alex ross concert program

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BNP ParibasA proud National Tour Partner

of the Australian Chamber Orchestrasince 2006

BNP Paribas is a leading global financial services group celebrating

130 years of commitmentto Australia in 2011

NATIONALTOUR PARTNER

NATIONAL TOUR PARTNER

On behalf of BNP Paribas, I’m delighted to welcome you to the Listen to This — The Rest is Noise Tour by the Australian Chamber Orchestra (ACO).

2011 marks an important year for BNP Paribas as we celebrate our 130th anniversary in Australia. We are very proud of our long history in this country, dating back to 1881 as the fi rst major foreign bank in Australia when we commenced operations to fi nance the wool trade between Australia and Europe.

Today, BNP Paribas is a leader in global banking and fi nancial services providing Australian corporates, Financial Institutions and multinational companies with customised solutions in Corporate and Investment Banking, Asset Management and Securities Services.

This year also marks our 5th year of partnership with the ACO, as a National Tour Partner since 2006. While our client relationships help to grow the Australian economy, we are equally committed to supporting the performing arts locally and around the world.

With this tour, the ACO will take you on a journey of a different kind as Alex Ross, music critic to The New Yorker, presents two programs inspired by his best-selling books Listen to This and The Rest is Noise. We are delighted to bring you this ACO tour and we trust that you will enjoy it immensely.

DIDIER MAHOUT CEO, BNP PARIBAS AUSTRALIA & NEW ZEALAND

2 AUSTRALIAN CHAMBER ORCHESTRA

TOUR TWOTHE REST IS NOISERICHARD TOGNETTI Artistic Director and Lead Violin

ALEX ROSS Curator and Presenter

Th e Australian Chamber Orchestra reserves the right to alter scheduled

programs or artists as necessary.

Approximate durations (minutes):

13 – 25 – 4 – INTERVAL – 11 – 5 – 26

Th is concert will last approximately two hours including interval.

CANBERRA

Llewellyn Hall

Sat 5 Mar 8pm

MELBOURNE

Town Hall

Mon 7 Mar 8pm

PERTH

Concert Hall

Wed 9 Mar 7.30pm

SYDNEY

Opera House

Sun 13 Mar 2pm

SYDNEY

City Recital Hall

Angel Place

Tue 15 Mar 8pm

WOLLONGONG

IPAC

Th u 17 Mar 7.30pm

TAKEMITSUNostalghia

(Richard Tognetti violin)

BRITTENVariations on a Th eme

of Frank Bridge

1. Introduction and Th eme

2. Variation I. Adagio

3. Variation II. March

4. Variation III. Romance

5. Variation IV. Aria Italiana

6. Variation V.

Bourrée classique

7. Variation VI.

Wiener Walzer

8. Variation VII.

Moto Perpetuo

9. Variation VIII.

Funeral March

10. Variation IX. Chant

11. Variation X.

Fugue and Finale

STRAVINSKY“Apotheosis”, from

Apollo

INTERVAL

WEBERNFive Movements, Op.5

1. Heftig bewegt

2. Sehr langsam

3. Sehr lebhaft

4. Sehr langsam

5. In zarter Bewegung

XENAKISVoile

STRAUSSMetamorphosen

The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross, music critic at The New Yorker since 1996, was published in 2007. The Rest Is Noise is his fi rst book, and is a captivating history of composition in the 20th century. During the writing of the book Ross started blogging regularly at therestisnoise.com, a site which remains one of the most widely-read and infl uential music blogs. More about the book can be found at therestisnoise.com/noise, including a 15-page catalogue of audio samples and an iTunes playlist. This concert, also entitled The Rest Is Noise, takes its lead from the book, charting signifi cant moments in 20th-century music.

AUSTRALIAN CHAMBER ORCHESTRA 3

Listen To This is Alex Ross’s second book. Published last year, it collects a number of pieces published in his role as music critic for The New Yorker as well as new essays – in no way confi ned only to classical music. One of the entirely new chapters is entitled “Chacona, Lamento, Walking Blues” — as he puts it, “a history of music told through bass lines”. That’s the leaping-off point for this concert which follows various incarnations of the chaconne and lamentation across several centuries. You can read about the book at therestisnoise.com/listentothis — there’s an iTunes playlist and 19 pages of audio samples to accompany reading. Since 2009 Alex Ross has also been blogging at a site headed Unquiet Thoughts — more of a companion to or extension of his writing for The New Yorker — which can be found at newyorker.com/online/blogs/alexross.

TOUR TWOLISTEN TO THISRICHARD TOGNETTI Artistic Director and Lead ViolinALEX ROSS Curator and PresenterFIONA CAMPBELL Mezzo Soprano

Th e Australian Chamber Orchestra reserves the right to alter scheduled

programs or artists as necessary.

Approximate durations (minutes):

2 – 13 – 9 – 7 – 4 – INTERVAL – 25 – 12 – 7 – 5

Th is concert will last approximately two hours including interval.

MELBOURNE

Town Hall

Sun 6 Mar 2.30pm

ADELAIDE

Town Hall

Tue 8 Mar 8pm

BRISBANE

QPAC

Mon 14 Mar 8pm

SYDNEY

City Recital Hall

Angel Place

Wed 16 Mar 7pm

Sat 19 Mar 7pm

ARAÑÉS (arr. Graham Ross)

Chacona:

a la vida bona

BACH

Chaconne, from

Partita for solo violin

No.2 in D minor,

BWV1004

DOWLAND (arr. David Bruce)

Two Laments:

“Go crystal tears” and

“Flow my tears”

PURCELL

Chacony in G minor

PURCELL

Dido’s Lament (“When

I am laid in earth”),

from Dido and Aeneas

INTERVAL

ADAMS

Shaker Loops1. Shaking and Trembling

2. Hymning Slews

3. Loops and Verses

4. A Final Shaking

CLYNE

Within Her Arms

BARBER

Adagio for strings

RAMEAU (arr. Graham Ross)

Chaconne, from

Dardanus

Think Outside...

APN Outdoor proudly supports the Australian Chamber Orchestrawww.apnoutdoor.com.au


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

PREPARE IN ADVANCERead the program before the concert. A PDF and e-reader version of the program are available at aco.com.au and on the ACO iPhone app one week before each tour begins, together with music clips, videos and podcasts.

HAVE YOUR SAYWe invite your feedback about this concert at aco.com.au/yoursay or by email to [email protected].

FREE MONTHLY E-NEWSLETTERFor news, special offers and to be sent background information about the concerts, sign up for the ACO’s enewsletter at aco.com.au.

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ACO ON THE RADIOABC Classic FM

11 March 8pmGirl with the Golden Flute (Sharon Bezaly, Richard Tognetti and the ACO).

16 March 1.05pmIntense (Steven Isserlis, Richard Tognetti and the ACO perform Bartók).

19 March 1pmThe Rest is Noise (Alex Ross’pre-concert talk and music by Richard Tognetti and the ACO).

19 March 1pmListen to This (Alex Ross’ pre-concert talk and music by Richard Tognetti, Fiona Campbell and the ACO).

NEXT TOURTHE GLIDE4 — 8 April

MESSAGE FROM THE GENERAL MANAGER

Th rough his regular articles in Th e New Yorker and more

recently with the publication of his books Th e Rest Is Noise

and Listen To Th is, Alex Ross has won admirers around the

world who have been captivated by his unique ability to

write with insight, sensitivity and depth about music, this

most abstract of arts.

Th anks to the support of BNP Paribas, the ACO has been

able to bring Alex Ross to Australia for this extensive

national tour, and off er audiences around the country the

chance to hear him speak about the music which he has

selected in these fascinating programs.

In the week of 14 March, one hundred musicians from

around the world and mentors from some of the world’s

top orchestras are gathering at the Sydney Opera House to

form the YouTube Symphony Orchestra. Richard Tognetti

will be soloist in the fi nale concert, conducted by Michael

Tilson Th omas, on Sunday 20 March, and will also direct

a string orchestra concert on Friday 18 March. Details and

bookings at sydneyoperahouse.com. Richard is always the

fi rst with the latest new technology so he was instantly

drawn to this remarkable project in which thousands of

hopeful musicians from around the world submitted their

audition videos on YouTube to be assessed by a global

panel before being selected to come to Sydney to form this

truly international ensemble. You’ll be able to watch the

whole project on YouTube including auditions, master-

classes, interviews and the fi nal concerts.

TIMOTHY CALNIN

GENERAL MANAGER

AUSTRALIAN CHAMBER ORCHESTRA

SUBSCRIBER OFFERAlex Ross is presenting both The Rest is Noise and Listen to This in Sydney and Melbourne. If you would like to see the other program too, quote promotion code ROSS when you book at aco.com.au or by phone on 1800 444 444 and receive a 10% discount.


