play the innovations that have transformed the instrument over the last decades. Hence the employment of a great diversity of instrumental techniques, the adaptations to the physical characteristics of the double bass and the exploitation of its particular timbral qualities.
My reflection on some passages of the original, that are particularly suited for further development on the double bass, has led me to add three short, newly composed ‘tributes’ (among which is a ‘cadenza’) that make explicit reference to other Sequenzas (Sequenza XI for guitar, Sequenza VIII for violin).
In his note for the original cello version of this sequenza, Berio wrote about the influence of the Sri Lankan Kandyan drumming tradition. The cellist for whom he wrote Sequenza XIV, Rohan de Saram, taped and transcribed Kandyan drum rhythms. Berio requires the player to be both instrumentalist and drummer, treating the body and the strings of the instrument as a percussion instrument – thus transforming it into a hybrid, the instrument and the drum together in one instrument.
PICTURED: Luciano Berio
19
LEONARDO LEO Born San Vito degli Schiavoni, 1694. Died Naples, 1744.
CELLO CONCERTO NO.3 IN D MINOR, L.60
Composed 1737/38.
I. Andante grazioso II. Con spirito III. Amoroso IV. Allegro
Leonardo Leo was one of the leading Neapolitan composers of his day, particularly in the genres of theatre and church music.
He studied with Nicola Fago (‘Il Tarantino’) at the Conservatorio S Maria della Pietà del Turchini and his first known major work, a sacred drama called S Chiara, o L’infedeltà abbattuta, was performed in 1712 at the conservatory. Its performance must have impressed the right people, because shortly thereafter, he was appointed both supernumerary organist in the viceroy’s chapel and Marchese Stella’s maestro di cappella. He may also have been maestro di cappella of S Maria della Solitaria.PICTURED: Leonardo Leo
20
The D minor Concerto . . . requires remarkable virtuosity, not just in the fast movements, but throughout the piece.
Leo was a prolific composer of opera, although they are rarely performed today and are virtually unknown. He was also a prominent teacher and held positions at the Conservatorio S Onofrio and eventually succeeded his old teacher, Fago, at the Conservatorio S Maria della Pietà del Turchini. One of his greatest contributions to musical development of the time was attempting to reform Neapolitan religious music. In fact there was a great deal of rivalry between Leo and the other great composer of church music in Naples at the time, Francesco Durante – you were either a ‘Leisti’ or a ‘Durantisti’.
He became principal organist of the vice-regal chapel on Alessandro Scarlatti’s death in 1725. But this marked the start of a bit of a rough patch for Leo – his compositional rivals Vinci and Hasse took hold until 1730, when Vinci died and Hasse left Naples. In the last year of his life, he finally became the maestro di cappella of the royal chapel.
Domenico Marzio Carafa, the Duke of Maddaloni, and his wife Anna Colonna, welcomed the new king of Naples, Carlos de Borbón, to their palace in 1734. The Maddaloni Palace had a tradition of encouraging performers and composers, and many works had, over the years, been dedicated to the Maddalonian Dukes.
Leonardo Leo was another such composer to enjoy the patronage of the Duke of Maddaloni. Composed between September 1737 and August 1738, he wrote six cello concertos dedicated to the present Duke and his wife. The autograph scores of these magnificent pieces are today to be found at the library of the Naples Conservatorium.
The D minor Concerto, which has been dated as April 1738, requires remarkable virtuosity, not just in the fast movements, but throughout the piece. We have no idea who the first performer of this (or the other five) concerto was, but of this we can be sure: it was someone of enormous talent and technical capability.
21
NICOLÒ PAGANINI Born Genoa, 1782. Died Nice, 1840.
INTRODUCTION AND VARIATIONS ON ‘DAL TUO STELLATO SOGLIO’ FROM ROSSINI’S MOSÈ IN EGITTO
Composed ?1819.
‘Paganini’s flame of life has now extinguished and with it that one powerful blast of nature’s breath, which is only given to us for a short time, only long enough for it to be withdrawn from us quickly once again; with it a wonderful spirit disappeared, and now it remains only as a spark in the sphere of art, but what a particularly great spark it was.’
So wrote Franz Liszt in his obituary for Nicolò Paganini.
PICTURED: Nicolò Paganini
Paganini lived his life with extraordinary colour. Much has been written about his brilliance on the violin and he was admired by such luminaries as Schubert and Chopin, who is said to have referred to Paganini as ‘perfect’. He was also great friends with Berlioz, about whom Paganini said, ‘Beethoven being dead only a Berlioz could reincarnate him. I who have fed on your divine compositions worthy of a genius as yours, feel it my duty to ask you to accept in homage the sum of 20,000 francs . . .’ (As a result of this generous gift, Berlioz’s Roméo et Juliette was dedicated to him.)
22
It is easy to forget that even though Paganini was full of flash, he most certainly had the substance to back it up. He was an extraordinary talent, who from an early age was astounding teachers and performers across Europe. He was a virtuoso on both the violin and the guitar, rising to fame after a tour of Europe between 1828 and 1830.
Along with his superlative talent on both instruments, he was a prolific and accomplished composer. His works served as inspiration to many composers, such as ‘La Campanella’ and the 24th Caprice which are the basis of works by Liszt, Rachmaninoff, Brahms, Schumann, Lutoslawski, even Andrew Lloyd Webber! Rossini remarked of Paganini’s compositional gift that had he ever attempted to write an opera that he would have ‘knocked out all of us.’
The stories of his pact with the Devil are legendary. His technical virtuosity was so astounding that no-one believed it was possible for him to simply have been born with this gift – he must have entered into an arrangement with some dark and sinister force to become so extraordinary. Then there was his physical appearance – through illness and neglect he lost all of his teeth, which meant his mouth looked sunken and evil, and he was also painfully thin. And to put the final nail in the coffin, so to speak, of his satanic contract, when he was near death, he refused to see a priest, thus confirming (erroneously, of course) that he was damned. In fact, following his death in 1840, the Bishop of Nice forbade his interment in consecrated ground and he was not formally buried for 36 years, when he was laid to rest in a cemetery in Parma!
Paganini loved being a daredevil, a risk-taker, a showoff. While neither of these stories has anything to do with the Moses Fantasy as such, they do explain the kind of feeling, the method, the idea behind its composition. The first legend has it that while Paganini was performing, first, his E string broke, then the A, then the D, which left him with just the G. Refusing to stop, or to re-string, he played the remainder of the program on just the G string. The variation on this story has it that Paganini would intentionally file down his E string so it would snap mid-performance, thus enabling him to do his trick of playing on just the one string.
Even though in all likelihood both stories are complete fantasy, the introduction and set of variations based on an aria from Rossini’s opera Mosè in Egitto (Moses in Egypt), is, in fact, intended for performance on just the one string. Despite its mind-blowing difficulty, there is still plenty of serenely beautiful melodic artistry, as was the style of the bel canto opera whence it came.
Paganini loved being a daredevil, a risk-taker, a showoff.
23
GIOACHINO ROSSINI Born Pesaro, 1792. Died Passy, 1868.
UNE LARME: THÈME ET VARIATIONS FROM PÉCHÉS DE VIEILLESSE (A TEAR: THEME AND VARIATIONS FROM SINS OF OLD AGE)
Composed 1857–68.
Born just three months after Mozart died, Rossini’s extraordinary output of operas in his 20s and early 30s made him this medium’s natural successor to Mozart. But whereas opera was just one area which was touched by Mozart’s genius, Rossini’s achievements were mostly limited to vocal music – first opera, then song and sacred works.
