reflections on gallipoli
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NATIONAL TOUR PARTNER
REFLECTIONS ON GALLIPOLI
NATIONAL TOUR PARTNER PRINCIPAL PARTNER
14 – 25 MAYCANBERRA, MELBOURNE,
NEWCASTLE, SYDNEY
GET TICKETS
ACO.COM.AU | 1800 444 444 #ACO15 @A_C_O
MENDELSSOHN Violin Concerto in E minor
MENDELSSOHN String Symphony No.9
BOTTESINI Gran Duo Concertante for
Double Bass and Violin
WOLF Italian Serenade
STEFAN JACKIW Violin
SATU VÄNSKÄ Lead Violin
MAXIME BIBEAU Double Bass
American violin virtuoso Stefan Jackiw
takes on Mendelssohn’s beautiful violin
concerto, in an intimate arrangement for
string orchestra.
Wa t c h Vivaldi’s Travelator a ty o u t u b e . c o m / v i r g i n a u s t r a l i a P r i n c i p a l P a r t n e r o f t h e
V I V A L D I
S P R I N G
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Satu Vänskä, Principal Violin
1341_WESF - Arts Sponsorship Campaign 2014 - ACO_Program Ad_150x240mm_V2.indd 1 5/02/2015 10:36:03 AM
AUSTRALIAN CHAMBER ORCHESTRA 7
NATIONAL TOUR PARTNER
As one of the world’s leading oil and gas companies, Total appreciates that technical excellence, hard work, creativity and innovation are important drivers of success. When looking to form a flagship arts partnership in Australia, it was just these attributes that attracted Total to the Australian Chamber Orchestra and its unique and exceptional musical performances.
For the third year, Total will be a National Tour Partner of the ACO, supporting the Reflections on Gallipoli tour. With its proud French heritage, Total is especially pleased to support a performance commemorating the important battle of Gallipoli in World War I, a war where Australian and French soldiers often fought side by side.
Today, Australia is a key country for Total out of global operations which span 130 countries and include 100,000 employees. Here we are an active participant in Australia’s oil and gas industry, investing many billions as a major partner in two LNG projects currently under construction, and participating in both offshore and onshore exploration.
With Total committed to Australia long term, we hope to continue to make a positive contribution to Australia’s economy and to support exciting artistic endeavours like the ACO for as many as possible to experience. I very much hope you enjoy tonight’s performance.
David MendelsonManaging Director Total Exploration & Production Australia
NATIONAL TOUR PARTNER
8
ENGAGE WITH US
SOCIALLYWe’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 #ACO15.
@a_c_o facebook.com/AustralianChamberOrchestra @AustChamberOrchestra
LOOKWatch us Live in the Studio, go behind-the-scenes and find out more about our program on YouTube.
youtube.com/AustralianCO
LISTENTune in to an ACO Session on Spotify or hear concert tasters and playlists.
aco.com.au/Spotify
RADIOACO Concerts are regularly broadcast on ABC Classic FM. Andreas Scholl Sings Vivaldi Fri 3 Apr, 10pm
COMPETITION #MY4SEASONSThe changing seasons inspired Vivaldi to compose his most colourful work – The Four Seasons. To celebrate the ACO’s birthday and the Australian odyssey that is our production of this much-loved masterpiece, we’re offering you the chance to win a special Four Seasons prize pack. Visit aco.com.au/instacomp for the details.
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MESSAGE FROM THE GENERAL MANAGER
After the exuberance of Vivaldi’s Four Seasons, which opened the Australian Chamber Orchestra’s year in February, it would be difficult to imagine a greater contrast to the profound contemplation of Reflections on Gallipoli.
This program has been taking shape in the ACO Studio over the last 12 months, with creative partners Neil Armfield, Nigel Jamieson, Carl Vine, Sean Bacon and Richard Tognetti developing the themes and ideas which will be unveiled in this series of performances around the country in the weeks leading up to the centenary of Anzac Day. We are especially grateful to the Australian War Memorial in Canberra for enabling us to project more than 150 historical images from the War Memorial’s immense collection, bringing striking actuality to the words and music you will hear on stage.
The ACO is always proud of its unique ability to perform throughout the year in all of the country’s major cities, but we are very much indebted to our National Tour Partner Total for making it possible to bring this historically and culturally significant program to audiences in Adelaide, Brisbane, Canberra, Melbourne, Perth and Sydney.
The Anzac theme continues in the ACO’s musical program in April. During the ACO’s 2015 US tour, the Orchestra has been invited by the Commonwealth Bank of Australia to perform a special private Anzac Day concert, co-hosted by the Australian Consul-General in New York, Nick Minchin. This special event takes place the night before the ACO’s Carnegie Hall concert on 26 April, which is the final concert of the tour. Our soloist throughout the tour is the brilliant Swedish clarinettist Martin Fröst and the repertoire includes the US premiere performances of Jonny Greenwood’s Water, which was written specially for Richard and the Orchestra.
Timothy Calnin General Manager
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ACO WHAT’S ON
EMERGING ARTISTS APPLICATIONS Applications close 5pm Friday 24 April
The ACO’s Emerging Artists’ Program provides talented young Australian string players with the opportunity to be mentored by members of the ACO. Applications are open to string players with extensive performance experience, who are aged 18–27 years.
aco.com.au/emerging_artists
USA TOUR 10–26 April 2015
The ACO heads back to the United States in April, joining up with much-loved collaborator Martin Fröst for an extensive tour – which features the US premiere of Jonny Greenwood’s Water – that will conclude with a performance at Carnegie Hall.
aco.com.au/international
MOSTLY MENDELSSOHN 14–25 May 2015
YouTube Symphony Orchestra sensation Stefan Jackiw takes the solo role in Mendelssohn’s beautiful violin concerto, in an intimate arrangement for string orchestra.
aco.com.au/mendelssohn
AROUND THE WORLD WITH BENJAMIN SCHMID & AcO2 14–29 May 2015
Embracing much-loved works in the string repertoire, Around the World takes the audience on a journey through America, Russia and Germany, culminating in a voyage from Salzburg to Barcelona, Paris and Maputo with Berger’s Metropoles Suite for Violin and Strings.
aco.com.au/aroundtheworld
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Richard Tognetti Artistic Director & Violin
Neil Armfield Director
Nigel Jamieson Deviser
Taryn Fiebig Soprano
Yalin Ozucelik Actor
Nathaniel Dean Actor
Sean Bacon Video Designer
Matt Cox Lighting Designer
BARTÓK (arr. strings) String Quartet No.2: II. Allegro molto capriccioso
KELLY Elegy for strings ‘In Memoriam Rupert Brooke’
SARISÖZEN (arr. Meurant) Çanakkale Türküsü
VINE Soliloquy world premiere
TRADITIONAL (arr. Meurant) Ceddin Deden
ELGAR Sospiri, Op.70
INTERVAL
KODALLI Adagio for String Orchestra
MEHVEŞ HANIM (arr. Meurant) Kaçsam Bırakıp Senden Uzak Yollara Gitsem
TRADITIONAL (arr. Meurant) Nihavend Longa
VINE Our Sons world premiere
VAUGHAN WILLIAMS The Lark Ascending
Additional music by Carl Vine.