THE REST IS NOISE

Alex Ross writes:

In Germany, the year 1945 is sometimes called Stunde

Null, or Zero Hour – the moment at which history

reverted to a primordial state. Th is concert, a brief survey

of twentieth-century musical achievement, pivots around

that cataclysmic year. In the early months of 1945, all the

composers represented here were alive and acutely aware of

their surroundings, although they resided in very diff erent

worlds. Tōru Takemitsu was a teen-aged soldier barricaded

in an underground fortress in the mountains west of Tokyo.

Benjamin Britten was a conscientious objector preparing to

launch his chilling opera Peter Grimes, a study in violence

begetting violence. Igor Stravinsky, the long-reigning

chieftain of modern music, was living in exile in Hollywood,

California, his pure aesthetic not untouched by war. Th e

young Greek composer Iannis Xenakis was recovering from

a ghastly facial wound that he had suff ered while fi ghting in

the Communist resistance. Anton Webern, a loyal follower

of the pioneering Viennese modernist Arnold Schoenberg,

had only a few months to live; an occupying American

soldier would kill him at summer’s end. And the ageing

German master Richard Strauss, who had once struck a

heroic pose in Ein Heldenleben and Also sprach Zarathustra,

was living in fearful seclusion, his reputation tainted by

his associations with the Nazis, his spirit shattered by the

destruction of German cultural treasures.

Th e twentieth century was the darkest and bloodiest in

human history – “the century of death”, Leonard Bernstein

once called it. Correspondingly, its music fl irted with

sonic chaos, the noise of revolution and destruction.

Many listeners still struggle to accept the language that

Schoenberg, Stravinsky, and other innovators devised,

although it has become familiar in other contexts, notably in

Hollywood movies: try to imagine Hitchcock’s fi lms without

Bernard Herrmann’s nowhere harmonies, or Stanley

Kubrick’s 2001: A Space Odyssey without the otherworldly

soundscapes of György Ligeti. As museumgoers have come

to terms with the most radical works of modern painting,

perhaps concertgoers are ready to accept this outwardly

“diffi cult” music, which bears essential witness to the

ACO Performance History

There is only one item in this program that has not been played previously in an ACO subscription concert — Xenakis’ Voile. Takemitsu’s Nostalghia was fi rst performed by the ACO in 1999, then again in 2002. Britten’s Variations on a Theme of Frank Bridge has frequented ACO concerts, being played in national tours in 1987, 1990, 1993, 1996 and 2005. Strauss’ Metamorphosen was included in the ACO’s fi rst self-promoted subscription season in 1985. Subsequently it was played in 1990, 1998, and 2009. Webern’s Five Movements were included in a 1999 tour and Stravinsky’s Apollo was included in its complete form in 1998. This performance also included four members of The Australian Ballet on stage.


T–oru TAKEMITSU(b. Tokyo, 1930 — d. Tokyo, 1996)

Nostalghia

century’s agonies. And it should be remembered that

twentieth-century composers were not merely instigators of

mayhem; they also immersed themselves in past traditions,

drew inspiration from folk and popular genres, and

discovered new kinds of beauty, as in the ecstatic chorales

of Olivier Messiaen and the austere meditations of Arvo

Pärt. In assessing the twentieth century, we must never lose

sight of the dizzying diversity of the period: it was a time,

as John Cage once said, of “many streams,” intersecting in a

vast delta of musical possibility.

We begin with a trio of works that look backward

more than they look forward. Takemitsu belonged to

a generation of Japanese composers who joined the

international avant-garde in the 1950s and 60s; in later

years, he often fell into a retrospective mood, savouring

bittersweet chords that evoked the years before the age

of world war. He had a particular love for Debussy, whose

revolutionary musical ideas – he, rather than Schoenberg,

might be considered the originator of atonality – unfolded

in an atmosphere of dreamlike refi nement. Nostalghia

was written in 1987, in memory of the great Russian

fi lmmaker Andrei Tarkovsky, whose fi lm of the same title

ends with one of the most breathtaking shots in the history

of cinema: the camera pans backward from a farmhouse

to reveal a ruined, ghostly abbey enclosing the scene. Th e

image suggests the haunting of the present by the past, and

Takemitsu’s score has the same tenor. Its richly ambiguous

harmonies, which are interspersed with breathy pauses,

often consist of triads superimposed – warm tonal chords

layered upon each other. Th e yearning, halting melodic

phrases may remind some listeners of Tristan und Isolde,

and, indeed, the “Tristan chord” smoulders softly in the

violas and cellos near the beginning, as the solo violin

launches into the fi rst of many slow-moving, upward-

tending cadenzas. Th e beginning is marked “calm and

mournful”, and that tone persists to the end.

Britten, the dominant fi gure in twentieth-century British

music, had an even more ambivalent attitude toward the

march of innovation. Although he eagerly studied the

latest scores of Schoenberg, Berg, and Stravinsky in his

youth, he also showed deep nostalgia for the musical past,

taking particular inspiration from the airs and chaconnes

of Purcell. Variously disdainful and fearful of the big urban

centres, Britten spent most of his life in Aldeburgh, an old

Benjamin BRITTEN(b. Lowestoft, 1913 — d. Aldeburgh, 1976)

Variations on a Th eme of Frank Bridge


fi shing village on the east coast of England, and tailored

his music to halls and churches in the area. Variations on

a Th eme of Frank Bridge (1937), a tribute to his principal

teacher, is the work of a twenty-three-old prodigy exulting

in his capacity to mimic many styles: they touch on

Debussyish impressionism, Rossini-esque comic opera,

the Viennese waltz, strenuous Germanic counterpoint (a

fi nal fugue in eleven parts), and, at the heart of the piece, a

funeral march that hints at a more ambitious, heartfelt kind

of writing. Perhaps the most original passage in the score

is the short “Chant”, with violas playing halting, muted

chords amid an ominous whine of high-register harmonics

and scattered pizzicatos. It anticipates those moments in

Peter Grimes when the anguished hero stands against the

indiff erent vastness of the ocean.

Stravinsky’s ballet Apollo, composed in 1927 and 1928,

is magnifi cently at odds with the modern world. Th e

Russian master had, of course, acquired celebrity with a

very diff erent kind of music: on a legendary night in 1913,

the assaultive dissonances and pounding rhythms of Th e

Rite of Spring caused a good portion of Paris high society to

lose its mind. In the 1920s, though, Stravinsky performed

a volte-face, abjuring sonic violence and cultivating a so-

called “neoclassical” style that resurrected pre-Romantic

forms. Although Stravinsky remained unmistakably

himself, rearranging old materials in cubistic collages, the

transformation was startling, and it had something to do

with the composer’s sense of unease in the face of social

upheaval and technological change. Apollo, which was the

occasion for Stravinsky’s fi rst collaboration with George

Balanchine, is among the purest, most serenely tonal of

Stravinsky’s neoclassical pieces: its steadily pulsing rhythms

recall dances at the court of Louis XIV, in particular the

ballets of Lully. Th e story tells of the maturation of the

young god Apollo, who receives instruction from the

muses Calliope, Polyhymnia, and Terpsichore. In the fi nal

movement, “Apothéose” (“Apotheosis”), which depicts

Apollo’s ascent to Parnassus, hypnotically circling patterns

suggest a sublime stasis. As rhythmic values progressively

lengthen, from quarter notes (crotchets) to half notes

(minims) and fi nally to whole notes (semibreves), the mythic

fi gures seem to dissolve into a motionless frieze, their fl esh

turning to marble. One thinks of William Butler Yeats’s

“Sailing to Byzantium”: “. . . to sing / To lords and ladies of

Byzantium / Of what is past, or passing, or to come.”

Igor STRAVINSKY(b. Oranienbaum, near St Petersburg, 1882 — d. New York, 1971)

“Apotheosis”, from Apollo


After interval, we plunge into the modernist maelstrom.

In a series of works produced between the end of 1907

and the beginning of 1909, Arnold Schoenberg, erstwhile

epigone of Wagner and Richard Strauss, set aside the

familiar harmonies of Western music and unleashed

startling new combinations of tones. Webern, who began

studying with Schoenberg in 1904, was only a step or two

behind his teacher in this quest into the unknown, and felt

immediately at home upon arrival. Th e Five Movements

for String Quartet, from which the Five Movements for

String Orchestra derive, were written in the fi rst part of

1909, and are characteristic of his emergent style: the

language is hyper-compressed, super-refi ned, yet explosive

in impact. Th e fi rst movement opens with a fl urry of

expressionistic eff ects: jagged intervals, snapping pizzicato

notes, ghostly tones produced by placing the bow next to

the bridge or drawing the wood across the strings. Th en,

in a microscopically brief second theme, an otherworldly

lyric voice emerges – brief yearning phrases that might

have been cut adrift from some Wagner opera or Mahler

symphony sunk beneath the waves. Th at lyric vein takes

over entirely in the second movement, which is music

on the edge of silence, the fi nal phrase marked “scarcely

audible”. Th e two succeeding movements replicate the

contrasts of the opening. Th e fi nal movement, an eerie

scene of cries and whispers, begins and ends with the

rising interval F-sharp to B – a shard of tonality that in this

context sounds strange and alien.