When he was 37, for some reason, Rossini decided to ‘retire’ from public life. He moved to France and set up shop in a magnificent home in Passy. He continued to compose, primarily sacred music and this little gem, Une Larme: thème et variations for cello and piano – heard in this program in an arrangement for cello and strings by our soloist’s father. Une Larme can be found in the ninth of 14 volumes of what Rossini called Péchés de vieillesse. These musical ‘sins of old age’ (of which there were about a hundred or so!) were composed over an 11-year period and were written for a variety of chamber ensembles. Une Larme (A Tear) was one of the more conservatively titled ‘sins’ – others included Gherkins, Asthmatic Study, and Miscarriage of a polka-mazurka, to name just a few . . .
Une Larme starts off with a brief ‘crying’ motif in the strings, which is developed by the rest of the orchestra, with the Rossini crescendo effect, until the piece opens up and in total serenity flows into the final theme. Although not a particularly substantial work, it does demonstrate Rossini’s superlative understanding of the cello and it makes for a brilliant party piece.
PICTURED: Gioachino Rossini, c.1850. (Lithograph by F. Perrin)
24
PICTURED: Giacinto Scelsi
GIACINTO SCELSI Born La Spezia, 1905. Died Rome, 1988.
C’EST BIEN LA NUIT FROM NUITS
Composed 1972.
Giacinto Scelsi seemed determined to make it hard for people to find out about his music. Apart from the fact that he eschewed all interviews and requests to make analytical comments about his works, he was also known to do such things as deliberately redating compositions so as to confuse musicologists. He also refused to have his photo taken and instead preferred that he be represented by the symbol of a horizontal line placed under a circle.
Scelsi, who American composer Morton Feldman dubbed the ‘Italian Ives’, began his compositional life writing extraordinarily beautiful and melodic works, albeit quite conservative in their construction. But before his compositional voice was allowed to fully mature, he suffered a nervous breakdown which coincided with the start of the Second World War.
He wrote more than 100 works and by the 1980s, his music began to find its ways onto the stage and indeed recordings, despite his apparent reluctance to share his art – in fact, there is a collection on Mode records of the complete works of Scelsi. He did not restrict himself to any particular genre, writing for orchestra, chamber ensemble, string quartet, duos and solos, such as the work on this program for solo double bass.
Scelsi’s view of composition was that it had nothing to do with individualism but rather the composer was the creator of circumstances through which sound was revealed. He was very interested in the sonic possibilities of single notes and it is alleged that he would spend hours at the piano, playing the same note, over and over again, carefully listening to it and how it changed according to how he struck the key. This fascination with single note, drone-like repetition was part of the recovery process from his breakdown.
By the 1970s, he had refined his style, and his pieces were quite short and musically compact, as can be heard in ‘C’est bien la nuits’.
Maxime Bibeau says of the work: ‘From the incredible simplicity in writing, comes an extraordinary complexity. And hidden in plain sight are myriad timbres and colours that result in great exuberance, excitement, and a clearly Italian character, but also results in expressing something quite uneasy, tumultuous, disturbed even, which could have very well been a reflection of the state of mind of the composer at the time. Nevertheless, there is such passion in his writing, which is definitely more conceptual than practical in nature. Scelsi manages to create a brand new language in a very short piece. As with the Berio, the instrument has to be tuned differently from usual.’
25
PICTURED: Giovanni Sollima
GIOVANNI SOLLIMA Born Palermo, 1962.
FECIT NEAP. 17 . . . FOR CELLO, STRINGS AND CONTINUO
Composed 2011.
Cellist Giovanni Sollima has long been interested in expanding the expressive and sonic possibilities of his instrument. For his four-movement Terra Suite, commissioned for a dance performance at the 2001 Venice Biennale, Sollima was recorded multitracking on multiple cellos, and in Lasse Gjertsen’s accompanying video, Sollima can be seen sprouting extra arms to play all the parts on one cello.
As a musician, Sollima resists easy categorisation. Although he performs the traditional cello repertoire, he also has invented his own instruments, and he once played an ice cello in a mountain-top igloo theatre. For his work Caravaggio, he reconstructed the tenor violin that is depicted in the great Italian’s paintings (the score itself is loosely based on the tiny scraps of music, thought to be by the Flemish composer Arcadelt, that can be seen in Caravaggio’s work). He regularly collaborates with artists, choreographers, and theatre directors who are as restless and innovative as he is; as a film composer, he has written music for Wim Wenders’s Palermo Shooting and Peter Greenaway’s Vaux to the Sea and Nightwatching. But the cello itself has been at the heart of Sollima’s life since childhood. ‘The cello,’ he once said, ‘both as an instrument (including its case . . .) that sounds, and as an object irresistibly fascinating for me, attracted my attention immediately.’
26
The past, in particular the great Italian cultural heritage, is present in much of what Sollima does today. ‘I feel the past as a magnetic centre that is sending out signals,’ he has said.
Dinko Fabris said of Fecit Neap. 17. . . :
It can well be said that Giovanni Sollima appears to represent the reincarnation of the spirit of the Southern Italian virtuoso from three centuries past. Sollima’s own performances of 18th-century concertos not only recall in a thrilling manner a set of Baroque ‘gestures’ which cannot just be restored by merely the cold execution of all the written notes, but make them come to life once more with their unexpected dynamic leaps, effects of tone colour, warmth of the sonority and finally by means of the surprising cadenzas which the performer himself supplies.
For these reasons, the inclusion of one of his own original compositions ‘in the style’ of an 18th-century Neapolitan composer, sits in perfect harmony with the repertoire on this program. This work, dedicated to Antonio Florio, can be considered almost to carry a program title: Fecit Neap. 17 . . . . This is, of course, a recurrent abbreviated expression appearing in many manuscripts from the 18th century, through which the researcher can establish the autograph signature of a composer and, often also, some indications of the practical execution desired by the composer. The new work by Sollima, a highly-rated contemporary composer and one especially keen on the stylistic crossover between different genres, mixes here two deliberately contrasting moods.
The first mood, all pensive and evocative of the most sensual and cantabile Baroque tone colours, derives from 18th-century Naples, especially with its gorgeous principal theme above an ostinato bass. The second mood is based on a rhythmic preoccupation – which reveals the mastery of the virtuoso of our own times – whilst demanding from the musicians playing historical instruments (expressly required) an almost inordinate amount of effort in the superimposition of irregular meters, in the manner of Stravinsky. Here then is a score which transmits a great energy.
‘The cello . . . attracted my attention immediately.’ GIOVANNI SOLLIMA
27
G I O VA N N I S O L L I M AL E A D E R & C E L L O
Born in Palermo into a family of musicians, Giovanni Sollima studied cello with Giovanni Perriera and Antonio Janigro, and composition with his father Eliodoro Sollima, as well as Milko Kelemen.
His international career as a cellist began with collaborations with such artists as Claudio Abbado, Giuseppe Sinopoli, Jörg Demus, Martha Argerich, Katia and Marielle Labèque, Bruno Canino, DJ Scanner, Viktoria Mullova, Riccardo Muti, Ruggero Raimondi, Patti Smith, Philip Glass and Yo-Yo Ma.
Sollima has performed in prestigious places around the world, as well as many alternative venues – Carnegie Hall, BAM, Alice Tully Hall, and Knitting Factory in New York; Wigmore and Queen Elizabeth Halls in London; Salle Gaveau in Paris; Muziekgebouw in Amsterdam; Tchaikovsky Hall in Moscow; Kunstfest in Weimar; La Scala in Milan; Santa Cecilia in Rome; and the festivals of Kronberg, Kuopio, Istanbul, Tokyo, Venice, Ravenna, Spoleto, and Shanghai (Expo 2010).