Reflections on Gallipoli is supported by Warwick & Ann Johnson Connie & Craig Kimberley
Approximate durations (minutes):
7 – 8 – 4 – 3 – 4 – 6 – INTERVAL – 7 – 5 – 2 – 13 – 16
The concert will last approximately two hours, including a 20-minute interval.
RE FLECTIONS ON GALLIPOLI
The ACO is providing audio description for the concert at the Sydney Opera House on Sunday 15 March. Audio description is a live, oral commentary of the visual elements of the concert, delivered to audience members who are blind or have a vision-impairment.
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WHAT YOU ARE ABOUT TO HEAR . . .
Even though he wasn’t a musician himself, Mustafa Kemal, known as Atatürk (Father of the Turks), remains the towering figure in this concert of reflections on the Gallipoli campaign of 1915.
As a fearless Commander of the Turkish 19th Division, Atatürk himself served at Gallipoli in opposition to the initial Australian and New Zealand landing in April, and later commanded all Turkish forces in the combat zone between Chunuk Bair and Suvla Bay.
But it was after the War, and the 1923 Declaration of the Republic of Turkey, that Atatürk, as the founding President of the nation, made a remarkable contribution to the arts, which still resonates throughout the Turkish, English, Australian and Hungarian music in this multimedia concert.
Setting out to modernise Turkey, Atatürk believed that ‘A nation, when deprived of art and artists, cannot have a complete life’. To that end, he sponsored five composers (‘The Turkish Five’) to study composition with Béla Bartók, thus beginning a new tradition of Turkish composers assimilating European influences while creating music of a distinctly Turkish national character. And in works like the glorious Adagio by Paris-trained, Ankara-based Nevit Kodallı, he has broken down the musical distinction between East and West.
Atatürk couldn’t have chosen a better mentor for composers brought up with largely homophonic music typified by the patriotic songs Çanakkale Türküsü and Ceddin Deden. Bartók’s fascination with, and prodigious knowledge of, the traditional music of peoples of the so-called ‘Near East’ and North Africa – encountered first-hand during frequent folksong-collecting expeditions – informed his own music, including the wartime Second String Quartet.
LEFT: The bodies of dead Turks at Chessboard. Australian War Memorial P02649.027
MIDDLE: In the trenches. State Library of South Australia B45342/50
RIGHT: Turkish soldiers in a covered shelter at Kanle Sirt. Australian War Memorial A02599
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LEFT: Graves in the Christian cemetery at Belemedick, Turkey. Australian War Memorial P01645.002
MIDDLE: Gallipoli Peninsula, Turkey, 22 May 1915. The Turkish envoy who brought the request, for an armistice to enable the Turks to bury their dead. Australian War Memorial G00988
RIGHT: Trench warfare at Gallipoli. State Library of South Australia B17738/7
For Australians of the Gallipoli generation, though, the artistic models were always English. Edward Elgar’s Sospiri and Ralph Vaughan Williams’ The Lark Ascending were both conceived in the shadows of the First World War. The lament Sospiri was premiered just 11 days after the War’s onset, while Vaughan Williams’ most popular work was drafted just before its composer saw active service in the Ambulance Corps on the Western Front, and was only completed post-War when its radiant innocence now sounded like a lament for a pastoral world destroyed by rampant militarism.
Meanwhile, for Australians, the First World War represented a defining moment in our cultural history, when, in the words of war historian CEW Bean, ‘the men went into it absolutely raw, most of them, and 24 hours later they were veterans.’ One of them was the composer Frederick Septimus Kelly, who, in transit to Gallipoli lost his best friend, the poet Rupert Brooke, to septicemia and began composing his Elegy immediately, on 23 April 1915, just two days before the landing.
The suffering that followed, with nearly 9,000 Australian deaths, remains raw to this day, but Atatürk’s words in 1934 provided both comfort to the bereaved, and also the text for Carl Vine’s new ACO commission, Our Sons:
After having lost their lives on this land they have become our sons as well.
As Richard Tognetti has said, ‘Even if it were only a celebration of Atatürk, Reflections on Gallipoli would still be a worthy concert.’
But with its staging by Nigel Jamieson and Neil Armfield, with incidental music by Carl Vine, and with its overriding theme of reconciliation, Reflections on Gallipoli is so much more than that.
Martin Buzacott © 2015
“AFTER HAVING LOST THEIR LIVES ON THIS LAND THEY HAVE BECOME OUR SONS AS WELL .” MUSTAFA KEMAL ATATÜRK
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BÉLA BARTÓKBorn Nagyszentmiklós, Hungary 1881. Died New York 1945.
String Quartet No.2
(Composed 1915–17)
II: Allegro molto capriccioso
Like Vaughan Williams in England, Béla Bartók was an inveterate folksong collector who spent much of the pre-War years ‘in the field’, recording and cataloguing the music not just of his native Hungary, but also of Bulgaria, Transylvania and even North Africa. But unlike his English counterpart, Bartók’s folksong-collecting activities were actually boosted rather than curtailed by the First World War.
Deemed unfit for service, he and his composer-colleague Zoltán Kodály were engaged by the Hungarian government to tour the military camps to collect the folk music of the soldiers, and it was while engaged in this activity that Bartók set to work on his wartime String Quartet No.2. It was to become a veritable mélange of ethnomusicological influences, perhaps the most significant of which was not Hungarian, but the music of the Arab world.
Bartók’s fascination with Levantine music was career-long, his first research visit to the region occurring when he toured the Biskra province of present-day Algeria in 1913 and continuing right through until his attendance at the Cairo Conference of Arab Folk Music in 1932. His understanding and assimilation of the vastly different modes and scales of this music from the Arabic and African people shaped his
PICTURED: Béla Bartók, 1915
ABOUT THE MUSIC
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own style as a composer, placing so much of his music not just outside the major-minor scales of the Western tradition, but also into a sound world that bore little relationship with that of the Second Viennese School either. He thus became, perhaps, the first ‘world musician’ among Western classical composers.
And the evidence is there in the second (middle) movement of his Second String Quartet. Bartók himself described the Quartet as containing ‘life episodes’ of which the first movement represents ‘peaceful life’ and the third ‘suffering’. But for the middle movement, he chose the theme of ‘barbarism’ – how could he not, given the circumstances surrounding its composition! In it, the polyglot musical influences are obvious, the distinctive Hungarian rhythms of course, but also the melodic and harmonic twists of North Africa.