In the years following the Second World War, music

underwent a second upheaval, one that made Schoenberg

and his pupils seem like reactionaries by comparison. A

young generation scarred by war, genocide, and totalitarian

kitsch sought to liberate itself from a compromised

tradition. Conventional forms dissolved into splintered

sequences of gestures, discernible harmonies gave way

to ambient clouds of sound, electronic noise invaded

the instrumental sphere. Some composers attempted to

organize music along mathematical lines; others, in the

spirit of John Cage, let chance take over. Xenakis, who

studied engineering and architecture alongside music,

seemed to belong to the “mathematical” camp, yet his fi rst

characteristic works of the 1950s stand out for their visceral

impact, their raw shocks and sensations. Voile (1995),

whose title might be read in French as either “sail” or “veil”,

begins with a “cluster” chord, a ferociously buzzing pile-up

Anton WEBERN(b. Vienna, 1883 — d. Mittersill, 1945)

Five Movements, Op.5

Iannis XENAKIS(b. Braila, Romania, 1922 — d. Paris, 2001)

Voile


of tones across a huge range. As in Webern, but to an even

more extreme degree, violent sounds – upper-register

shrieks, sirenlike glissandos from one note to another,

stamping rhythms, a brutal form of collective chant – give

way to moments of trembling repose. From time to time, a

simple interval of a fi fth emerges from the seething texture,

as if a shaft of sunlight were falling on a battlefi eld.

In the fi rst years of the twentieth century, Strauss

stood at the head of the musical avant-garde; one paper

named him the “leader of the moderns”. History rocketed

forward, and amid the jazzy swirl of the 1920s Strauss

increasingly had the look of a Romantic relic. He accepted

a position in the Nazi cultural machine in part because he

hoped to regain his former eminence. He was forced to

resign after the Gestapo intercepted a letter in which he

spoke contemptuously of Nazi ideology. He nonetheless

continued to humiliate himself by seeking favour with

one functionary or another. By 1945 he seemed a broken

man. Yet his genius had mysteriously reawakened: his late

works, from the opera Daphne onward, suggest a man

“lost to the world”, to take a phrase from one of Mahler’s

greatest songs. Metamorphosen was fi nished in the last

weeks of the Nazi nightmare: its title comes from Ovid’s

Metamorphoses, which furnished the tale of Daphne.

Lush on the surface, the music is peculiarly dense, almost

claustrophobic in feeling. At the opening we hear four

chords in sequence, pinned on a descending chromatic

line. Collectively they spell out eleven of the twelve notes

of the chromatic scale; Strauss brushes against the twelve-

tone system of the exiled Schoenberg. At the end comes a

brooding quotation from the funeral march of Beethoven’s

Eroica. It is like a funeral for the entire German musical

tradition. Blackest night descends.

Th e Australian Chamber Orchestra will play these works

of Webern, Xenakis, and Strauss in unbroken sequence.

Together, they tell a story emblematic of the twentieth

century in all its terrible intensity – a narrative of

foreboding, catastrophe, and lamentation. Strauss should

not, however, have the fi nal word. Music has been reborn

many times since 1945, and somewhere a young composer

is about to fashion the next great metamorphosis of a

thousand-year tradition.

© 2011 ALEX ROSS

Richard STRAUSS(b. Munich, 1864 — d. Garmisch-Partenkirchen, 1949)

Metamorphosen


ACO Performance History

Dido’s Lament was performed in national tours by the ACO in 1995 and again in 2008. Both the Barber and the Rameau have been included in ACO programs only once in previous years — 2001 and 2005 respectively. All the other items in this program appear for the fi rst time in an ACO series.

LISTEN TO THIS

Alex Ross writes:

“Music … is in the highest degree a universal language,”

wrote Arthur Schopenhauer in Th e World as Will and

Representation. It is, in fact, nothing of the sort. Arguments

rage endlessly over the question of what music is and how

it should behave. One man’s favourite tune is another

woman’s noise. Th e grandmother who loves Mozart can’t

stand her grandson’s hip-hop, and vice versa. In some ways,

this is as it should be. Just as we would not want to live in

a world that adhered to one language, one political system,

or one mode of religious belief, we would not want to live

in a world that imposed a single, fi xed concept of musical

sound. Totalitarian regimes have in common an urge to

foist such concepts on the population.

All the same, musical history displays profound

continuities, suggesting deeper likenesses beneath a

variegated surface. We hear patterns recurring across

vast stretches of time: you can fi nd essentially the same

descending four-note bass line in Monteverdi’s Lamento

della ninfa and Ray Charles’s “Hit the Road Jack”, and in

each case the insistently repeating ostinato – Italian for

“obstinate” – indicates trouble in matters of love. It is

possible that certain fi gures carry intrinsic, quasi-universal

signifi cance. Certainly, a motif that proceeds slowly

downward, step by step, has been linked to feelings of

sadness since at least the Renaissance period. Th is program,

which spans more than four hundred years, follows a few

such threads of sonic DNA – although music is too slippery

a medium for anyone to claim defi nitively that it “means”

one thing or another.

We begin with the Spanish dance known as the chacona – a

seemingly disposable form that has drawn the attention

of composers in every period of modern musical history.

Th e dance was fi rst noticed in Peru, at the end of the

sixteenth century; it quickly spread to Spain and then to

other European countries. It was a naughty little number,

its lyrics depicting all manner of sexual shenanigans and

concomitant social transgressions. One of the liveliest

Juan ARAÑÉS(b. Catalonia, c. late-1500s — d. Seo de Urgel, c. 1649)

Chacona: a la vida bona

Arranged by Graham Ross

Dancing a chacona


Johann Sebastian BACH(b. Eisenach, 1685 — d. Leipzig, 1750)

Chaconne, from Partita for solo violin No.2 in D minor, BWV1004

written-down chaconas is “Un sarao de la chacona”,

also known as “A la vida bona”, published in 1624 by the

Spanish musician Juan Arañés: “To the good life, la vida

bona, / Let’s all go now to Chacona.” Like most examples

of the genre, this chacona is in quick triple time, with a

bouncy emphasis on the second beat. We will hear it in an

arrangement by the composer Graham Ross.

J.S. Bach’s Ciaccona (commonly called by the French

“Chaconne”) in D minor, the fi nal movement of his Second

Partita for solo violin (1720), is, on the surface, so far

removed from the Spanish chacona that the title seems

almost ironic. Th is is evidently the sound of a soul in crisis,

with signature fi gures of lament appearing throughout.

Following the example of Girolamo Frescobaldi and other

early Baroque masters, Bach has transformed the merry

repetitions of the chacona into a forbidding tour-de-

force of thematic development. Sixty-four times we hear

variations of the stark four-bar theme that is stated at the

outset. A contrasting episode in D major promises an

escape from the prevailing gloom, yet over a descending

four-note motif the original D-minor mood returns. All

the same, traces of the dance remain. Th e Ciaccona is still

in triple metre, with periodic stresses on the second beat.

Th ere is improvisatory wildness in this music, more than a

trace of free-spirited fantasy. Bodily pleasure has its place

even in the darkest corners of Bach’s world.

A similar paradox characterises the work of John

Dowland, the master lutenist-composer of Elizabethan

and Jacobean England. A man of innately melancholy

temperament, the Hamlet of the musical scene, he named

one of his pavans Semper Dowland semper Dolens (“Always

Dowland, always dolorous”). Yet there is something oddly

seductive in his rituals of sorrow: “Go Crystal Tears” and

“Flow My Tears”, from Dowland’s First and Second Books

of Songs (1597 and 1600), are luxuriously beautiful spaces

in which the daily world recedes and time stops for a while.

“Flow My Tears” pivots on the same four-note falling

motif that occurs in so many laments across history. David

Bruce has arranged the Dowland songs for voice and string

orchestra, interposing brief cadenzas for solo violin and

solo cello to vary the texture.

John DOWLAND(b. London, 1563 — d. London, 1626)

Two Laments: “Go crystal tears” and “Flow my tears”

Arranged by David Bruce


Henry PURCELL(b. London, 1659 — d. London, 1695)

Chacony in G minor

Dido’s Lament (“When I am laid in earth”), from Dido and Aeneas

Th e fi rst half ends with two pieces by Henry Purcell,

Dowland’s successor in the realm of sensuous melancholy:

the Chacony in G Minor, a stately dance that echoes

the style of the court of Louis XIV (circa 1680); and the

monumental lament “When I am laid in earth”, which

ends the short opera Dido and Aeneas (circa 1689). In the

latter aria, the Queen of Carthage, abandoned by Aeneas,

bids farewell over nine grave iterations of a descending

chromatic bass line, the chromatic scale long having been

associated with emotional distress. (Th ink of consecutive

notes on the piano keyboard, both white and black keys.)

Th is is a chaconne in all but name, and in the gentle

pulsing of the accompaniment you may sense a swaying

dance of grief. At the same time, the voice audibly tugs

against the relentless repetition of the bass, pushing

toward the top of its range. Once the climactic statement

is made – “Remember me, but ah! forget my fate” – Dido is

ready to surrender to the ostinato of fate.