As a composer, Sollima has been captivated by every kind of language and creates interesting blends among the most diverse genres by combining elements of classical and rock music, as well as music of the Mediterranean. He composes for both acoustic and electric instruments. He has worked with choreographers Karole Armitage, and Carolyn Carlson; for the theatre, Bob Wilson, Alessandro Baricco, and Peter Stein; and in film, Marco Tullio Giordana, Peter Greenaway, Lasse Gjertsen (DayDream), and John Turturro.
Together with cellist and composer Enrico Melozzi he created the 100 CELLOS project in 2012. Cellists of all ages get together for three days, playing music from the baroque through to rock and contemporary music written while they’re together. The project is now in its fifth incarnation.
In 2013 and 2014 Sollima was the Maestro Concertatore of ‘La Notte della Taranta’, a festival of traditional popular music from the Salento region, whose final concert reaches more than 140,000 people.
Recent recordings include Neapolitan Cello Concertos (Glossa), and Caravaggio and Aquilarco (Egea).
The Chicago Symphony Orchestra commissioned a double cello concerto for Sollima and Yo-Yo Ma, the premiere of which took place at Symphony Hall in Chicago in February 2014 to rave reviews.
Giovanni Sollima, teaches at the Academy of Santa Cecilia in Rome. He plays a cello by Francesco Ruggieri (1679, Cremona).
Photo by Gian Maria Musarra
28
S AT U VÄ N S K ÄV I O L I N
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 first 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.
At the age of 11 Satu was selected for the Kuhmo Violin School in Finland, a special institution for talented young violinists where she attended masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov and had the opportunity to perform at the Kuhmo Chamber Music Festival with the Kuhmo Virtuosi Chamber Orchestra. From 1997 Satu was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich where she finished her diploma in 2001. This led to her performances with the Munich Philharmonic, the Bavarian Radio Symphony Orchestra, at the Tuusulanjärvi Festival, and at Festivo Aschau.
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 such musicians as Radu Lupu and Heinrich Schiff.
Satu performs regularly as lead violin and soloist with the ACO. She is also front woman and curator of the critically acclaimed electro-acoustic ensemble ACO Underground. Satu features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor. She was presented in recital in July 2012 by the Sydney Opera House as part of their Utzon Room Music Series.
In 2011, she became the custodian of the only Stradivarius violin in Australia – the magnificent 1728/29 violin on loan from the ACO’s Instrument Fund.
Photo by Jack Saltmiras
29
M A X I M E B I B E A UD O U B L E B A S S
Canadian-born Maxime Bibeau’s musical career started, as many young musicians do, in a high school garage band! Initially he wanted to pursue a career as a scientist. But the lure of music, particularly jazz, inspired Maxime to take up double bass at 17. He completed his undergraduate degree at the Conservatoire de Musique du Québec à Montréal with René Gosselin. He received his Master’s of Music from Rice University in Houston with Timothy Pitts and Paul Ellison where he was awarded a full university scholarship, as well as grants from the Canada Arts Council and the Canadian Research Assistance Fund. Maxime has been Principal Double Bass with the ACO since 1998.
Early in his career, Maxime was given the opportunity to participate in several programs including the SHIRA International Symphony Orchestra Israel, Jeunesses Musicales World Orchestra, Music Academy of the West, Waterloo Festival, Centre d’Art d’Orford and Domaine Forget. These days he regularly appears as a chamber musician and has appeared as a guest artist with orchestras both in Australia and overseas.
Maxime enjoys playing music from all eras and loves the flexibility, drive, talent and commitment of his ACO colleagues. Solo performances with the ACO include Bottesini’s Gran Duo Concertante with Stefan Jackiw, Mozart’s Per questa bella mano with Teddy Tahu Rhodes, Piazzola’s Kicho, Contrabajeando and Contrabajissimo. He has also premiered James Ledger’s Folk Song and Matthew Hindson’s Crime and Punishment, and later this year, he will be a featured soloist in a new work by Australian composer, Elena Kats-Chernin.
As an educator he has been involved with the Australian Youth Orchestra’s National Music Camp, Sydney Youth Orchestra, University of NSW, Australian National Academy of Music, and as a lecturer at the Sydney Conservatorium of Music.
When he isn’t collecting frequent flyer points, Maxime, like many of the ACO players, enjoys his downtime in the ocean as an avid diver and swimmer.
Maxime plays a late-16th-century Gasparo da Salò double bass kindly made available to him by anonymous Australian benefactors.
Photo by Will Huxley
A one-stop guide to Australia’s diverse arts scene produced exclusively by Foxtel Arts
WEDNESDAYS 8PM AEST, FROM MAY 11
foxtelarts.com.au
CH133
Hosted by Deborah Hutton
Joined byMargaret Pomeranz
Graeme BlundellLeo Schofield
Chris Hook
31
A U S T R A L I A N C H A M B E R O R C H E S T R A
From its very first concert in November 1975, the Australian Chamber Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.
Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 21 players (four part-time), giving more than 100 performances in Australia each year, as well as touring internationally: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper.
Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland.
The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries, and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank.
The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards, and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.
Richard Tognetti Artistic Director & Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Maja Savnik Violin Ike See Violin Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass
PART-TIME MUSICIANS
Zoë Black Violin Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello
‘If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK)
32
M U S I C I A N S O N S TA G E
Players dressed by WILLOW and SABA
Satu Vänskä 1 Principal ViolinChair sponsored by Kay Bryan
Mark Ingwersen ViolinChair sponsored by Ian Wallace & Kay Freedman
Ilya Isakovich ViolinChair sponsored by The Humanity Foundation
Liisa Pallandi ViolinChair sponsored by The Melbourne Medical Syndicate
Maja Savnik 2 Violin
Ike See ViolinChair sponsored by Di Jameson
33
Alexandru-Mihai Bota Viola Chair sponsored by Philip Bacon am
Melissa Barnard Cello Chair sponsored by Martin Dickson am & Susie Dickson
1 Satu Vänskä plays a 1728/29 Antonio Stradivari violin kindly on loan from the ACO Instrument Fund.
2 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund.
3 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.
Maxime Bibeau 3 Principal Bass Chair sponsored by Darin Cooper Foundation
Tommie Andersson Theorbo
Donald Nicolson Harpsichord (all concerts except Perth)
Erin Helyard Harpsichord (Perth only)
34
BOARD
Guido Belgiorno-Nettis am Chairman
Liz Lewin Deputy
Bill Best John Borghetti Judith Crompton John Grill ao Anthony Lee Heather Ridout ao Carol Schwartz am Naomi Shepherd (Observer) Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo
ARTISTIC DIRECTORRichard Tognetti ao
ADMINISTRATIVE STAFF
EXECUTIVE OFFICE
Richard Evans Managing Director
Jessica Block Deputy General Manager
Alexandra Cameron-Fraser Chief Operating Officer
ARTISTIC & OPERATIONS
Luke Shaw Head of Operations & Artistic Planning
Anna Melville Artistic Administrator
Lisa Mullineux Tour Manager
Danielle Asciak Travel Coordinator
Bernard Rofe Librarian
Cyrus Meurant Assistant Librarian
Joseph Nizeti Multimedia, Music Technology & Artistic Assistant
EDUCATION
Phillippa Martin ACO Collective & ACO Virtual Manager
Zoe Arthur Acting Education Manager
Caitlin Gilmour Education Assistant
FINANCE
Steve Davidson Corporate Services Manager
Fiona McLeod Chief Financial Officer
Yvonne Morton Accountant
Shyleja Paul Assistant Accountant
DEVELOPMENT
Rebecca Noonan Development Manager
Jill Colvin Philanthropy Manager
Penelope Loane Investor Relations Manager
Tom Tansey Events Manager
Tom Carrig Senior Development Executive
Sally Crawford Patrons Manager
Alice Currie Development Coordinator
MARKETING
Derek Gilchrist Marketing Manager
Mary Stielow National Publicist
Hilary Shrubb Publications Editor
Leo Messias Marketing Coordinator
Cristina Maldonado Communications Coordinator
Chris Griffith Box Office Manager
Dean Watson Customer Relations Manager
Christina Holland Office Administrator
INFORMATION SYSTEMS
Ken McSwain Systems & Technology Manager
Emmanuel Espinas Network Infrastructure Engineer
A C O B E H I N D T H E S C E N E S
AUSTRALIAN CHAMBER ORCHESTRA
ABN 45 001 335 182
Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW.