Bartók called this second movement ‘a kind of rondo, with a developmental section in the middle’, but there the Western terminology reaches its limit. Listen to the scurrying main theme, for instance, where the final phrases of each musical line inevitably twist into the more fluid melodic patterns of North African modes (in particular, musicologists have likened it to Berber music). Its frantic pace is unrelenting, a couple of ‘tranquillo’ moments notwithstanding, and just for good measure at the end, it demands a prestissimo tempo played pianissimo with mutes – a technical challenge that elite musicians of any nationality might fear!
FREDERICK SEPTIMUS KELLYBorn Sydney 1881. Died Beaucourt-sur-Ancre 1916.
Elegy for strings ‘In Memoriam Rupert Brooke’
(Composed 1915)
Frederick Septimus Kelly was born in Sydney, Australia, into a well-to-do family, but moved to England when he was just 12. A natural sportsman, and especially oarsman, he won a Gold Medal for England in rowing at the 1908 London Olympics. Along with his close friends, the poet Rupert Brooke and the critic and composer William Denis Browne, at the outbreak of the War he enlisted in the Royal Naval Volunteer Reserve which soon led to active service in the Royal Naval Division. Adapting well to military service, Kelly was destined to win the DSC (Distinguished Service Cross) ‘for conspicuous gallantry’ and was promoted to the rank of Lieutenant-Commander.
On 20 April 1915, the three friends Kelly, Brooke and Browne set out for Gallipoli, aboard the SS Grantully Castle.
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But before reaching their destination, off the Greek Island of Skyros, it became apparent that 27-year-old Brooke was gravely ill with septicemia, caused by complications from a mosquito bite. Described by WB Yeats as ‘the handsomest young man in England’, Brooke died on board a French hospital ship on 23 April. How significant his most famous lines then seemed:
If I should die, think only this of me; That there’s some corner of a foreign field That is forever England.
That foreign field took the form of a rocky outcrop on Skyros, his close friends Browne and Frederick Septimus Kelly remaining behind after the formal burial to cover the grave with stones and to pay their own private, silent farewells, Kelly later writing in his diary:
‘The body lies looking down the valley towards the harbour and, from behind, an olive tree bends itself over the grave as though sheltering it from the sun and rain. No more fitting resting place for a poet could be found than this small grove, and it seems as though the gods had jealously snatched him away to enrich this scented island.’
Devastated by Brooke’s loss, Kelly immediately began to sketch his Elegy, ‘In Memoriam Rupert Brooke’, continuing to work on it while at Gallipoli itself and also when recuperating in hospital at Alexandria in Egypt, after being wounded twice in combat.
The modal tinges of the music refer not just to the Greek location of the grave, but also to Brooke’s own fascination with classicism, while the oscillating passagework from the violins suggests the wind rustling through the leaves of the olive tree bending over the grave.
Kelly eventually survived Gallipoli and in fact was one of the last officers to leave during the Evacuation of December 1915, but the following year he was killed in action during the final days of the Battle of the Somme.
PICTURED: Frederick Septimus Kelly
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ÇANAKKALE TÜRKÜSÜ Muzaffer Sarısözen
CEDDIN DEDEN Traditional
KAÇSAM BIRAKIP SENDEN UZAK YOLLARA GITSEM Mehveș Hanım
NIHAVEND LONGA Traditional
Arranged by Cyrus Meurant
Traditional and folk music played a vital role on both sides of the Gallipoli campaign, the soldiers in the trenches often going into battle after patriotic songs had reignited faltering courage, or falling into fitful sleep with the sound of the opposition’s traditional laments wafting into their ears.
For the Turkish troops, Çanakkale Türküsü became particularly associated with the Gallipoli campaign, its refrain of ‘Oh, my youth, alas’ resonating with the experience of all those young soldiers marching off into battle. The town of Çanakkale itself is a seaport on the southern coast of the Dardenelles and like Istanbul it straddles two continents. Shrouded in classical legends, it’s where the love-story of Hero and Leander is said to have played out, and it’s also near Troy. But for Turkey itself, the entire Gallipoli campaign was known as the Battle of Çanakkale, and the song expresses the horror of the dying and wounded and those they left behind, ending with a lament for the ‘brave lions’ now resting beneath the willows.
Ceddin Deden (Your ancestors, your grandfathers) is a patriotic Turkish song celebrating the military heroes of the nation and the current Turkish forces who are ‘renowned all over the world’. With its references to the Ottoman conquest of Constantinople in 1453 and usually played by immaculately-dressed military bands, it was sung by the Turkish troops to fire themselves up before, and even during, battle on Gallipoli. Its raw and stirring emotion is palpable, its simple rhythm and homophonic refrain suitable for chanting by troops as they confront the enemy in combat.
Kaçsam Bırakıp Senden Uzak Yollara Gitsem (If I left you and ran away on far away roads) is a beautiful lament, much favoured by contemporary Turkish popular singers. Centred on the immortal themes of love and loss, its lovely melody has a universal appeal – some have even commented that it has a Russian flavour!
The ‘makham nihavent’ is the Turkish equivalent of the Western minor-key scale, an East-West musical form if ever there was one, its hybrid character having emerged in Thrace which is in the European part of Turkey bordering Bulgaria and Greece. Much-loved by oud players, but also popular in countless other instrumental arrangements, Nihavend Longa is a fast instrumental dance in 2/4 time.
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PICTURED: Edward Elgar
EDWARD ELGARBorn Broadheath 1857. Died Worcester 1934.
Sospiri, Op.70
(Composed 1913–14)
No one expected the First World War to happen (hence the title of Christopher Clark’s definitive history, ‘The Sleepwalkers’) but in hindsight, the instincts of composers seem eerie. Gustav Holst’s ‘Mars’ from The Planets, written in the pre-War summer of 1914, seems in retrospect to be militarism captured in music. George Butterworth seemed prescient too in his choice of an AE Housman poem to set to music in 1913, for he himself would become one of those described therein:
And then one could talk with them friendly and wish them farewell And watch them depart on the way that they will not return … They carry back bright to the coiner the mintage of man, The lads that will die in their glory and never be old.
But in his miniature tone poem Sospiri, Op.70, Elgar too seemed to have a premonition that something unprecedented was about to happen.
Originally conceived under the working title Soupir d’Amour (Sigh of Love), it was intended as a kind of sentimental companion-piece to his earliest ‘hit’, Salut d’Amour, scored for just violin and piano and serving the needs of amateur salon-musicians throughout the Continent. But as he worked on it during the first part of 1914, a deeper, more intense mood began to take over, in excess of Elgar’s trademark nostalgia and wistfulness.