In the twentieth century, venerable forms that had faded

from view during the Classical and Romantic periods

abruptly resurfaced, the chaconne and the lament aria

among them. In an age of machines, composers as diverse

as Ravel, Stravinsky, Bartók, and Shostakovich found

new fascination in mechanisms of musical repetition –

ostinatos, ground basses, drones, loops. Th at interest

only intensifi ed in the century’s last decades. Steve Reich’s

pioneering minimalist pieces of the 1960s were derived

from experiments with looping patterns on tape recorders;

John Adams, perhaps the most widely beloved of living

American composers, followed Reich in assembling

large structures from minute repeating patterns. Shaker

Loops, his breakthrough string-ensemble work of 1978

(revised 1983), grows from microscopic musical cells,

which are in constant fl ux and periodically disappear into

a haze of trembling, trilling sonorities. Th e title alludes

to the American religious sect known as the Shakers,

whose worship ceremonies fl irted with wild states of

consciousness; in the composer’s words, Shaker Loops

evokes an “ecstatic frenzy of a dance that culminated in an

epiphany of physical and spiritual transcendence.”

John ADAMS(b. Worcester, Massachusetts, 1947)

Shaker Loops

Ph

oto

: Mar

gre

tta

Mit

chel

l


Anna CLYNE(b. London, 1980)

Within Her Arms

Anna Clyne, a London-born composer who presently

lives in Chicago, has imaginatively combined centuries of

musical tradition with minimalist methods and electronic

elements.Within Her Arms (2009), which Clyne wrote in

memory of her mother, is steeped in the ancient language

of lament, in particular the ardent melancholy of Dowland;

you repeatedly hear a quick falling fi gure that recalls the

opening of “Flow My Tears”. Th e atmosphere of grief is

increased by weeping glissandos, or slides from one note

to another, and by lingering silences. From time to time,

the composer asks the players to breathe in and out, in

audible gasps. Th e title comes from the Zen Buddhist

monk Th ich Nhat Hanh: “Earth will keep you within her

arms dear one / So that tomorrow you will be transformed

into fl owers…”

Samuel Barber’s Adagio for strings – a string-orchestra

version of the slow movement of his String Quartet in B

Minor (1936–38) – is almost an offi cial piece of mourning

music in the United States: it was heard on the radio

with the announcement of Franklin Delano Roosevelt’s

death, and was later played in memory of John F. Kennedy

and of the victims of the September 11th attacks. It

has also appeared in various movies, most famously in

Oliver Stone’s Vietnam-war drama Platoon. Part of its

expressive power derives from its archaic touches: the

slowly unfurling strings of quarter notes (crotchets) that

make up so much of its texture are redolent of Renaissance

polyphony. Unlike so many laments, the Adagio has a

principal line that keeps pressing upward. Th e score is

repeatedly marked with the word “cantando” (“singing”).

It’s an open question whether Barber intended the piece

to have an explicitly mournful implication; he reportedly

disliked the fact that it fi gured so often in funerals, and it

was not played at his own.

Samuel BARBER(b. West Chester, Pennsylvania, 1910 — d. New York, 1981)

Adagio for strings


Jean-Philippe RAMEAU(b. Dijon, 1683 — d. Paris, 1764)

Chaconne, from Dardanus

Arranged by Graham Ross

At the end, we return to the chaconne in its dancing

guise – although it is a dance of royal splendour and heft.

Jean-Baptiste Lully, Louis XIV’s chief court composer,

was in the habit of ending his courtly entertainments with

a chaconne or passacaille (a related dance); the swinging,

circling triplet rhythm represented the reconciliation of

warring forces and, metaphorically, the healing eff ect of

the Sun King’s majesty. Jean-Philippe Rameau, who

departed from Lully’s style in various ways, nonetheless

preserved many of Lully’s signature devices, and his

tragédie lyrique Dardanus (1739) ends with one of the

grandest of all chaconnes – a dance celebrating the marriage

of a mythical Grecian couple and the end of internecine

confl ict. Adding depth to the scene is a G-minor middle

section which, in a reversal of the structure of Bach’s

Ciaccona, casts a shadow of remembered sorrow over a

mainly joyous fi nale.

© 2011 ALEX ROSS


ALEX ROSSCURATOR AND PRESENTER

Alex Ross was born in Washington, DC, in 1968. Th e

son of two research mineralogists, he studied piano and

composition from an early age and majored in English

literature at Harvard University. Shortly after graduating

from college, in 1990, he began writing on music for

various publications, including Th e New Republic and

Fanfare. In 1992, he joined the staff of the New York Times,

and in 1996 he became the music critic of Th e New Yorker,

where he is still happily employed.

Ross began working on his fi rst book, Th e Rest Is Noise:

Listening to the Twentieth Century, in 1999, and fi nished

it only in 2007, after an arduous writing process that

involved cutting the manuscript in half. Th e book became

an international bestseller and has been translated into

sixteen languages. It was selected as one of the New York

Times’s ten best books of the year; won a National Book

Critics Circle Award, the Guardian First Book Award, and

the Premio Napoli; and was a fi nalist for the Pulitzer Prize.

His second book, Listen to Th is, appeared in late 2010; it

combines essays on classical composers and musicians

with profi les of several pop artists, including Björk

and Bob Dylan. He is now working on a book entitled

Wagnerism, an account of Richard Wagner’s cultural

impact.

Ross has taught writing at Princeton University and has

received honorary doctorates from the New England

Conservatory and the Manhattan School of Music. In

2008, he was named a MacArthur Fellow. He is delighted

to be collaborating with the Australian Chamber Orchestra

and joining them on this tour.

therestisnoise.com


FIONA CAMPBELLMEZZO SOPRANO

Australian born mezzo soprano Fiona Campbell is

an accomplished international performer, recitalist

and recording artist. Vocal winner of the ABC Young

Performer of the Year Award, and the Opera Awards in

the prestigious Australian Singing Competition, Fiona has

consistently received wide critical acclaim for her powerful

performances and exquisite musicianship.

Fiona has appeared as a principal artist with the major

ensembles in Australia as well as the Brodsky Quartet,

Tokyo Philharmonic, Soloists of Royal Opera House

Orchestra, Manchester Camerata, Prague Chamber

Orchestra, Glyndebourne Festival Opera, Opera North

and Pinchgut Opera.

Career highlights include singing several concerts with the

legendary tenor José Carreras in Japan and Korea, and as

his special guest artist in Australia. Fiona recently made

her debut at Suntory Hall in Tokyo and Cadogan Hall in

London with renowned soprano Barbara Bonney.

In 2011 her busy concert schedule includes Schoenberg’s

Pierrot Lunaire with the Australia Ensemble and appearing

as the guest artist with the Australian Brandenburg

Orchestra in their May concert series. Fiona also has an

exciting new collaboration with the Australian String

Quartet and her latest album, Baroque Duets, features a

world premiere recording of Handel on the innovative new

label, Vexations840.

fi onacampbell.com.au


RICHARD TOGNETTI AOARTISTIC DIRECTOR AND LEAD VIOLINAUSTRALIAN CHAMBER ORCHESTRA

Australian violinist and conductor Richard Tognetti has

established an international reputation for his compelling

performances and artistic individualism. He studied at the

Sydney Conservatorium with Alice Waten and in his home

town of Wollongong with William Primrose, and at the Bern

Conservatory (Switzerland) with Igor Ozim, where he was

awarded the Tschumi Prize as the top graduate soloist in 1989.

Later that year he led several performances of the ACO, and

was appointed Leader. He was subsequently appointed Artistic

Director of the Orchestra.

Tognetti performs on period, modern and electric instruments.

His numerous arrangements, compositions and transcriptions

have expanded the chamber orchestra repertoire and have been

performed throughout the world.

Highlights of his career as director, soloist or chamber music

partner include the Sydney Festival (as conductor of Mozart’s

Mitridate); and appearances with the Handel & Haydn Society

(Boston), Hong Kong Philharmonic, Camerata Salzburg,

Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre

Philharmonique du Luxembourg and the Nordic Chamber

Orchestra. He is Artistic Director of the Maribor Festival in

Slovenia.

As soloist Richard Tognetti has appeared with the ACO and the

major Australian symphonies, including the Australian premiere

of Ligeti’s Violin Concerto with the Sydney Symphony. He has

collaborated with colleagues from various art forms, including

Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel

Pahud, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and

Michael Leunig. In 2003, Richard 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 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, created Th e Red Tree.

Richard Tognetti 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.

Alongside numerous recordings with the ACO, Richard

Tognetti has recorded Bach’s solo violin repertoire, winning

three consecutive ARIA Awards for Best Classical Album

(2006–8) and the Dvorák Violin Concerto.