In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000
By Mail PO Box R21, Royal Exchange NSW 1225
Telephone (02) 8274 3800 Box Office 1800 444 444
Email [email protected] Web aco.com.au
35
V E N U E S U P P O R T
QUEENSLAND PERFORMING ARTS
CENTRE
Cultural Precinct,
Cnr Grey & Melbourne Street,
South Bank QLD 4101
PO Box 3567,
South Bank QLD 4101
Telephone (07) 3840 7444
Box Office 131 246
Web qpac.com.au
Christopher Freeman am Chair
John Kotzas Chief Executive
ADELAIDE TOWN HALL
128 King William Street,
Adelaide SA 5000
GPO Box 2252,
Adelaide SA 5001
VENUE HIRE INFORMATION
Telephone (08) 8203 7590
Email [email protected]
Web adelaidetownhall.com.au
Martin Haese Lord Mayor
Peter Smith Chief Executive Officer
AUSTRALIAN NATIONAL UNIVERSITY
Llewellyn Hall School of Music
William Herbert Place
(off Childers Street),
Acton, Canberra
VENUE HIRE INFORMATION
Telephone (02) 6125 2527
Email [email protected]
AustralianNationalUniversity
ARTS CENTRE MELBOURNE
PO Box 7585,
St Kilda Road, Melbourne VIC 8004
Telephone (03) 9281 8000
Box Office 1300 182 183
Web artscentremelbourne.com.au
Tom Harley President
Victorian Arts Centre Trust
Claire Spencer Chief Executive Officer
PERTH CONCERT HALL
5 St Georges Terrace,
Perth WA 6000
PO Box 3041,
East Perth WA 6892
Telephone (08) 9231 9900
Web perthconcerthall.com.au
Brendon Ellmer General Manager
CITY RECITAL HALL
A City of Sydney Venue
2–12 Angel Place,
Sydney NSW 2000
GPO Box 3339, Sydney NSW 2001
Telephone (02) 9231 9000
Box Office (02) 8256 2222
Web cityrecitalhall.com
Renata Kaldor ao Chair
Elaine Chia Chief Executive Officer
SYDNEY OPERA HOUSE
Bennelong Point
GPO Box 4274, Sydney NSW 2001
Telephone (02) 9250 7111
Box Office (02) 9250 7777
Email [email protected]
Web sydneyoperahouse.com
Nicholas Moore
Chair, Sydney Opera House Trust
Louise Herron am Chief Executive Officer
In case of emergencies . . .Please note, all venues have emergency action plans. You can call ahead of your visit to the venue
and ask for details. All Front of House staff at the venues are trained in accordance with each
venue’s plan and, in the event of an emergency, you should follow their instructions. You can also
use the time before the concert starts to locate the nearest exit to your seat in the venue.
36
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–164 — 17843 — 1/250616
OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN
OVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; 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) (Proprietary) Limited, 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 & Advertising Director 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.
Pre-concert talks take place 45 minutes before the start of every concert.
Sat 25 Jun, 7.15pm Canberra Llewellyn HallPre-concert talk by Ken Healey am
Tue 28 Jun, 6.45pm Adelaide Town HallPre-concert talk by Vincent Plush Wed 29 Jun, 6.45pm Perth Concert HallPre-concert talk by Claire Stokes Sat 2 Jul, 6.15pm Sydney City Recital HallPre-concert talk by Francis Merson
Sun 3 Jul, 1.45pm Melbourne Arts CentrePre-concert talk by John Weretka Mon 4 Jul, 6.45pm Melbourne Arts CentrePre-concert talk by John Weretka Tue 5 Jul, 7.15pm Sydney City Recital HallPre-concert talk by Francis Merson Wed 6 Jul, 6.15pm Sydney City Recital HallPre-concert talk by Francis Merson
Fri 8 Jul, 12.45pm Sydney City Recital HallPre-concert talk by Francis Merson Sat 9 Jul, 6.15pm Brisbane QPAC Concert HallPre-concert talk by Gillian Wills Sun 10 Jul, 1.15pm Sydney Opera HousePre-concert talk by Francis Merson
Pre-concert speakers are subject to change.
T O U R D AT E S & P R E- C O N C E R T TA L K S
TOUR PRESENTED BY
S E Q U E N Z AI T A L I A N A
37
A C O M E D I C I P R O G R A M
MEDICI PATRON
The late Amina Belgiorno-Nettis
PRINCIPAL CHAIRS
Richard Tognetti ao
Artistic Director & Lead Violin
Michael Ball ao & Daria Ball
Wendy Edwards
Prudence MacLeod
Andrew & Andrea Roberts
Helena Rathbone
Principal Violin
Kate & Daryl Dixon
Satu Vänskä
Principal Violin
Kay Bryan
Principal Viola
peckvonhartel architects
Timo-Veikko Valve
Principal Cello
Peter Weiss ao
Maxime Bibeau
Principal Double Bass
Darin Cooper Foundation
CORE CHAIRS
VIOLIN
Glenn Christensen
Terry Campbell ao & Christine Campbell
Aiko Goto
Anthony & Sharon Lee Foundation
Mark Ingwersen
Ian Wallace & Kay Freedman
Ilya Isakovich
The Humanity Foundation
Liisa Pallandi
The Melbourne Medical Syndicate
Ike See
Di Jameson
VIOLA
Alexandru-Mihai Bota
Philip Bacon am
Nicole Divall
Ian Lansdown
CELLO
Melissa Barnard
Martin Dickson am & Susie Dickson
Julian Thompson
The Grist & Stewart Families
ACO COLLECTIVE
Pekka Kuusisto
Artistic Director & Lead Violin
Horsey Jameson Bird
GUEST CHAIRS
Brian Nixon
Principal Timpani
Mr Robert Albert ao & Mrs Libby Albert
FRIENDS OF MEDICI
Mr R. Bruce Corlett am &
Mrs Annie Corlett am
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.
IBM
Mr Robert Albert ao & Mrs Libby Albert
Mr Guido Belgiorno-Nettis am
Mrs Barbara Blackman ao
Mrs Roxane Clayton
Mr David Constable am
Mr Martin Dickson am & Mrs Susie Dickson
Dr John Harvey ao
Mrs Alexandra Martin
Mrs Faye Parker
Mr John Taberner & Mr Grant Lang
Mr Peter Weiss ao
A C OL I F E P AT R O N S
38
A C O B E Q U E S T P AT R O N S
The late Charles Ross Adamson
The late Kerstin Lillemor Andersen
The late Mrs Sybil Baer
Steven Bardy
Dave Beswick
Ruth Bell
The Estate of Prof. Janet Carr
Sandra Cassell
The late Mrs Moya Crane
Mrs Sandra Dent
Leigh Emmett
The late Colin Enderby
Peter Evans
Carol Farlow
Suzanne Gleeson
Lachie Hill
David & Sue Hobbs
The late John Nigel Holman
Penelope Hughes
The late Dr S W Jeffrey am
Estate of Pauline Marie Johnston
The late Mr Geoff Lee am oam
Mrs Judy Lee
The late Shirley Miller
Selwyn M Owen
The late Josephine Paech
The late Richard Ponder
Ian & Joan Scott
The late Mr Geoffrey Francis Scharer
The Estate of Scott Spencer
Leslie C Thiess
G.C. & R. Weir
Margaret & Ron Wright
Mark Young
Anonymous (13)
Please consider supporting the future of the ACO with a gift in your will.