In acknowledgment of its deepening substance, he changed his title from French to Italian, retaining the concept of a musical ‘sigh’ but now calling it Sospiri and turning it into a work for string orchestra with harp and organ.
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Slow throughout, and deeply melancholy in its mood, it became the first work by a significant composer to be premiered following the declaration of War, its first performance in London’s Queens Hall occurring just 11 days after the fateful announcement of 4 August. Its dedicatee WH (Billy) Reed was soloist with Sir Henry Wood conducting, while already, outside, the recruiting offices were in overdrive, Sospiri ’s subdued, elegiac mood matching that of a British community about to experience a 90% casualty rate among its first 100,000 soldiers deployed to the War.
Later in the War, Elgar wrote to a friend: ‘Everything good & nice & clean & fresh & sweet is far away – never to return.’ Sospiri was the first inkling of that feeling, making it a small but significant transition-point between the gentle regret in the pre-War Violin Concerto and the flagrant sense of loss in the post-War Cello Concerto.
NEVIT KODALLIBorn Mersin 1924. Died Mersin 2009.
Adagio for String Orchestra
(Composed 1966)
When Nevit Kodallı died from a heart attack in 2009, the 85 year-old was mourned not just in his native Turkey where he was revered as one of the most important inheritors of the legacy of the ‘Turkish Five’, but also in Paris where he’d trained as a student of Honegger and Nadia Boulanger. Having spent much of his career teaching at the Ankara State Conservatory, his catalogue of works reflects his bi-cultural identity, his Atatürk Oratorio and Republic Cantata being among the 20th century’s most important Turkish works, while his opera Van Gogh and much of his orchestral and chamber music, including his Adagio for String Orchestra, take their rightful place squarely in the grand Western tradition.
Subdued and profound, occasionally tinged with dissonance but with a soaring melodic line nonetheless, the Adagio is a brief, exquisite lament. Like similarly titled works by his Hungarian near-namesake Zoltán Kodály and also Samuel Barber, Kodallı’s Adagio reflects the sense of grief and loss of all who have suffered in war and all who mourn the 20th century’s passing parade of generations thrust unavoidably into conflict. Its striking middle section comes like a momentary cry of anguish, before settling back into its prevailing mood of quiet and dignified regret, its haunting and beautiful conclusion tapering off into the nothingness of oblivion.
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CARL VINE Born Perth 1954.
Our Sons
Soliloquy
(Composed 2015)
PICTURED: Carl Vine
Photo by Keith SaundersThe leading Australian composer of his generation, Carl Vine’s symphonies, concertos and chamber music have achieved international acclaim. But it was as a composer of prodigiously imaginative scores for dance that he first made his name in the late 1970s. He is Artistic Director of Musica Viva Australia and the Huntington Estate Music Festival and now lectures in composition at the Sydney Conservatorium of Music. Of Our Sons, he writes:
‘There is no good in any war, but the ground attack by Britain and its allies against the Ottoman Empire at Gallipoli in April 1915, causing the death of 8,709 Australians and 2,721 New Zealanders, achieved a new level of grotesque pointlessness in warfare.
‘The meek compliance of Australia’s colonial high command to the often ill-advised commands of their British superiors ensured the demise of every second troop they sent to the battlefield. It is hard to generate pride in Australia’s contribution to this horrific military failure.
‘Mustafa Kemal Atatürk was a Lieutenant defending his homeland against the Anzacs invading the Dardanelles, and troops under his direct command must have killed hundreds of my countrymen. After the war he quickly rose to political prominence, and was bestowed his unique surname (“Father of the Turks”) by the parliament of the new Turkish nation that he helped forge and over which he presided. His epitaph on the Turkish Memorial at ANZAC Cove, Gallipoli, is addressed directly to the mothers of the fallen Anzacs, and resonates with a level of compassion and generosity that should shame the allied commanders whom he defeated in battle.
‘It ends with the words: “After having lost their lives on this land they have become our sons as well”. The voice in my setting
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of this text embodies the spirit of bereaved Anzac mothers, trying to make sense of their atrocious loss, seeking solace in the thoughtful words of one of those responsible for the killing. But no number of words can raise the dead, no amount of kindness can heal their wounds, and there is never redemption in bloodshed. When the war is over there is little left but loss.’
Carl Vine, January 2015
Those heroes who shed their blood and lost their lives … you are now lying in the soil of a friendly country. Therefore rest in peace. There is no difference between the Johnnies and Mehmets to us where they lie side by side here in this country of ours … You, the mothers, who sent their sons from far away countries wipe away your tears. Your sons are now lying in our bosom and are in peace. After having lost their lives on this land they have become our sons as well.
Mustafa Kemal Atatürk (1881–1938)
Of Soliloquy, Carl Vine writes:
‘Soliloquy was written in direct response to the horrific narratives from Anzac troops in the frontline trenches at Gallipoli, compiled for this concert. It reflects in turn the personal horror, disbelief, anguish and anger evoked by such stark depictions of pointless human suffering, inflicted by countries who consider themselves civilised, upon their own citizens. Words fail me.’
RALPH VAUGHAN WILLIAMSBorn Down Ampney 1872. Died London 1958.
The Lark Ascending
(Composed 1914, revised 1920)
The European summer of 1914 was the most beautiful in living memory, the Continent bathed in sunshine and warmth, the Belle Epoque at its height, unprecedented wealth and prosperity.
PICTURED: Inscription on the Turkish Memorial at ANZAC Cove, Gallipoli (1934)
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The Lark Ascending, composed by Vaughan Williams in 1914, captured the spirit of the times. A rhapsody for violin and orchestra conceived while the composer was visiting the pretty Tillingbourne Valley in Surrey, it’s based on a poem by George Meredith:
He rises and begins to sound, He drops the silver chain of sound, Of many links without a break, In chirrup, whistle, slur and shake … And ever winging up and up, Our valley is his golden cup And he the wine which overflows To lift us with him as he goes
Up and up, the ascent heavenwards, the cup of wine in hand. How quickly this pastoral vision of freedom and careless consumption was to be reversed, and what a different world it would be by the time Vaughan Williams came to revise The Lark Ascending for its eventual premiere in 1920!
Along with his younger colleague George Butterworth and the musicologist Cecil Sharp, Vaughan Williams had spent much of that idyllic early summer of 1914 in the English countryside collecting folksongs, its influence plainly heard in the pentatonic character of much of The Lark Ascending’s musical content.
But then at the end of June that year, on the fringes of the Continent, two shots rang out, and Europe was plunged into cataclysm. Within weeks of the assassination of Archduke Franz Ferdinand in Sarajevo, events escalated into a War that was unprecedented in its scale and ferocity.