Richard Tognetti holds honorary doctorates from three Australian

universities and, was made a National Living Treasure in 1999

and in 2010 was awarded an Order of Australia. He performs on

a 1743 Guarneri del Gesù, made available exclusively 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)

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:

VIVALDI Flute Concertos, Op.10Emmanuel Pahud, FluteEMI Classics 0946 3 47212 2 6Grammy Nominee

PIAZZOLLA Song of the AngelChandos CHAN 10163

All available from aco.com.au/shop.


‘You’d have to scour the universe hard to fi nd another band like the ACO.’ THE TIMES, UK

‘The energy and vibe of a rock band with the ability of a crack classical chamber group.’WASHINGTON POST

To be kept up to date with ACO tours and recordings, register for the free e-newsletter at aco.com.au.

Select Discography

Bach Violin ConcertosABC 476 5691

Vivaldi Flute Concertoswith Emmanuel PahudEMI 3 47212 2

Bach Keyboard Concertoswith Angela HewittHyperion SACDA 67307/08

Tango Jamwith James CrabbMulberry Hill MHR C001

Song of the AngelMusic of Astor Piazzollawith James CrabbChandos CHAN 10163

Sculthorpe: works for string orchestra including Irkanda I, Djilile and Cello DreamingChandos CHAN 10063

Giuliani Guitar Concertowith John WilliamsSony SK 63385

These and more ACO recordings are available from our online shop: aco.com.au/shop or by calling 1800 444 444.

AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI AO ARTISTIC DIRECTOR

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 and energy 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 performs on a priceless

1743 Guarneri del Gesù, on loan to him from an anonymous

Australian benefactor. Principal Cello Timo-Veikko Valve plays

on a 1729 Giuseppe Guarneri fi lius Andreæ cello, also on loan

from an anonymous benefactor, and Assistant Leader Satu

Vänskä plays a 1759 J.B. Guadagnini violin on loan from the

Commonwealth Bank Group.

Forty 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 is year, the

ACO tours to the USA, Japan and Europe.

Th e ACO has made acclaimed recordings for labels including

ABC Classics, Sony, Channel Classics, Hyperion, EMI,

Chandos and Orfeo 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 Vivaldi Concertos with

Emmanuel Pahud. Th e ACO appears in the television series

Classical Destinations II and the award-winning fi lm Musica

Surfi ca, both available on DVD and CD.

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.


MUSICIANS

ILYA ISAKOVICHViolin

Chair sponsored by Melbourne

Community Foundation – Connie

& Craig Kimberley Fund

REBECCA CHANViolin

AIKO GOTOViolin

Chair sponsored by Andrew &

Hiroko Gwinnett

MARK INGWERSENViolin

Chair sponsored by Runge

SATU VÄNSKÄ*Assistant Leader

Violin

Chair sponsored by Robert &

Kay Bryan

MADELEINE BOUDViolin

Chair sponsored by Terry

Campbell AO & Christine Campbell

ALICE EVANSViolin

Chair sponsored by Jan Bowen,

Th e Davies and Th e Sandgropers

RICHARD TOGNETTI AOArtistic Director and Lead Violin

Chair sponsored by Michael Ball AM

& Daria Ball, Joan Clemenger, Wendy

Edwards, and Prudence MacLeod

* Satu Vänskä plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group.

KATALIN HERCEGH Guest Principal 2nd Violin

LERIDA DELBRIDGE**Violin

ALISSA SMITHViola

SHARON DRAPER**Cello

MOLLY KADARAUCHCello

AXEL RUGEBass

MUHAMED MEHMEDBASICBass

NEAL PERES DA COSTA†

Harpsichord

** Courtesy of Melbourne Symphony

Orchestra

† Courtesy of Sydney Conservatorium

EXECUTIVE OFFICE

Timothy Calnin

General Manager

Jessica Block

Deputy General Manager and

Development Manager

Michelle Kerr

Executive Assistant to

Mr Calnin and Mr Tognetti AO

ARTISTIC

Richard Tognetti AO

Artistic Director

Michael Stevens

Artistic Administrator

FINANCE

Steve Davidson

Chief Financial Offi cer

Shyleja Paul

Assistant Accountant

DEVELOPMENT

Kate Bilson

Events Manager

Tom Carrig

Senior Development Executive

Vanessa Jenkins

Senior Development Executive

Lillian Armitage

Patrons Manager

Liz D’Olier

Development Coordinator

BEHIND THE SCENES

BOARD

Guido Belgiorno-Nettis AM (Chairman)

Angus James (Deputy Chairman)

Ken Allen AM

Bill Best

Glen Boreham

Liz Cacciottolo

Chris Froggatt

Janet Holmes à Court AC

Brendan Hopkins

Tony Shepherd

John Taberner

Peter Yates


Photos: Tanja Ahola, Helen White

Players dressed by AKIRA ISOGAWA

MELISSA BARNARDCello

Chair sponsored by Th e Bruce &

Joy Reid Foundation

JULIAN THOMPSONCello

Chair sponsored by the Clayton

Family

MAXIME BIBEAUPrincipal Bass

Chair sponsored by John Taberner

& Grant Lang

TIMOVEIKKO VALVEPrincipal Cello

Chair Ssonsored by Mr Peter

Weiss AM

NICOLE DIVALLViola

Chair sponsored by Ian & Nina

Lansdown

CHRISTOPHER MOOREPrincipal Viola

Chair sponsored by Tony Shepherd

STEPHEN KINGViola

Chair sponsored by Philip Bacon AM

CAROLINE HENBESTViola

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182

Australian 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 1225

Telephone: (02) 8274 3800

Facsimile: (02) 8274 3801

Box Offi ce: 1800 444 444

Email: [email protected]

Website: aco.com.au

OPERATIONS

Damien Low

Artistic Operations Manager

Gabriel van Aalst

Orchestra Manager

Erin McNamara

Deputy Orchestra Manager

Vicki Stanley

Education and Emerging Artists Manager

Sarah Conolan

Education and Operations Assistant

Jennifer Collins

Librarian

MARKETING

Georgia Rivers

Marketing Manager

Rosie Rothery

Marketing Executive

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Box Offi ce Manager

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National Publicist

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Customer Relations Manager

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Offi ce Administrator & Marketing

Assistant

INFORMATION SYSTEMS

Emmanuel Espinas

Network Infrastructure Engineer

ARCHIVES

John Harper

Archivist


ACKNOWLEDGEMENTS

GOVERNMENT SUPPORT

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.

VENUE SUPPORT

We are also indebted to the following organisations

for their support:

AEG OGDEN (PERTH) PTY LTD

PERTH CONCERT HALL

General Manager

Andrew Bolt

Deputy General Manager

Helen Stewart

Technical Manager

Peter Robins

Event 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 LTD

Chief Executive Rodney M Phillips

THE PERTH THEATRE TRUST

Chairman

Dr Saliba Sassine

St George’s Terrace, Perth

PO Box Y3056,

East St George’s Terrace,

Perth WA 6832

Telephone: 08 9231 9900

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM

(Chair)

Ms Catherine Brenner

Rev Dr Arthur Bridge AM

Mr Wesley Enoch

Ms Renata Kaldor AO

Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Dr Th omas Parry AM

Mr Leo Schofi eld AM

Mr Evan Williams AM

EXECUTIVE MANAGEMENT

Chief Executive Offi cer Mr Richard Evans

Chief Operating Offi cer Mr David Antaw

Executive Producer, SOH Presents Mr Jonathan Bielski

Director, Marketing, Communications &

Customer Services Ms Victoria Doidge

Director, Building Development & Maintenance

Mr Greg McTaggart

Director, Venue Partners & Safety Ms Julia Pucci

Chief Financial Offi cer Ms Claire Spencer

SYDNEY OPERA HOUSE

Bennelong Point

GPO Box 4274, Sydney NSW 2001

Administration: 02 9250 7111

Box Offi ce: 02 9250 7777

Facsimile: 02 9250 7666

Website: sydneyoperahouse.com

LLEWELLYN HALL

School of Music, Faculty of Arts

Th e Australian National University

William Herbert Place (off Childers Street),

Acton, Canberra

ACO CONCERT BOOKINGS

Ticketek: Phone: 132 849;

Online: premier.ticketek.com.au

VENUE HIRE INFORMATION

Phone: +61 2 6125 2527

Fax: +61 2 6248 5288

Email: [email protected]


ACKNOWLEDGEMENTS

VENUE SUPPORT

PO Box 3567

South Bank, Queensland 4101

Telephone: 07 3840 7444

Chair Henry Smerdon AM

Deputy Chair Rachel Hunter

Trustees

Simon Gallaher

Helene George

Bill Grant

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Paul Piticco

Mick Power AM

Susan Street

Rhonda White

EXECUTIVE STAFF

Chief Executive: John Kotzas

Director – Presenter Services: Ross Cunningham

Director – Corporate Services: Kieron Roost

Acting Director – Patron Services: Deborah Murphy

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Executive Manager – Production Services: Bill Jessop