For more information on making a bequest, please call Jill Colvin, Philanthropy Manager, on 02 8274 3835.
Clare Ainsworth Herschell
Justine Clarke
Este Darin-Cooper & Chris Burgess
Amy Denmeade
Catherine & Sean Denney
Jenni Deslandes & Hugh Morrow
Anita George
Alexandra Gill
Rebecca Gilsenan & Grant Marjoribanks
Adrian Giuffre & Monica Ion
John & Lara James
Aaron Levine
Royston Lim
William Manning
Rachael McVean
Carina Martin
Barry Mowzsowski
Paris Neilson & Todd Buncombe
James Ostroburski
Nicole Pedler
Michael Radovnikovic
Jessica Read
Louise & Andrew Sharpe
Emile & Caroline Sherman
Michael Southwell
Helen Telfer
Karen & Peter Tompkins
Joanna Walton & Alex Phoon
Nina Walton & Zeb Rice
Peter Wilson & James Emmett
John Winning Jr.
ACO Next is an exciting philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.
MEMBERS
A C O N E X T
A C O G E N E R A L S U P P O R T P AT R O N S
Andrew Andersons
John & Lynnly Chalk
Dr Jane Cook
Pamela Duncan
Paul & Roslyn Espie
Dr Roy & Gail Geronemus
Jennifer Hershon
Peter & Edwina Holbeach
Michael Horsburgh am & Beverley
Horsburgh
Penelope Hughes
Mike & Stephanie Hutchinson
Professor Anne Kelso ao
Kevin & Deidre McCann
Baillieu Myer ac
Douglas & Elisabeth Scott
Jeanne-Claude Strong
Dr Jason Wenderoth
Brian Zulaikha
Anonymous (2)
ACO General Support Patrons assist with the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.
39
Peter Weiss ao
PATRON, ACO Instrument Fund
BOARD MEMBERS
Bill Best (Chairman)
Jessica Block
John Leece am
Andrew Stevens
John Taberner
PATRONS
VISIONARY $1m+
Peter Weiss ao
LEADER $500,000 – $999,999
CONCERTO $200,000 – $499,999
The late Amina Belgiorno-Nettis
Naomi Milgrom ao
OCTET $100,000 – $199,999
John Taberner
QUARTET $50,000 – $99,999
John Leece am & Anne Leece
Anonymous
SONATA $25,000 – $49,999
ENSEMBLE $10,000 – $24,999
Lesley & Ginny Green
Peter J Boxall ao & Karen Chester
SOLO $5,000 – $9,999
PATRON $500 – $4,999
Michael Bennett & Patti Simpson
Leith & Darrel Conybeare
Dr Jane Cook
Geoff & Denise Illing
Luana & Kelvin King
Jane Kunstler
John Landers & Linda Sweeny
Genevieve Lansell
Bronwyn & Andrew Lumsden
Patricia McGregor
Trevor Parkin
Elizabeth Pender
Robyn Tamke
Anonymous (2)
INVESTORS
Stephen & Sophie Allen
John & Deborah Balderstone
Guido & Michelle Belgiorno-Nettis
Bill Best
Benjamin Brady
Sam Burshtein & Galina Kaseko
Carla Zampatti Foundation
Sally Collier
Michael Cowen & Sharon Nathani
Marco D’Orsogna
Dr William F Downey
Garry & Susan Farrell
Gammell Family
Edward Gilmartin
Tom & Julie Goudkamp
Philip Hartog
Brendan Hopkins
Angus & Sarah James
Daniel & Jacqueline Phillips
Ryan Cooper Family Foundation
Andrew & Philippa Stevens
Dr Lesley Treleaven
Ian Wallace & Kay Freedman
The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen. For more information, please call Penelope Loane, Investor Relations Manager on 02 8274 3878.
A C O I N S T R U M E N T F U N D
Holmes à Court Family Foundation The Neilson Foundation The Ross Trust
A C O T R U S T S & F O U N D AT I O N S
40
A C O S P E C I A L C O M M I S S I O N S & S P E C I A L P R O J E C T SSPECIAL COMMISSIONS PATRONS
Peter & Cathy Aird
Gerard Byrne & Donna O’Sullivan
Mirek Generowicz
Peter & Valerie Gerrand
G Graham
Anthony & Conny Harris
Rohan Haslam
John Griffiths & Beth Jackson
Andrew & Fiona Johnston
Lionel & Judy King
David & Sandy Libling
Tony Jones & Julian Liga
Robert & Nancy Pallin
Deborah Pearson
Alison Reeve
Augusta Supple
Dr Suzanne M Trist
Team Schmoopy
Rebecca Zoppetti Laubi
Anonymous (1)
INTERNATIONAL TOUR PATRONS
The ACO would like to pay tribute to
the following donors who support our
international touring activities in 2016:
Mr Robert Albert ao & Mrs Libby Albert
Linda & Graeme Beveridge
Jan Bowen
Kay Bryan
Stephen & Jenny Charles
Ann Gamble Myer
Daniel & Helen Gauchat
Yvonne von Hartel am & Robert Peck am
peckvonhartel architects
Janet Holmes à Court
Bruce & Jenny Lane
Delysia Lawson
John Leece
Julianne Maxwell
Jim & Averill Minto
Alf Moufarrige
Angela Roberts
Mike Thompson
Peter Weiss ao
MOUNTAIN PRODUCERS’ SYNDICATE
Major Producers
Janet Holmes à Court
Warwick & Ann Johnson
Producers
Tony & Carmilla Gill
John & Lisa Kench
Peter & Victoria Shorthouse
Alden Toevs & Judi Wolf
THE REEF NEW YORK PRODUCERS’ SYNDICATE
Executive Producers
Tony & Michelle Grist
Lead Producers
Jon & Caro Stewart Foundation
Major Producers
Danielle & Daniel Besen Foundation
Janet Holmes à Court ac
Charlie & Olivia Lanchester
Producers
Richard Caldwell
Warren & Linda Coli
Graham & Treffina Dowland
Steve Duchen & Polly Hemphill
Wendy Edwards
Doug Elix
Gilbert George
Tony & Camilla Gill
Max Gundy (Board member ACO US) & Shelagh Gundy
Rebecca John & Daniel Flores
Patrick Loftus-Hills (Board member ACO US) & Konnin Tam
Sally & Steve Paridis(Board members ACO US)
Peter & Victoria Shorthouse
John Taberner (Board member ACO US)& Grant Lang
Alden Toevs & Judi Wolf
Major Partner
Corporate Partner
Lexington Partners
Manikay Partners
Corporate Supporter
UBS
ACO ACADEMY BRISBANE
LEAD PATRONS
Philip Bacon ao
Kay Bryan
Dr Ian Frazer ac & Mrs Caroline Frazer
Dr Edward Gray
Di Jameson
Wayne Kratzmann
Bruce & Jocelyn Wolfe
PATRONS
Andrew Clouston
Michael Forrest & Angie Ryan
Ian & Cass George
Professor Peter Høj
Helen McVay
Shay O’Hara-Smith
Brendan Ostwald