The halcyon days captured within The Lark Ascending were over forever, and the manuscript, now in first draft form, was set aside as Vaughan Williams, like so many other British composers, enlisted and went to France, in his case serving as a wagon-orderly transporting the dead and dying from the Front in the bloodbath surroundings of Vimy Ridge.
When he returned from the War and revised The Lark Ascending, the creative mood of both Vaughan Williams himself, and of course the European world at large, was now unrecognisable from the one in which the ecstatic roulades of the work’s solo violin part had captured the prevailing zeitgeist. Now, at its premiere by Marie Hall, accompanied only by piano, in late 1920, and then six months later in its now-standard orchestral version, it was heard not as a vision of innocence and elation, but as a lament for all that had been lost in the war to end all wars.
Martin Buzacott © 2015
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LEFT: A Turkish officer, Major Kemal Ohri, being led blindfolded on a horse after the Turkish counter attack of 19 May 1915, to negotiate an armistice. Australian War Memorial A00836
RIGHT: A trench at Lone Pine after the battle, showing Australian and Turkish dead on the parapet. Australian War Memorial A02025
Actual quotes from those in the trenches at Gallipoli
‘We regarded them as a fair enemy. I had no ill-feelings about them. None of us had. We were fighting them but there was no hate about it, not with any of us.’
Basil Holmes (Captain, 17th Battalion, 5th Brigade, 2nd Division, AIF)
‘When the Armistice was on, I guarantee if there was a pub there we would have been drinking with them.’
Frank Parker (52nd Infantry, 5th Infantry Battalion, D Company)
FAIR ENEMIES
‘We used to throw tins of bully beef over to them … and they threw us Turkish cigarettes which we very much appreciated, and things got very friendly … We considered the Turkish soldier a very brave man and a brave fighter.’
Harry Benson (5th AIF Ambulance)
‘Those who sacrificed themselves for the fate of their countries were admired by each other for their heroic and humanitarian action on both sides.’
Rustu Erdelhun (General, 2nd Army Turkish Land Forces, Caucasus Front)
‘They respected the Australian soldier. They never committed any atrocity or anything like that … And that’s how Johnny Turk happened to be christened Johnny Turk: it’s more a compliment than anything else in saying it that way.’
Jack Nicholson (1st Infantry Battalion)
[Excerpted from Anzac Stories, CD available on ABC Classics, 2 April. Interviews drawn from ABC Audio Archives.]
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RICHARD TOGNETTI– DIRECTOR & VIOLIN
Photo by Jack Saltmiras
“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.” THE DAILY TELEGRAPH (UK)
2015 marks the 25th year of Richard Tognetti’s artistic directorship of the Australian Chamber Orchestra. Born and raised in Wollongong NSW, Richard has established an international reputation for his compelling performances and artistic individualism.
He began his studies in his home town with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.
Richard performs on period, modern and electric instruments and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras.
Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes; and created The Red Tree, inspired by Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica. Most recently, he provided additional music for The Water Diviner, Russell Crowe’s directorial debut.
Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.
He has given more than 2500 performances with the Australian Chamber Orchestra.
SELECT DISCOGRAPHY
AS SOLOIST:
BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679
BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner
BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner
BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three Bach releases available as a 5CD Box set: ABC Classics 476 6168)
VIVALDI The Four Seasons BIS SACD-2103
Musica Surfica (DVD) Best Feature, New York Surf Film Festival
AS DIRECTOR:
GRIEG Music for String Orchestra BIS SACD-1877
Pipe Dreams Sharon Bezaly, Flute BIS CD-1789
All available from aco.com.au/shop
AUSTRALIAN CHAMBER ORCHESTRA26
Photo by Heidrun Löhr
Neil Armfield is a leading Australian director of theatre, opera and film. He was co-founder of Sydney’s Belvoir Theatre and its Artistic Director for 17 years, during which time he directed over 50 productions, with a particular focus on new and Indigenous writing, the plays of Shakespeare and Jonson, Chekhov and Gogol, Patrick White and David Hare. Notable productions include Cloudstreet (toured to London twice, Dublin, Zurich, New York), Hamlet (toured Australia starring Richard Roxburgh), Diary of a Madman (with Geoffrey Rush, toured to Moscow, St Petersburg, New York), Exit the King (Sydney and Broadway, winning Geoffrey Rush a Tony), The Book of Everything (toured to New York), The Judas Kiss (toured Australia starring Bille Brown in 1999 and in 2012 with Rupert Everett) and The Secret River, adapted for theatre by Andrew Bovell.
Neil has directed for English National Opera, Royal Opera House Covent Garden, Chicago Lyric Opera, Zurich Opera, Bregenz Festival, and regularly with Opera Australia, Canadian Opera, Welsh National Opera, and Houston Grand Opera. He has directed new operas Frankie and The Eighth Wonder by Alan John, Love Burns by Graeme Koehne and Bliss by Brett Dean, as well as operas by such composers as Mozart, Strauss, Janáček and Britten. Last year he directed Wagner’s Ring Cycle in Melbourne and Tristan und Isolde in Washington.
Neil directed the multi award-winning television miniseries Eden’s Lost for the ABC in 1988, and The Fisherman’s Wake and Coral Island, both for the ABC in 1996 and both winners of many awards. In 2005 he directed and co-wrote the feature film Candy, starring Heath Ledger and Abbie Cornish, which screened in competition at the Berlinale, and played 20 other international festivals. He won Best Adapted Screenplay at the AFI Awards and an AWGIE for Best Screenplay. Neil is in pre-production on his second feature film Holding the Man.
Neil has won two AFI Awards, eight Helpmann Awards, and numerous Sydney Theatre, Victorian Green Room and Sydney Theatre Critics Circle Awards. He has Honorary Doctorates from Sydney and NSW Universities, and in 2007 was appointed Officer of the Order of Australia.
NEIL ARMFIELD – DIRECTOR
AUSTRALIAN CHAMBER ORCHESTRA 27
NIGEL JAMIESON – DEVISER
Photo by Sangye Christianson
Nigel began his career in London, where he directed Trickster Theatre Company, worked at the Royal National Theatre, and was founder and of The London International Workshop Festival and the London Festival of New Circus. He was awarded a Greater London Arts Award for his outstanding contribution to London Arts.
Subsequently moving to Sydney, he created a series of large scale works including Tin Symphony for the Sydney Olympic Opening Ceremony, the ABC Millennium Broadcast, the Closing Ceremony of the Manchester Commonwealth Games, the historic Yeperenye Federation Festival, the opening of the 2007 European City of Culture, Angkor Wat, Sydney Festival First Night, which received a Helpmann Award for Best Australian Special Event and Clusters of Light about the Prophet Mohammed.