Acting Executive Manager – Marketing: Stefan Treyvaud

ACKNOWLEDGMENT

Th e Queensland Performing Arts Trust is a

Statutory Authority of the State of Queensland and is

partially funded by the Queensland Government

Th e Honourable Anna Bligh MP

Premier and Minister for the Arts

Director-General, Department of the Premier and Cabinet:

Ken Smith

Deputy Director-General, Arts Queensland:

Leigh Tabrett

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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

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A CITY OF SYDNEY VENUE

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Managed by

PEGASUS VENUE MANAGEMENT (AP)

PTY LTD

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Founder

MANAGEMENT AND STAFF

General Manager Bronwyn Edinger

Marketing Manager Gina Anker

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Functions & Bar Manager Paul Berkeley

Technician Donald Brierley

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Event Coordinator Katie Christou

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Box Offi ce Assistant Adam Griffi ths

Accounts Coordinator Kerry Johnston

FOH Manager Barbara Keff el

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Executive Assistant Rosemary Penman

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Technician Jeff Todd

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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 AO

Lead Violin

Michael Ball AM &

Daria Ball

Joan Clemenger

Wendy Edwards

Prudence MacLeod

Helena Rathbone

Principal 2nd Violin

Satu Vänskä

Assistant Leader

Robert & Kay Bryan

Christopher Moore

Principal Viola

Tony Shepherd

Timo-Veikko Valve

Principal Cello

Peter Weiss AM

Maxime Bibeau

Principal Double Bass

John Taberner &

Grant Lang

CORE CHAIRS

Aiko Goto Violin

Andrew & Hiroko Gwinnett

Mark Ingwersen Violin

Alice Evans Violin

Jan Bowen

Th e Davies

Th e Sandgropers

Ilya Isakovich Violin

Melbourne Community

Foundation – Connie &

Craig Kimberley Fund

Madeleine Boud Violin

Terry Campbell AO &

Christine Campbell

Stephen King Viola

Philip Bacon AM

Nicole Divall Viola

Ian & Nina Lansdown

Melissa Barnard Cello

Th e Bruce & Joy Reid

Foundation

Julian Th ompson Cello

Th e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICI

Brian Nixon Principal Timpani Mr & Mrs R Bruce Corlett

Mr Robert Albert AO & Mrs Libby Albert


2010 TRANSATLANTIC TOUR PATRONS

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 which will be performed by the ACO and will go on to be performed by other ensembles in the future. Th e ACO is particularly grateful to the members of the Creative Music Fund who have commissioned a new work in 2011 for ACO2.

Th e ACO would like to pay tribute to the following donors who supported our highly

successful 2010 Trans-Atlantic Tour.

MRS AMINA BELGIORNONETTIS, PATRON

TOUR PATRONS

Mr Barry Humphries AO CBE

Sir Michael Parkinson CBE

LEAD PATRONS $50,000+

Th e Belgiorno-Nettis Family

Th e Bruce & Joy Reid

Foundation

Mrs Janet L Holmes à Court AC

Connie & Craig Kimberley

Jan Minchin

Dame Elisabeth

Murdoch AC DBE

MAJOR PATRONS

$20,000 – $49,999

Mr Robert Albert AO &

Mrs Libby Albert

Philip Bacon AM

Liz Cacciottolo & Walter Lewin

Rowena Danziger & Ken Coles

Mr Peter Hall

Anthony & Sharon Lee

Louise & Martyn Myer

Foundation

Harry Triguboff AO &

Rhonda Triguboff

Ian Wallace & Kay Freedman

Anonymous (1)

ENSEMBLE PATRONS

$10,000 – $19,999

Mr Bill & Mrs Marissa Best

Jenny & Stephen Charles

Mr & Mrs Robin Crawford

Martin Dickson AM &

Susie Dickson

Chris & Tony Froggatt

Ann Gamble Myer

Leslie & Ginny Green

Brendan & Bee Hopkins

PJ Jopling QC

Prudence MacLeod

Macquarie Group Foundation

Donald McGauchie

Mr Andrew Messenger

Gretel Packer

peckvonhartel architects

Julien & Michelle Playoust

John Taberner & Grant Lang

Michael & Eleonora Triguboff

Peter Weiss AM

SOLO PATRONS

$5,000 – $9,999

Antoinette Albert

Tony & Carol Berg

Robert & Kay Bryan

Ross & Rona Clarke

Wendy Edwards

Chris & Judy Fullerton

Phillip Isaacs OAM

Wayne N Kratzmann

Ian & Nina Lansdown

Irene Lee

Justice Jane Mathews AO

Carole & Peter Muller

Craig Ng

Graham J Rich

Dr Gillian Ritchie

Vivienne Sharpe

Tony Shepherd

Beverley Trivett

Anonymous (2)

PATRONS $500 – $4,999

Isla Baring

Th e Hon. Mr Laurie Brereton

& Th e Hon. Justice

Trisha Kavanagh

Edmund Capon

David & Jane Clarke

Jillian Cobcroft

Ann & Bruce Corlett

Terry & Lynn Fern

Bill & Lea Ferris

Alan & Joanna Gemes

Peeyush & Shubura Gupta

Michael & Anna Joel

Nicky McWilliam

Susan & Garry Rothwell

Peter & Susan Yates

CREATIVE MUSIC FUND

Steven Alward & Mark Wakely

Ian Andrews & Jane Hall

Austin Bell & Andrew Carter

T Cavanagh & J Gardner

Chin Moody Family

Anne Coombs & Susan Varga

Greg Dickson

Cathy Gray

Brian Kelleher

Penny Le Couteur

Andrew Leece

Scott Marinchek & David

Wynne

Janne Ryan

Barbara Schmidt & Peter

Cudlipp

Richard Steele

Peter Weiss AM

Cameron Williams

Anonymous (1)


NATIONAL EDUCATION PROGRAM

ACO DONATION PROGRAM Th e ACO pays tribute to all of our generous donors who support our many activities,

including our National and International touring, recordings, and our National Emerging

Artists and Education Programs.

Th is year, our donors have generously 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.

EMERGING ARTISTS

PATRONS & EDUCATION

PATRONS $10,000+


Mrs Libby Albert

Daria & Michael Ball

Steven Bardy

Guido & Michelle Belgiorno-

Nettis

Liz Cacciottolo & Walter Lewin

John & Patti David

Pamela Duncan


Roger Massy-Greene &

Belinda Hutchinson AM

Miss Nancy Kimpton

Julianne Maxwell

Andrew P Messenger

Christine Rothauser

John Taberner & Grant Lang

Ian Wallace & Kay Freedman

Peter Weiss AM

Anonymous (1)

DIRETTORE $5,000 $9,999

Th e Abercrombie Family

Foundation

Th e Belalberi Foundation

Elizabeth & Nicholas Callinan

John & Lynnly Chalk

Ross & Rona Clarke

Rowena Danziger & Ken Coles

Bridget Faye AM

Ian & Caroline Frazer

Dr & Mrs E C Gray

Melbourne Community

Foundation – Ballandry

(Peter Griffi n Family) Fund

Keith Kerridge

Wayne N Kratzmann

Fiona & Mark Lochtenberg

Lorraine Logan

Marianna & Tony O’Sullivan

John Rickard

A J Rogers

Alden Toevs & Judi Wolf

Ian Wilcox & Mary Kostakidis

Anonymous (5)

MAESTRO $2.500 $4,999

Michael Ahrens

Mr L H & Mrs M C Ainsworth

Jane Allen

Will & Dorothy Bailey Bequest

Virginia Berger

Michael Cameron

Cam & Helen Carter

Caroline & Robert Clemente

John & Gloria Darroch

Kate Dixon

PATRONS

Janet Holmes à Court AC Marc Besen AO & Eva Besen AO

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST

THE THYNE REID FOUNDATION

THE NEILSON FOUNDATION

LIMB FAMILY FOUNDATION

TRUSTS AND FOUNDATIONS


ACO DONATION PROGRAM

Suellen Enestrom

John & Jenny Green

Kelvin & Rosemary Griffi th

Nereda Hanlon & Michael

Hanlon AM

Don Hart

Lindi & John Hopkins

Penelope Hughes

Philip Maxwell & Jane Th am

John Marshall &

Andrew Michael,

Apparel Group Pty Ltd

Donald Morley

Hon Dr Kemeri Murray AO

J G Osborn

Sandra & Michael Paul

Endowment

S & B Penfold

Ralph & Ruth Renard

Stephen & Robbie Roberts

Greg Shalit & Miriam Faine

Mrs Carol Sisson

Ms Petrina Slaytor

Dr Charles Su & Dr Emily Lo

Dr R & Mrs R Tinning

Alastair Walton

Ralph Ward-Ambler AM &

Barbara Ward-Ambler

Karen & Geoff Wilson

Sir Robert Woods

Anonymous (9)