Marie-Louise Theile
Beverley Trivett
MELBOURNE HEBREW CONGREGATION PATRONS
LEAD PATRONS
Marc Besen ac & Eva Besen ao
SUPPORTER
Leo & Mina Fink Fund
EMANUEL SYNAGOGUE PATRONS
CORPORATE PARTNERS
Adina Apartment Hotels
Meriton Group
LEAD PATRON
The Narev Family
PATRONS
David Gonski ac
Lesley & Ginny Green
The Sherman Foundation
Justin Phillips & Louise Thurgood-Phillips
41
PATRONS
Marc Besen ac & Eva Besen ao
Janet Holmes à Court ac
EMERGING ARTISTS & EDUCATION PATRONS $10,000+
Mr Robert Albert ao & Mrs Libby Albert
Daria & Michael Ball
Australian Communities Foundation
– Ballandry Fund
Steven Bardy & Andrew Patterson
The Belalberi Foundation
Anita & Luca Belgiorno-Nettis Foundation
Guido Belgiorno-Nettis am & Michelle
Belgiorno-Nettis
Andre Biet
Rod Cameron & Margaret Gibbs
Stephen & Jenny Charles
Rowena Danziger am & Ken Coles am
Irina Kuzminsky & Mark Delaney
Dr Ian Frazer ac & Mrs Caroline Frazer
Ann Gamble Myer
Daniel & Helen Gauchat
Andrea Govaert & Wik Farwerck
John Grill & Rosie Williams
Kimberley Holden
Angus & Sarah James
Miss Nancy Kimpton
Elmer Funke Kupper
Liz & Walter Lewin
Andrew Low
Prudence MacLeod
Anthony and Suzanne Maple-Brown
Jim & Averill Minto
John & Anne Murphy
Louise & Martyn Myer Foundation
Jennie & Ivor Orchard
Bruce & Joy Reid Trust
Andrew & Andrea Roberts
Mark & Anne Robertson
Rosy Seaton & Seamus Dawes
Tony Shepherd ao
John Taberner & Grant Lang
Leslie C. Thiess
The Hon Malcolm Turnbull mp &
Ms Lucy Turnbull ao
David & Julia Turner
E Xipell
Peter Yates am & Susan Yates
Professor Richard Yeo
Peter Young am & Susan Young
Anonymous (2)
DIRETTORE $5,000 – $9,999
Geoff Ainsworth & Jo Featherstone
Geoff Alder
Veronika & Joseph Butta
Caroline & Robert Clemente
Andrew Clousten
Darrel & Leith Conybeare
Mrs Janet Cooke
Bridget Faye am
AG Froggatt
Warren Green
Tony & Michelle Grist
Liz Harbison
Kerry Harmanis
Dr John Harvey ao & Mrs Yvonne Harvey
Annie Hawker
Dr Wendy Hughes
I Kallinikos
John Kench
Key Foundation
Anthony & Sharon Lee Foundation
Mrs Judy Lee
Lorraine Logan
Macquarie Group Foundation
David Maloney & Erin Flaherty
Julianne Maxwell
Pam & Ian McDougall
Brian & Helen McFadyen
P J Miller
James Ostroburski & Leo Ostroburski
QVB
John Rickard
Greg Shalit & Miriam Faine
Peter & Victoria Shorthouse
Jann Skinner
Sky News Australia
St George Foundation
Jon & Caro Stewart
Anthony Strachan
Mary-Anne Sutherland
Alden Toevs & Judi Wolf
Geoff Weir
Westpac Group
Simon & Amanda Whiston
Shemara Wikramanayake
Cameron Williams
Anonymous (7)
MAESTRO $2,500 – $4,999
Michael Ahrens
David & Rae Allen
Ralph Ashton
Will & Dorothy Bailey Charitable Gift
Doug & Alison Battersby
The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.
If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) 8274 3835 or [email protected]
Donor list current as at 10 June 2016
A C O N AT I O N A L E D U C AT I O N P R O G R A M
42
Beeren Foundation
Berg Family Foundation
Mr & Mrs Daniel Besen
Jenny Bryant
Neil & Jane Burley
The Hon. Alex Chernov ac qc &
Elizabeth Chernov
Alan Fraser Cooper
Robert & Jeanette Corney
Kate & Daryl Dixon
Heather Douglas
Anne & Thomas Dowling
Maggie Drummond
Michele Duncan
Suellen Enestrom
John Gandel ao & Mrs Pauline Gandel
Robert & Jennifer Gavshon
Nereda Hanlon & Michael Hanlon am
Reg Hobbs & Louise Carbines
Simon & Katrina Holmes à Court
Erica Jacobson
Ros Johnson
Peter Lovell
The Alexandra & Lloyd Martin Family
Foundation
Jennifer Senior & Jenny McGee
Jane Morley
Sandra & Michael Paul Endowment
Perpetual Trustee Company Limited
Patricia H Reid Endowment Pty Ltd
Ralph & Ruth Renard
The Sandgropers
D N Sanders
Petrina Slaytor
John & Josephine Strutt
Ralph Ward-Ambler am & Barbara
Ward-Ambler
Richard & Suzie White
William & Anna Yuille
Anonymous (4)
VIRTUOSO $1,000 – $2,499
Jennifer Aaron
AJ Ackermann
Annette Adair
Linda Addy
Samantha & Aris Allegos
Jane Allen
Philip Bacon am
Lyn Baker & John Bevan
Adrienne Basser
David & Anne Bolzonello
Brian Bothwell
Benjamin Brady
Vicki Brooke
Diana Brookes
Westland Group Holdings
Dr Catherine Brown-Watt psm
Jasmine Brunner
Sally Bufé
Gerard Byrne & Donna O’Sullivan
Andrew & Cathy Cameron
Terry Campbell ao & Christine Campbell
Ray Carless & Jill Keyte
Patrick Charles
Angela & John Compton
Brooke & Jim Copland
Laurie & Julie Ann Cox
Carol & Andrew Crawford
Judith Crompton
J & P Curotta
Michael & Wendy Davis
Martin Dolan
Dr William F Downey
Daniel Droga
Emeritus Professor Dexter Dunphy am
Sharon Ellies
Leigh Emmett
Peter Evans
Julie Ewington
Elizabeth Finnegan
Michael Fogarty
Don & Marie Forrest
Anne & Justin Gardener
Kerry Gardner
Colin Golvan qc
In memory of José Gutierrez
Paul Hannan
Gail Harris
Christian Holle
Merilyn & David Howorth
Penelope Hughes
Professor Andrea Hull ao
Launa & Howard Inman
John Griffiths & Beth Jackson
Owen James
Anthony Jones & Julian Liga
Brian Jones
Bronwen L Jones
Mrs Angela Karpin
Josephine Key & Ian Breden
In memory of Graham Lang
Julia Pincus & Ian Learmonth
Airdrie Lloyd
Colin Loveday
Robin Lumley
Diana Lungren
Garth Mansfield oam & Margaret Mansfield
Greg & Jan Marsh
David Mathlin
Janet Matton
Jane Tham & Philip Maxwell
Karissa Mayo
Kevin & Deidre McCann
Nicholas McDonald
Ian & Pam McGaw
Colin McKeith
Bruce McWilliam
Michelle Mitchell
Suzanne M Morgan
Glenn Murcutt ao
Baillieu Myer ac
Stuart Nash