His theatre work tours the world extensively. It has included multi award-winning shows such as his Indonesian collaboration Theft of Sita, All of Me and Honour Bound about David Hicks and Guantanamo, which was winner of the 2007 Sydney Theatre Award for Best Australian Main Stage Work. Other works he has written and directed include Gallipoli for the Sydney Theatre Company, and In Our Name about the plight of asylum seekers in Australian Detention.
Acclaimed opera productions have included Brundibar, Dead Man Walking and La fanciualla del West, for which he received the Helpmann for Best Direction of an Opera. His epic aerial production As The World Tipped is embarking on its fourth year of International touring, while his Arena Production of How To Train Your Dragon, for Dreamworks played to over 750,000 and recently completed a Beijing season.
He is currently directing the opening and closing ceremonies for the 2015 Pacific Games and a new aerial work in the UK. He was awarded a Federation Medal for his contribution to Australian Theatre and the 2007 Sidney Myer Award.
AUSTRALIAN CHAMBER ORCHESTRA28
Photo by Heidrun Löhr
Sean Bacon studied video and visual arts, graduating with Honours in 1998. He worked with the French dance company Experience Harmaat (2000–02), and their collaboration Nobody Nevermind opened the performance section of the prestigious Venice Bienniale (2001). In 2005 he was awarded a three-month residency at the Australia Council’s Green Street Studios in New York. Sean has been a Company Artist for version 1.0 since 2005. In 2010 Sean worked as the video artist on the Sydney Theatre Award nominated seven kilometres north-east, which toured to Sarajevo in April 2011. Sean worked as the video designer for Belvoir’s production of Measure for Measure directed by Benedict Andrews, for which he won a Sydney Theatre Award for Stage Design in 2010. With Andrews he also worked as the video designer for the English National Opera/Young Vic’s production Return of Ulysses in London 2011. In 2012 Sean worked on Sydney Theatre Company’s Pygmalion, and Sydney Festival/ Urban Theatre Projects/ Belvoir’s Buried City, version 1.0/ATYP’s production The Tender Age and version 1.0/Belvoir/Ilbeijerri’s co-production Beautiful One Day as well as Q Theatre’s Truck Stop for which he won a Sydney Theatre Award for Stage Design 2012. In 2014, he worked on the STC’s production of The Maids at New York’s Lincoln Theatre Festival.
SEAN BACON – VIDEO DESIGNER
Photo by Marie Maitt
Matt’s career in theatre has spanned 15 years designing lighting in both Australia and the UK. During his time in London, Matt worked with student directors attending the Royal Academy of Dramatic Art, the Edinburgh Fringe Festival and John Stahl’s solo show Blindman. Since returning to Sydney he has designed numerous theatre productions including Blak, Belong (Bangarra Dance Theatre), Romeo and Juliet (Bell Shakespeare), Ruby Moon (Sydney Theatre Company), The Mousetrap, A Murder is Announced (Louise Withers and Associates), The Seed (Company B), Symphony (Legs on the Wall), The Libertine, Othello (Sport for Jove), The Famous Spiegeltent, The Aurora Spiegeltent (Sydney Festival) and His Music Burns (Sydney Chamber Opera).
Matt currently tutors for the National Institute of Dramatic Art (NIDA).
MATT COX – LIGHTING DESIGNER
AUSTRALIAN CHAMBER ORCHESTRA 29
Photo by Sally Flegg
Yalin Ozucelik graduated from NIDA in 2007. Most recently, Yalin played Le Bret in Cyrano de Bergerac for Sydney Theatre Company for which he received a Sydney Theatre nomination. He also played the title role in Sport For Jove’s outdoor production of Cyrano de Bergerac, receiving the Sydney Theatre Award for Best Actor in a Leading Role (Independent Production) 2014. Other recent theatre includes The Importance of Being Earnest for State Theatre Company of South Australia, Vere/Faith (STCSA/STC), This Is Where We Live (Just Visiting/Griffin Independent), Henry IV and King Lear (Bell Shakespeare), A Beautiful Life (Matrix/La Boite). He played Gabriel in Brink’s acclaimed, multi-award winning production of When The Rain Stops Falling and in 2012 he toured Europe in Gross Und Klein for STC. Yalin recently filmed across two television series, Deadline Gallipoli (Matchbox Pictures) and Gallipoli (Endemol Australia) which will air in Australia this year.
YALIN OZUCELIK – ACTOR
Photo by Simon Lekias
Nathaniel has worked extensively in film, theatre and television. His first film role after graduating from NIDA in 1999 was in Tony Ayres’ Walking on Water for which he received the Australian Film Institute (AFI) Award in 2002 for Best Actor in a Supporting Role. In 2004 Nathaniel was again nominated for an AFI Award for his role in Cate Shortland’s Somersault. His other film credits include roles in Neil Armfield’s Candy, as well as The Rage in Placid Lake and The Final Winter. Nathaniel’s roles in theatre include The Effect (MTC), A Streetcar Named Desire (Black Swan Theatre Company), The One Day of the Year and The Secret River (STC) directed by Neil Armfield, for which he received a Helpmann Award nomination for Best Actor for his portrayal of William Thornhill. Included in Nathaniel’s numerous television credits are Anzac Girls, Puberty Blues, Parer’s War, Old School, Bikie Wars, Wild Boys, Underbelly, East West 101, All Saints, City Homicide, Killing Time, Satisfaction and Always Greener.
NATHANIEL DEAN – ACTOR
AUSTRALIAN CHAMBER ORCHESTRA30
Photo by Steven Godbee
Helpmann Award-winning soprano Taryn Fiebig is one of Australia’s most popular and versatile artists.
Her many roles as a principal soprano with Opera Australia have included Susanna in Le nozze di Figaro, Galatea in Acis and Galatea, Musetta in La bohème, Zerlina in Don Giovanni, Pamina in Die Zauberflöte, The Woodbird (Der Ring des Nibelungen) and many others. In 2008/09, she sang the leading role of Eliza Doolittle in the national tour of My Fair Lady.
Taryn won a Helpmann Award for her portrayal of Lucy in Bliss (which she sang in Sydney, Melbourne and at the Edinburgh Festival).
She sang Esmeralda in The Bartered Bride for New Zealand Opera and is a regular soloist with the Sydney and Queensland Symphony Orchestras.
Taryn returns to Opera Australia in 2015 as Pamina, Zerlina and Susanna (in a new production of Le nozze di Figaro). She will also appear as soloist with the Adelaide Symphony and the Australian Haydn Ensemble.