VIRTUOSO $1,000 $2,499

Annette Adair

Peter & Cathy Aird

Rae & David Allen

Andrew Andersons

Peter & Lillian Armitage

Sibilla Baer

Doug & Alison Battersby

Th e Beeren Foundation

Ruth Bell

Bruce Beresford

Victoria Beresin

Bill & Marissa Best

Jessica Block

Sally Bufé

Neil Burley & Jane Munro

Mark Burrows & Juliet

Ashworth

Gerard Byrne & Donna

O’Sullivan

Drs James & Margaret Cameron

Sandra Cassell

Ann Cebon-Glass

Paul Cochrane

John & Christine Collingwood

Leith & Darrel Conybeare

Judy Croll

Betty Crouchley

Diana & Ian Curtis

Marie Dalziel

June Danks

Michael & Wendy Davis

Christopher & Kathryn Dibden

Jennifer Dowling

G & L Dunn

Professor Dexter Dunphy

Professor Peter Ebeling &

Mr Gary Plover

Wendy Edwards

Anne-Maree Englund

Peter Evans

H E Fairfax

Elizabeth Finnegan

Nancy & Graham Fox

Anne & Justin Gardener

Colin Golvan SC

Warren Green

Elizabeth & Peter Harbison

Lesley Harland

Pete Hollings

Carrie & Stanley Howard

Wendy Hughes

Pam & Bill Hughes

Phillip Isaacs OAM

David Iverach

Angela James & Phil McMaster

Andrew Johnston

D & I Kallinikos

John Landers & Linda Sweeny

Bronwyn & Andrew Lumsden

Clive Magowan

Mr & Mrs Greg & Jan Marsh

Deidre & Kevin McCann

Brian & Helen McFadyen

Judith McKernan

P J Miller

Marie Morton

Nola Nettheim

Th e Hon Mr. Justice

Barry O’Keefe AM &

Mrs Janette O’Keefe

Anne & Christopher Page

Patagonian Enterprises Pty Ltd

James & Diane Patrick

peckvonhartel architects

Nick & Claire Poll

Warwick & Jeanette Richmond

In Memory of

Andrew Richmond

Em Prof A W Roberts

Joan Rogers

Pamela Rogers

Julia Champtaloup & Andrew

Rothery

D N Sanders

Tony Shepherd

Edward Simpson

Diana & Brian Snape AM

Maria Sola & Malcolm Douglas

Leslie C Th iess

Colin & Joanne Trumble

Ngaire Turner

Kay Vernon

Pat & John Webb

Mrs M W Wells

Audrey & Michael Wilson

Nick & Jo Wormald

Don & Mary Ann Yeats

Peter Young

William Yuille

Dr Lawrie Zion

Anonymous (14)

CONCERTINO $500 $999

Antoinette Ackermann

Ross & Lenore Adamson

A Annand

Bruce & Diane Bargon

Tamara Best

Andrew & Margaret Birchall

Brian Bothwell

Denise Braggett

D J Brown

Arnaldo Buch

Colleen & Michael Chesterman

Stephen Chivers

Angela & John Compton

Michael Cook

Alan Fraser Cooper

P Cornwell & C Rice

Mrs Julie Ann & Mr Laurie Cox

Money Warehouse

Sharlene Dadd

Lindee Dalziell


ACO DONATION PROGRAM

Anouk Darling

Mari Davis

Lucio Di Bartolomeo

Jane Diamond

Martin Dolan

In Memory of Raymond Dudley

Rodney Beech & Mariee

Durkin-Beech

M T & R L Elford

Michael Elsley & Susan

Richardson

Julie Ewington

Mr & Mrs R J Gehrig

Mirek Generowicz

Brian Goddard

Steve Gray

Tom Griffi th & Adrienne

Cahalan

Richard W Gulley

William & Robin Hall

Matthew Handbury

Annie Hawker

Tim Hemingway

John Hibbard

Michael Horsburgh AM &

Beverley Horsburgh

Dr & Mrs Michael Hunter

John & Pamela Hutchinson

Stephanie & Michael

Hutchinson

Philip & Sheila Jacobson

Davina Johnson

Angela Karpin

Dominic & Sophia Kazlauskas

Bruce & Natalie Kellett

David & Angela Kent

Len La Flamme

Drew Lindsay & Karl Zebel

Greg Lindsay AO & Jenny

Lindsay

Joanne Frederiksen & Paul

Lindwall

Penelope Little

Sydney & Airdrie Lloyd

James MacKean

Jennifer Marshall

Peter Mason AM

Donald C Maxwell

John Mitchell

Marie Morton

Helen & Gerald Moylan

Sharyn Munro

Susan Negrau

Ken Nielsen

J Norman

Graham North

Robin Offl er

Allegra & Giselle Overton

Josephine Paech

Leslie Parsonage

Deborah Pearson

Professor David Penington AC

Mr Kevin Phillips

Jan Power

Michael Power

Keith & Joan Presswell

John & Virginia Richardson

Michael Ryan

Garry E Scarf & Morgie Blaxill

Jeff Schwartz

Alison Scott

Vivienne Sharpe

Mr Ted Springett

In memory of Dr Aubrey

Sweet

IT

Elizabeth Th omas

Matthew Toohey

Phillip & Brenda Venton

G C & R Weir

Dr Gwen Woodroofe

Woodyatt Family

Michael & Susan Yabsley

Anonymous (31)

CONTINUO CIRCLE

BEQUEST PROGRAM

Th e late Kerstin Lillemor

Andersen

Dave Beswick

Sandra Cassell

Mrs Sandra Dent

Th e late Colin Enderby

Suzanne Gleeson

Lachie Hill

Penelope Hughes

Th e late Mr Geoff

Lee AM OAM

Mrs Judy Lee

Th e late Richard Ponder

Dawn Searle & the late

Richard Searle

Mr Peter Weiss AM

Margaret & Ron Wright

Mark Young

Anonymous (9)

LIFE PATRONS

IBM


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

CONTRIBUTIONS

If 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 CHALLENGE

INSPIRE THE FUTURE…Th e ACO Capital Challenge is a secure fund, which will permanently strengthen the ACO’s future.

Revenue generated by the corpus will provide 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-Nettis

Mrs Barbara Blackman

OCTET $100,000 – $249,000Mr Robert Albert AO & Mrs Libby Albert

Mrs Amina Belgiorno-Nettis

Th e Th omas Foundation

QUARTET $50,000 – $99,000Th e Clayton Family

Mr Peter Hall

Mr & Mrs Philip & Fiona Latham

Mr John Taberner & Mr Grant Lang

Mr & Mrs Peter & Susan Yates

SONATA $30,000 – $49,999Mr Martin Dickson AM & Mrs Susie Dickson


Mr John Leece OAM & Mrs Anne Leece

Ilma Peters

Mrs Patricia Reid

Mr Timothy Samway

Steve Wilson

ACO COMMITTEES

Chair – Bill Best

Ken Allen AM

Senior Advisor

UBS Investment Bank

Guido Belgiorno-

Nettis AM

Chairman ACO &

Joint Managing Director

Transfi eld Holdings

Liz Cacciottolo

Senior Advisor

UBS Australia

Ian Davis

Managing Director

Telstra Television

Chris Froggatt

Tony Gill

Rhyll Gardner

General Manager

Group Strategy

St George Bank

Brendan Hopkins

Tony O’Sullivan

Managing Partner

O’Sullivan Partners

Tony Shepherd

Chairman

Transfi eld Services

John Taberner

Consultant

Freehills

SYDNEY DEVELOPMENT COMMITTEE

EVENT COMMITTEES Bowral

Elsa Atkin

Michael Ball AM

(Chairman)