Nola Nettheim
Anthony Niardone & Glen Hunter
Paul O’Donnell
Anne & Christopher Page
L Parsonage
Prof David Penington ac
GV Pincus
Lady Primrose Potter ac
Beverley Price
Mark Renehan
Mrs Tiffany Rensen
Dr S M Richards am & Mrs M R Richards
Warwick & Jeanette Richmond
in Memory of Andrew Richmond
Em. Prof. A W Roberts am
Julia Champtaloup & Andrew Rothery
J Sanderson
In Memory of H. St. P. Scarlett
Lucille Seale
Dr Margaret Sheridan
43
Diana & Brian Snape am
Maria Sola
Dr P & Mrs D Southwell-Keely
Keith Spence
Mark Stanbridge
Ross Steele am
In memory of Dr Warwick Steele
Charles Su & Emily Lo
Tamas & Joanna Szabo
Victoria Taylor
Robert & Kyrenia Thomas
Anne Tonkin
Matthew Toohey
Angus Trumble
Ngaire Turner
Kay Vernon
Rebecca & Neil Warburton
John Wardle
Marion W Wells
Gillian Woodhouse
Don & Mary Ann Yeats
Rebecca Zoppetti Laubi
Anonymous (22)
CONCERTINO $500 – $999
Elsa Atkin am
Rita Avdiev
Lyle Banks
A & M Barnes
Robin Beech
Ruth Bell
Max & Lynne Booth
In memory of Peter Boros
C Bower
Debbie Brady
Denise Braggett
Mrs Pat Burke
Hugh Burton Taylor
Heather Carmody
Jessica Carvell
Fred & Angela Chaney
Dr Roger Chen
Colleen & Michael Chesterman
Richard & Elizabeth Chisholm
ClearFresh Water
Paul Cochrane
Spire Capital
P Cornwell & C Rice
John & Gay Cruikshank
Marie Dalziel
Mari Davis
Mrs Sandra Dent
Kath & Geoff Donohue
In Memory of Raymond Dudley
Margaret Dunstan
M T & R L Elford
Christine Evans
Carol Farlow
Eddy Goldsmith & Jennifer Feller
Penelope & Susan Field
Jean Finnegan & Peter Kerr
Jessica Fletcher
Peter Fredricson
Steven Frisken
Sam Gazal
Brian Goddard
Marilyn & Max Gosling
Arnoud Govaert
Jillian Gower
Annette Gross
Kevin Gummer & Paul Cummins
Lesley Harland
Gaye Headlam
Kingsley Herbert
Dr Penny Herbert
in memory of Dunstan Herbert
Dr Marian Hill
Sue & David Hobbs
Geoff Hogbin
Bee Hopkins
Dr & Mrs Michael Hunter
Margaret & Vernon Ireland
Barry Johnson & Davina Johnson oam
Caroline Jones
Bruce & Natalie Kellett
Graham Kemp & Heather Nobbs
Jacqueline & Anthony Kerwick
Karin Kobelentz & Miguel Wustermann
Ms Sarah R Lambert
Prof Kerry Landman
Philip Lawe Davies
Kwong Lee Dow
TFW See & Lee Chartered Accountants
Dimitra Loupasakis
Megan Lowe
Rob Mactier
Dr & Mrs Donald Maxwell
Kathleen McFarlane
H E McGlashan
JA McKernan
Peter & Ruth McMullin
Margaret McNaughton
Tempe Merewether
Marie Morton
Elizabeth Manning Murphy
Dr G Nelson
J Norman
Graham North
Robin Offler
John O’Sullivan
Willy & Mimi Packer
Robin Pease
Kevin Phillips
Michael Power
John Prendiville
Beverly & Ian Pryer
Jennifer Rankin
John Riedl
Angela Roberts
GM & BC Robins
Sally Rossi-Ford
Robin Rowe
Mrs J Royle
Christine Salter
Garry E Scarf & Morgie Blaxill
Rena Shein
Florine Simon
Casimir Skillecorn
Fionna Stack
Professor Fiona Stewart
Georgina Summerhayes
In memory of Dr Aubrey Sweet
Gabrielle Tagg
David & Judy Taylor
Simon Thornton
Peter & Karen Tompkins
Dr Ed & Mrs Julie van Beem
G C & R Weir
Taryn Williams
Sally Willis
Brian Zulaikha
Anonymous (35)
44
Mr Guido Belgiorno-Nettis am
Chairman,
Australian Chamber Orchestra
& Managing Director,
Transfield Holdings
Mr Philip Bacon am
Director,
Philip Bacon Galleries
Mr David Baffsky ao
Mr Marc Besen ac &
Mrs Eva Besen ao
Mr John Borghetti
Chief Executive Officer,
Virgin Australia
Mr Craig Caesar
Mrs Nerida Caesar
CEO, Veda
Mr Michael &
Mrs Helen Carapiet
Mr John Casella
Managing Director,
Casella Family Brands
(Peter Lehmann Wines)
Mr Michael Chaney ao
Chairman,
Wesfarmers
Mr & Mrs Robin Crawford
Rowena Danziger am
& Kenneth G. Coles am
Mr David Evans
Executive Chairman,
Evans & Partners
Ms Tracey Fellows
Chief Executive Officer,
REA Group
Mr Bruce Fink
Executive Chairman,
Executive Channel International
Mr Angelos Frangopoulos
Chief Executive Officer,
Australian News Channel
Ms Ann Gamble Myer
Mr Daniel Gauchat
Principal,
The Adelante Group
Mr James Gibson
Chief Executive Officer,
Australia & New Zealand
BNP Paribas
Mr John Grill ao
Chairman,
WorleyParsons
Mr Grant Harrod
Chief Executive Officer,
LJ Hooker
Mrs Janet Holmes à Court ac
Mr Simon &
Mrs Katrina Holmes à Court
Observant
Mr John Kench
Chairman,
Johnson Winter & Slattery
Mr Andrew Low
Mr David Mathlin
Ms Julianne Maxwell
Mr Michael Maxwell
Ms Naomi Milgrom ao
Ms Jan Minchin
Director,
Tolarno Galleries
Mr Jim &
Mrs Averill Minto
Mr Alf Moufarrige ao
Chief Executive Officer,
Servcorp
Mr John P Mullen
Chairman, Telstra
Mr Ian Narev
Chief Executive Officer
Commonwealth Bank
Ms Gretel Packer
Mr Jeremy Parham
Head of Langton’s,
Langton’s
Mr Robert Peck am &
Ms Yvonne von Hartel am
peckvonhartel architects
Mr Mark Robertson oam &
Mrs Anne Robertson
Mrs Carol Schwartz am
Ms Margie Seale &
Mr David Hardy
Mr Glen Sealey
Chief Operating Officer,
Maserati Australasia & South Africa
Mr Tony Shepherd ao
Mr Peter Shorthouse
Senior Partner,
Crestone Wealth Management
Mr Peter Tonagh
Chief Executive Officer,
FOXTEL
Mr Noriyuki (Robert) Tsubonuma
Managing Director & CEO,
Mitsubishi Australia Ltd
The Hon Malcolm Turnbull mp
& Ms Lucy Turnbull ao
Mr David &
Mrs Julia Turner
Ms Vanessa Wallace &
Mr Alan Liddle
Mr Peter Yates am
Deputy Chairman,
Myer Family Investments Ltd
& Director, AIA Ltd
Mr Peter Young am &
Mrs Susan Young
A C O C H A I R M A N ’ S C O U N C I LThe Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.