TARYN FIEBIG – SOPRANO
Treloar Crescent McCoy Circuit Campbell ACT 2612 Acton ACT 2601 T: 02 6243 4211 T: 02 6248 2000 E: info@awm.gov.au E: enquiries@nfsa.gov.au
The Australian Chamber Orchestra thanks both the Australian War Memorial and the National Film and Sound Archive of Australia for their assistance with Reflections on Gallipoli and access to a selection of their still and moving images.
WITH THANKS
The ACO would like to thank and acknowledge those whose first hand testimonies have contributed to Reflections on Gallipoli, including Albert Facey, Tom Usher, Alec Gilpin, Peter Jackson, Charles Bean, Joe Murray, Aubrey Herbert and Tony Fagan.
We would also like to acknowledge the poets, including Akif Ersoy (‘Çanakkale Şehitlerine’) and M.R. as attributed in The Anzac Book, a 1916 ‘trench publication’ by Gallipoli troops (‘Now the Snowflakes Thickly Falling’).
AUSTRALIAN CHAMBER ORCHESTRA 31
AUSTRALIAN CHAMBER ORCHESTRA
This year marks the 40th anniversary of the Australian Chamber Orchestra. From its first concert in November 1975 to its first concert of 2015, the Orchestra has travelled a remarkable road.
Inspiring programming, unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross artform projects and pieces specially commissioned for the ensemble.
Founded 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 20 players (three part-time), giving more than 100 performances in Australia each year, as well as touring internationally.
The Orchestra performs around the world: 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 & Leader
Helena Rathbone Principal Violin
Satu Vänskä Principal Violin
Glenn Christensen Violin
Aiko Goto Violin
Mark Ingwersen Violin
Ilya Isakovich Violin
Liisa Pallandi Violin
Ike See Violin
Christopher Moore Principal Viola
Alexandru-Mihai Bota Viola
Nicole Divall Viola
Timo-Veikko Valve Principal Cello
Melissa Barnard Cello
Julian Thompson Cello
Maxime Bibeau Principal Double Bass
PART-TIME MUSICIANS
Zoë Black Violin
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)
AUSTRALIAN CHAMBER ORCHESTRA32
MUSICIANS ON STAGE
Richard Tognetti ao 1 Artistic Director & ViolinChair sponsored by Michael Ball am & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts
Satu Vänskä 2 Principal ViolinChair sponsored by Kay Bryan
Aiko Goto ViolinChair sponsored by Anthony & Sharon Lee Foundation
Ike See 4 Violin
Liisa Pallandi Violin
Mark Ingwersen 3 ViolinChair sponsored by Ian Wallace & Kay Freedman
Alexandru-Mihai Bota ViolaChair sponsored by Philip Bacon am
Nicole Divall ViolaChair sponsored by Ian Lansdown
Timo-Veikko Valve Cello Chair sponsored by Peter Weiss ao
AUSTRALIAN CHAMBER ORCHESTRA 33
1. Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.
2. Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.
3. Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund.
4. Ike See plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.
5. Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council.
Photos: Jack Saltmiras
Julian Thompson 5 CelloChair sponsored by The Clayton Family
Maxime Bibeau Principal BassChair sponsored by Darin Cooper Foundation
Melissa Barnard CelloChair sponsored by Martin Dickson am & Susie Dickson
Players dressed by AKIRA ISOGAWA
Madeleine Boud Violin
Katherine Lukey Violin
Alexandra Osborne ViolinCourtesy of National Symphony Orchestra, Washington DC
Susanne von Gutzeit ViolinCourtesy of Stuttgart Chamber Orchestra
Amanda Verner ViolaCourtesy of Sydney Symphony Orchestra
Sally Walker Flute / PiccoloCourtesy of The Conservatorium, University of Newcastle
Dmitry Malkin Oboe / Zurna Courtesy of Jerusalem Symphony Orchestra
Christopher Tingay Clarinet Courtesy of Sydney Symphony Orchestra
Andrew Barnes Bassoon Courtesy of Sydney Conservatorium of Music, University of Sydney
Luiz Garcia HornCourtesy of Brazilian Symphony Orchestra
Brian Nixon Percussion Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert
Julie Raines Harp
AUSTRALIAN CHAMBER ORCHESTRA34
ACO BEHIND THE SCENES
BOARD
Guido Belgiorno-Nettis am Chairman
Angus James Deputy
Bill Best John Borghetti Liz Cacciottolo Chris Froggatt John Grill ao Heather Ridout ao Andrew Stevens John Taberner Peter Yates am Simon Yeo
Richard Tognetti ao Artistic Director
ADMINISTRATIVE STAFF
EXECUTIVE OFFICE
Timothy Calnin General Manager
Jessica Block Deputy General Manager
Alexandra Cameron-Fraser Strategic Development Manager
Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti ao
ARTISTIC & OPERATIONS
Luke Shaw Head of Operations & Artistic Planning
Andreea Butucariu Artistic Administrator
Megan Russell Tour Manager
Lisa Mullineux Assistant Tour Manager
Danielle Asciak Travel Coordinator
Bernard Rofe Librarian
Cyrus Meurant Assistant Librarian
Bob Scott Sound Engineer
Felix Abrahams Sound Assistant
Joy Pereira Stage Manager
Louis Thorn Projection Assistant
EDUCATION
Phillippa Martin AcO2 & ACO VIRTUAL Manager
Vicki Norton Education Manager
Sarah Conolan Education Coordinator
FINANCE
Maria Pastroudis Chief Financial Officer
Steve Davidson Corporate Services Manager
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
Ali Brosnan Patrons Manager
Sally Crawford Development Coordinator
MARKETING
Derek Gilchrist Marketing Manager
Mary Stielow National Publicist
Hilary Shrubb Publications Editor
Neall Kriete Communications Coordinator
Leo Messias Marketing Coordinator
Chris Griffith Box Office Manager
Dean Watson Customer Relations Manager
Deyel Dalziel-Charlier Box Office & CRM Database Assistant
Christina Holland Office Administrator
INFORMATION SYSTEMS
Ken McSwain Systems & Technology Manager
Emmanuel Espinas Network Infrastructure Engineer
ARCHIVES
John Harper Archivist
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 aco@aco.com.au Web aco.com.au
AUSTRALIAN CHAMBER ORCHESTRA 35
VENUE SUPPORT
SYDNEY OPERA HOUSE
Bennelong Point,
GPO Box 4274, Sydney NSW 2001
Telephone (02) 9250 7111
Box Office 02 9250 7777
infodesk@sydneyoperahouse.com
Web sydneyoperahouse.com
The Hon. Helen Coonan
Acting Chair,
Sydney Opera House Trust
Louise Herron am
Chief Executive Officer
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
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
townhall@adelaidecitycouncil.com
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 music.venues@anu.edu.au
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 ANGEL PLACE
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
Anne-Marie Heath General Manager
City Recital Hall Angel Place
is managed by Pegasus Venue
Management (AP) Pty Ltd
AUSTRALIAN CHAMBER ORCHESTRA36
Tour presented by
Sat 14, 8pm – Canberra Llewellyn Hall Pre-concert talk by Ken Healey am
Sun 15, 2pm – Sydney Opera House Pre-concert talk by Ken Healey am
Mon 16, 8pm – Melbourne Arts Centre Pre-concert talk by John Weretka
Tue 17, 8pm – Adelaide Town Hall Pre-concert talk by Vincent Plush
Wed 18, 8pm – Perth Concert Hall Pre-concert talk by Claire Stokes
Sat 21, 7pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am
Sun 22, 2.30pm – Melbourne Arts Centre Pre-concert talk by John Weretka
Mon 23, 8pm – Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills
Tue 24, 8pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am
Wed 25, 7pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am
Fri 27, 1.30pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am
Pre-concert talks take place 45 minutes before the start of every concert.