Daria Ball

Linda Hopkins

Karen Mewes

Keith Mewes

Th e Hon Michael Yabsley

Brisbane

Ross Clarke

Steffi Harbert

Elaine Millar

Deborah Quinn

Sydney

Mar Beltran

Creina Chapman

Suzanne Cohen

Patricia Connolly

Judy Anne Edwards

Elizabeth Harbison

Bee Hopkins

Sarah Jenkins

David Stewart

Mary Stollery

MELBOURNE DEVELOPMENT COUNCIL Chair – Peter Yates

Chairman

Royal Institution

of Australia and

Peony Capital

Libby Callinan

Stephen Charles

Paul Cochrane

Investment Advisor

Bell Potter Securities

Jan Minchin

Director

Tolarno Galleries

Susan Negrau

Development & Corporate

Relations Manager

Melbourne International

Arts Festival


ACO PARTNERS

CHAIRMAN’S COUNCIL

Th 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 AM

Chairman

Australian Chamber

Orchestra &

Joint Managing Director

Transfi eld Holdings

Mr Michael Andrew

Australian Chairman

KPMG

Mr Philip Bacon AM

Director

Philip Bacon Galleries

Mr Brad Banducci

Chief Executive Offi cer

Cellarmasters Group

Mr Jeff Bond

General Manager

Peter Lehmann Wines

Mr Glen Boreham

Managing Director

IBM Australia & New

Zealand

Ms Barbara Chapman

Group Executive,

HR & Group Services

Commonwealth Bank of

Australia

Th e Hon. Stephen

Charles QC

& Mrs Jenny Charles

Mr & Mrs Robin

Crawford

Ms Anouk Darling

Managing Director

Moon Communications

Group

Mr Craig Drummond


and Country Head

Bank of America Merrill

Lynch Australia

Dr Bob Every

Chairman

Wesfarmers

Mr Robert Scott

Managing Director

Wesfarmers Insurance

Mr Angelos

Frangopoulos


Australian News

Channel

Mr John Grill


WorleyParsons

Mrs Janet Holmes à

Court AC

Mr & Mrs Simon &

Katrina Holmes à

Court

Observant Pty Limited

Mr John James

Managing Director

Vanguard Investments

Australia

Mr Warwick Johnson

Managing Director

Optimal Fund

Management

Ms Catherine

Livingstone AO

Chairman

Telstra

Mr Steven Lowy AM

Group Managing

Director

Westfi eld Group

Mr Didier Mahout

CEO Australia & NZ

BNP Paribas

Mr John Marshall &

Mr Andrew Michael

Apparel Group Pty Ltd

Mr Michael Maxwell

& Mrs Julianne

Maxwell

Mr Geoff McClellan

Chairman

Freehills

Mr John Meacock

Managing Partner NSW

Deloitte

Ms Naomi Milgrom AO

Ms Jan Minchin

Director

Tolarno Galleries

Mr Clark Morgan

Chief Executive

UBS Wealth

Management Australia

Mr Alf Moufarrige

OAM


Servcorp

Mr & Mrs James &

Diane Patrick

Managing Directors

Wiltrans International

Pty Ltd

Mr Scott Perkins

Head of Global Banking

Deutsche Bank

Australia/New Zealand

Mr Oliver Roydhouse

Managing Director

Inlink

Mr Peter Schiavello

Managing Director

Schiavello Group

Mr Glen Sealey

General Manager

Maserati Australia &

New Zealand

Mr & Mrs Clive Smith

Mr Michio (Henry)

Taki

Managing Director &

CEO

Mitsubishi Australia Ltd

Mr Michael Triguboff

Managing Director

MIR Investment

Management Ltd

Ms Vanessa Wallace

Director

Booz & Company

Mr Kim Williams AM


FOXTEL

Mr Peter Yates

Chairman

Royal Institution of

Australia and Peony

Capital


Th e ACO receives around 50% of its income from the box offi ce, 35% from the business

community and private donors and less than 15% from government sources. Th e private

sector plays a key role in the continued growth and artistic development of the Orchestra.

We are proud of the relationships we have developed with each of our partners and would like

to acknowledge their generous support.

ACO PARTNERS

Th e ACO receives around 50% of its income from the box offi ce, 35% from the business

community and private donors and less than 15% from government sources. Th e private

sector plays a key role in the continued growth and artistic development of the Orchestra.

We are proud of the relationships we have developed with each of our partners and would like

to acknowledge their generous support.

ACO PARTNERS

CONCERT AND SERIES PARTNERS

PREFERRED TRAVEL PARTNER

FOUNDING PARTNER ACO2 PRINCIPAL PARTNER

PERTH SERIES PARTNER

QLD/NSW REGIONAL TOUR PARTNER

OFFICIAL PARTNERS

GOVERNMENT SUPPORT ACCOMMODATION AND EVENT SUPPORT

ACO is supported by the NSW Government through

Arts NSW

BAR CUPOLA SWEENEY RESEARCH

NATIONAL TOUR PARTNERS

34 AUSTRALIAN CHAMBER ORCHESTRACALL 1300 TELSTRA | VISIT TELSTRA.COM/ENTERPRISE

STACCATO: ACO NEWS STACCATO: ACO NEWS

On 21 and 23 January, the Parramatta

String Players made their Sydney Festival

debut alongside the ACO, performing

their work, Th inking about Forever…

(written with Matthew Hindson)

at Parramatta Park and the Sydney

International Regatta Centre in Penrith.

In February, members of the ACO

facilitated the fi rst workshop of the year

for the Picton Strings. Th is is the fi rst

of three visits in 2011 to this South Western

Sydney community.

ACO2 travel to regional South Australia

and Victoria in April performing concerts

in Mt Gambier, Noarlunga, Renmark,

Castlemaine, Horsham, Melbourne, Mildura

and Warrnambool. ACO2 also present schools

concerts in South Australia and combined

schools workshops in Victoria.

EDUCATION NEWS

ABOVE: Parramatta String Players perform Thinking about Forever…

ABOVE: ACO2 musicians work with regional string students


STACCATO: ACO NEWS

THE ACO’S VIVALDI DINNER

Presented by Tiffany & Co.On 25 November, the ACO hosted its annual

Melbourne Event, an Italian-themed evening

held in the stunning ballroom of ‘Cranlana’, the

Myer family’s historic home.

Celebrity chef and Italian afi cionado Guy

Grossi designed a rich Italian feast that was

accompanied by Peter Lehmann’s fi nest

wines, and Taittinger champagne, supplied by

Cellarmasters.

An intimate performance by an ACO quartet,

led by Richard Tognetti, featured Vivaldi’s

Winter, and the musicians joined guests for

dinner and a short live auction.

We are pleased to announce that the Vivaldi

Dinner raised over $80,000 in support of the

ACO’s Victorian Education Program. We

would like to especially thank our Vivaldi

Dinner Presenting Partner Tiff any & Co., the

ACO’s Melbourne Development Council, event

sponsors Peter Lehmann Wines, Cellarmasters,

Cox & Kings and Maserati, our prize donors

and the Myer family, for their dedication,

generosity and support.

ABOVE: Maserati’s Cathy and Bobbie Zagame

LEFT: Daria Ball, Tanya Searly, Shadda Abercrombie and Michael Ball AM

Violinist Ilya Isakovich and

his wife Tatiana are proud to

present the newest member

of the ACO family; their fi rst

child, Daniela.

RIGHT: Father and daughter, Ilya and Daniela Isakovich.

ACO BABY NEWS


GIFT CERTIFICATESWhy not give the music-lover in your life their choice of ACO concerts or recordings? Gift certifi cates

can be purchased and redeemed at aco.com.au/gift-certifi cates or by calling 1800 444 444.

BEETHOVEN Piano Concerto No.4, with Dejan Lazic

Th is recording was made live during the ACO’s

tour with pianist Dejan Lazić in 2009. It also

features Lazić’s recording of Beethoven Piano

Sonata No.14 (Moonlight) and Piano Sonata

No.31.

“In Dejan Lazić, Tognetti has met his match.

Born in Zagreb in 1977, this young Croatian

composer-pianist has already been highlighted

among tomorrow’s superstars. Lazić and

Tognetti share a view of Beethoven that is

provocative, unorthodox, at times capricious

but ultimately persuasive.” Th e Australian

review of the 2009 performance.

STACCATO: ACO NEWS

Available at aco.com.au/shop or by

phoning 02 8274 3800.

NEW CD RELEASE

Pre-Concert Dinner Offer from Bar Cupola, Sydney

Bar Cupola invites ACO concert patrons to

enjoy your choice of main and dessert, plus

a glass of house red or white wine for

$38 (GST inclusive). Browse the menu at

barcupola.com.au. Bar Cupola is open for

dinner 2 hours prior to concerts and advises

patrons to book early to guarantee a table.

BOOKINGS ESSENTIAL

T 02 9221 3377

F 02 9221 1112

E [email protected]

W barcupola.com.au

PARTNER OFFER

We just couldn’t keep this private.Commonwealth Private has been named the Most Outstanding Private Banking Institution in 2009 and 2010, the only bank to receive such an honour two years in a row. In addition Gary McMahon, one of our Senior Private Bankers, has also won the Most Outstanding Relationship Manager. We’ve been consistently voted No.1 because we have the banking and financial advisory expertise and commitment to help our clients achieve their financial goals. Whatever your requirements, Commonwealth Private brings you the full resources of the Bank. To find out what we can do for you, contact us today.

Visit commonwealthprivate.com.au Call 1300 362 081

Important information: This information has been prepared by the Commonwealth Bank of Australia ABN 48 123 123 124 AFSL 234945. Commonwealth Private Ltd ABN 30 125 238 039 AFSL 314018 is a wholly owned and non-guaranteed subsidiary of the Commonwealth Bank of Australia. The services described are provided by a team consisting of Private Bankers who are representatives of the Commonwealth Bank of Australia and Financial, Investment and Insurance Advisers who are representatives of Commonwealth Private Ltd. Most Outstanding Private Banking Institution for 2009 and 2010 ($1 million-$10 million category) and Most Outstanding Relationship Manager 2010 as awarded by Australian Private Banking Council. CBABM1023

© Copyright IBM Australia Limited 2011 ABN 79 000 024 733 © Copyright IBM Corporation 2011 All Rights Reserved. TRADEMARKS: IBM, the IBM logos, ibm.com and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade.shtml IBMNCA0569

Celebrating 30 years as founding partner of the

IBM® is proud to join Australia’s national orchestra

in celebrating our pearl anniversary together.

Australian Chamber Orchestra.

alex ross concert program

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