45
SYDNEY DEVELOPMENT COMMITTEE
Heather Ridout ao (Chair)
Director,
Reserve Bank of Australia
Guido Belgiorno-Nettis am
Chairman, ACO & Managing Director,
Transfield Holdings
Bill Best
Maggie Drummond
Tony Gill
John Kench
Chairman,
Johnson Winter & Slattery
Jennie Orchard
Tony O’Sullivan
Peter Shorthouse
Senior Partner,
Crestone Wealth Management
Mark Stanbridge
Partner, Ashurst
Alden Toevs
Group Chief Risk Officer,
CBA
Nina Walton
MELBOURNE DEVELOPMENT COUNCIL
Peter Yates am (Chair)
Deputy Chairman,
Myer Family Investments Ltd &
Director, AIA Ltd
Debbie Brady
Paul Cochrane
Investment Advisor,
Bell Potter Securities
Ann Gamble-Myer
Colin Golvan qc
Shelley Meagher
Director,
Do it on the Roof
James Ostroburski
Director,
Grimsey Wealth
Joanna Szabo
Simon Thornton
Executive General Manager,
Toll IPEC
DISABILITY ADVISORY COMMITTEE
Morwenna Collett
Manager,
Project Controls & Risk Disability
Coordinator,
Australia Council for the Arts
Richard Evans
Managing Director, ACO
Alexandra Cameron-Fraser
Strategic Development Manager, ACO
Dean Watson
Customer Relations & Access Manager, ACO
EVENT COMMITTEES
SYDNEY
Liz Lewin (Chair)
Jane Adams
Lillian Armitage
Eleanor Gammell
Lucinda Cowdroy
Sandra Ferman
JoAnna Fisher
Fay Geddes
Julie Goudkamp
Deb Hopper
Lisa Kench
Jules Maxwell
Karissa Mayo
Edwina McCann
Elizabeth McDonald
Nicole Sheffield
John Taberner
Lynne Testoni
BRISBANE
Philip Bacon
Kay Bryan
Andrew Clouston
Ian & Caroline Frazer
Cass George
Edward Gray
Wayne Kratzmann
Helen McVay
Shay O’Hara-Smith
Marie-Lousie Theile
Beverley Trivett
Bruce & Jocelyn Wolfe
A C O C O M M I T T E E S
THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT
A C O G O V E R N M E N T P A R T N E R S
The ACO is supported by the NSW Government through Arts NSW.
The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The ACO’s 2016 International Festivals Tour is supported by the Australian government through the Ministry for the Arts’ Catalyst—Australian Arts and Culture Fund
46
A C O P A R T N E R SPRINCIPAL PARTNER
PRINCIPAL PARTNER: ACO COLLECTIVE
OFFICIAL PARTNERS
MEDIA PARTNERS
NATIONAL TOUR PARTNERS
CONCERT AND SERIES PARTNERS
EVENT PARTNERS
ASSOCIATE PARTNER:ACO VIRTUAL
A C O P A R T N E R S
47
A C O N E W S
M E M O R I A L E V E N T
In April, a very special event was held at the Art Gallery of NSW in memory of Professor Janet Carr, whose life was celebrated at a gathering of friends and family in the beautiful surrounds of the John Schaeffer Gallery. Janet’s sister Elizabeth, her niece Julie, and several cousins and country friends, travelled from the Orange district where Professor Carr grew up, to be there.
Friend and long-term collaborator Professor Roberta Shepherd spoke warmly of her, describing a woman of great intellectual curiosity, with a rigorous and probing approach to knowledge.
Professor Carr was a pioneer of modern neurological rehabilitation and evidence-based physiotherapy, with a career dedicated to stroke recovery that spanned some 50 years. She and Professor Shepherd wrote and edited 13 books with translations into European and Asian languages. Their research collaboration investigated the effects of specific motor training on functional motor performance and recovery after stroke. Their work continues to play a crucial role in the field, with current researchers using their findings to further investigate new ways of stimulating neuroplasticity.
Janet’s respect and affection for the ACO began more than two decades ago, when, after a biomechanics conference in Amsterdam, she and Roberta went to a concert given by the Orchestra at the Concertgebouw. On her return to Australia, she subscribed to the whole season and did so every year after that until she died in November 2014.
The ACO is enormously grateful to Professor Carr for her wonderful and generous bequest to the Orchestra.
PICTURED, BELOW: Prof. Roberta Shepherd
Photo: Jamie Williams
PICTURED, BELOW RIGHT: Helena Rathbone, Maja Savnik, Nicole Divall and Melissa Barnard perform for guests.
Photo: Jamie Williams
PICTURED: The Late Professor Janet Carr
Photo: Robyn McLeod
48
A C O N E W S
E D U C AT I O N N E W S
The ACO Inspire Quartet performed an interactive concert in the ‘Main Street’ of the Royal Children’s Hospital, Melbourne last month. ACO Inspire Quartet violinist Peter Clark introduced students at the Hospital’s Education Institute to the emotional connection between music and art – just one of the many topics in the ACO Music & Art Program. This innovative program is under way in eight schools across Australia, with Peter and ACO Inspire Quartet cellist Paul Zabrowarny delivering interactive lessons via a virtual classroom.
The second year of the Penrith Strings Program has begun at the Joan Sutherland Performing Arts Centre, with 31 students working with musicians from both the ACO and the Penrith Symphony Orchestra.
String Workshops have also begun in earnest, with students from Rockhampton, Cairns, the Gold Coast, Melbourne, Adelaide, Sydney and Canberra already well into their programs. In addition, a special workshop for students participating in the Victorian State Schools Spectacular has been established.
PICTURED, RIGHT: Pekka Kuusisto and ACO Collective perform for ACO Music & Art Program students from St Marys North Public School and the Penrith Strings at the start of their first tour for 2016.
PICTURED, BELOW RIGHT: One of the Education Institute students performed Danny Boy with accompaniment from the ACO Inspire Quartet.
PICTURED, BELOW: Audience members were encouraged to create artworks, play percussion and dance to the ACO Inspire Quartet.
49
SPECIAL SALES EVENT
Own a Piano With a Story
Steinway pianos from 1887 - 2015
4 days only, Thursday 21st - Sunday 24th JulyThursday & Friday by Appointment Only
Don’t miss out. Book your appointment on 02 9958 9888
451 Willoughby Road Willoughby NSW
www.themeandvariations.com.au
theme-var-aco-ad-v2.indd 1 3/05/2016 9:19 AM
The ACO trusts its events to Katering - why don’t you?
Providing a complete service in hospitality:
one call • one contact • one manager to organise the entire event
From weddings, birthdays and corporate functions to intimate
dinner parties at home
[email protected] (02) 9319 2700 www.katering.com.au
ACO Chairman’s Council Cocktail Party
@gpogrand @gpograndINTERMEZZO
RISTORANTE
SKI ASPEN SNOWMASS
Contact us for a FREE World’s
Best Ski Holidays brochure
email [email protected] 1300 754 754 visit www.travelplan.com.auOffices in Sydney and Melbourne. ATAS Accreditation No: A10479.
TPN3958
SKI 30 – Adults US$680* Child/Teen (7-17) US$365* Unlimited 30 day lift pass.
Includes 2 days of skiing in Thredbo!
SK30
I
KIDS SKI FREE (7-12 years) with purchase of equipment rental*.
SKI10 – Adults US$550* Child/Teen (7-17) US$365* New offer! 10 day lift pass.
*Valid 1 Jan to 2 Apr 2017. Must be purchased in conjunction with discounted accommodation packages. Converted at current exchange rate (at 1 April SKI10 Adults AU$733 Child/Teen AU$487, SKI30 Adults AU$907 Child/Teen AU$487).
Early booking and other conditions apply to all offers.
BOOK NOW for great fares to Aspen!
UP TO 40% OFF LUXURY ASPEN HOTELS & APARTMENTS
BEST EVER DEALS AT COLORADO’SPREMIER SKI RESORTS
MU
RAL:
MAY
A H
AYU
K P
HO
TO: C
AIT
LIN
WO
RTH
ING
TON
DES
IGN
: BRO
NW
YNRO
GER
S.CO
M
WES
F134
1
Satu Vänskä, Principal Violin
1341_WESF - Arts Sponsorship Campaign 2014 - ACO_Program Ad_150x240mm_V2.indd 1 5/02/2015 10:36:03 AM