TOUR DATES & PRE-CONCERT TALKS
MARCH – REFLECTIONS ON GALLIPOLI
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AUSTRALIAN CHAMBER ORCHESTRA 37
ACO MEDICI PROGRAM
MEDICI PATRON
AMINA BELGIORNO-NETTIS
PRINCIPAL CHAIRS
Richard Tognetti ao Artistic Director & Lead Violin
Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts
Helena Rathbone Principal Violin
Kate & Daryl Dixon
Satu Vänskä Principal Violin
Kay Bryan
Christopher Moore 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
Aiko Goto Anthony & Sharon Lee Foundation
Mark Ingwersen Ian Wallace & Kay Freedman
Ilya Isakovich Australian Communities Foundation – Connie & Craig Kimberley Fund
Liisa Pallandi
Ike See
Violin Chair Terry Campbell ao & Christine Campbell
VIOLA
Alexandru-Mihai Bota Philip Bacon am
Nicole Divall Ian Lansdown
CELLO
Melissa Barnard Martin Dickson am & Susie Dickson
Julian Thompson The Clayton Family
GUEST CHAIRS
Brian Nixon Principal Timpani
Mr Robert Albert ao & Mrs Libby Albert
FRIENDS OF MEDICI
Mr R. Bruce Corlett am & Mrs Ann Corlett
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.
ACO LIFE PATRONS
IBM
Mr Robert Albert ao & Mrs Libby Albert
Mr Guido Belgiorno-Nettis am
Mrs Barbara Blackman
Mrs Roxane Clayton
Mr David Constable am
Mr Martin Dickson am & Mrs Susie Dickson
Dr John Harvey ao
Mrs Alexandra Martin
Mrs Faye Parker
Mr John Taberner & Mr Grant Lang
Mr Peter Weiss ao
AUSTRALIAN CHAMBER ORCHESTRA38
ACO BEQUEST PATRONS
The late Charles Ross Adamson
The late Kerstin Lillemor Andersen
Steven Bardy
Dave Beswick
Ruth Bell
Sandra Cassell
The late Mrs Moya Crane
Mrs Sandra Dent
Leigh Emmett
The late Colin Enderby
Peter Evans
Carol Farlow
Ms Charlene France
Suzanne Gleeson
Lachie Hill
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
Leslie C Thiess
G.C. & R. Weir
Margaret & Ron Wright
Mark Young
Anonymous (11)
ACO INSTRUMENT FUND
Peter Weiss ao PATRON, ACO Instrument Fund
BOARD MEMBERS Bill Best (Chairman)
Jessica Block
Chris Frogatt
John Leece am
John Taberner
PATRONS
VISIONARY $1m+ Peter Weiss ao
LEADER $500,000 – $999,999
CONCERTO $200,000 – $499,999 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 Dr Jane Cook
Leith & Darrel Conybeare
John Landers & Linda Sweeny
Luana & Kelvin King
Bronwyn & Andrew Lumsden
Ian & Pam McGaw
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
Sally Collier
Michael Cowen & Sharon Nathani
Marco D’Orsogna
Garry & Susan Farrell
Gammell Family
Philip Hartog
Brendan Hopkins
Angus & Sarah James
Daniel and Jacqueline Phillips
Ryan Cooper Family Foundation
Andrew & Philippa Stevens
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.
AUSTRALIAN CHAMBER ORCHESTRA 39
ACO RECORDING PROJECTS, SPECIAL COMMISSIONS & SPECIAL PROJECTS
FOUR SEASONS RECORDING PROJECT PATRONS
Mr Robert Albert ao & Mrs Libby Albert
Jennifer Hershon
Anthony & Sharon Lee Foundation
Strauss Family
SPECIAL COMMISSIONS PATRONS
Peter & Cathy Aird
Gerard Byrne & Donna O’Sullivan
Mirek Generowicz
Pater & Valerie Gerrand
Gin Graham
Anthony & Conny Harris
Rohan Haslam
John Griffiths & Beth Jackson
Andrew & Fiona Johnston
David & Sandy Libling
Tony Jones & Julian Liga
Lionel & Judy King
Alison Reeve
Augusta Supple
Dr Suzanne 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 2015:
Linda & Graeme Beveridge
Jan Bowen
Bee & Brendan Hopkins
Delysia Lawson
Ian & Pam McGaw
Mike Thompson
ACO ACADEMY BRISBANE
LEAD PATRONS
Philip Bacon ao
Kay Bryan
Dr Edward Gray
Wayne Kratzmann
Bruce & Jocelyn Wolfe
PATRONS
Andrew Clouston
Cass George
Professor Peter Høj
Helen McVay
Shay O’Hara-Smith
Marie-Louise Theile
Beverley Trivett
MELBOURNE HEBREW CONGREGATION PATRONS
LEAD PATRONS
PATRONS
Marc Besen ac & Eva Besen ao
Leo & Mina Fink Fund
Drs Victor & Karen Wayne
THE GREAT SYNAGOGUE PATRONS
CORPORATE PARTNERS
Adina Apartment Hotels
Meriton Group
PATRONS
David & Helen Baffsky
Leslie & Ginny Green
The Narev Family
Greg & Kathy Shand
Peter Weiss ao
TRUSTS & FOUNDATIONS
Holmes à Court Family Foundation The Neilson Foundation The Ross Trust
AUSTRALIAN CHAMBER ORCHESTRA40
EMERGING ARTISTS & EDUCATION PATRONS $10,000+
Mr Robert Albert ao & Mrs Libby Albert
Australian Communities Foundation – Annamila Fund
Australian Communities Foundation – Ballandry Fund
Daria & Michael Ball
Steven Bardy & Andrew Patterson
The Belalberi Foundation
Andre Biet
Leigh & Christina Birtles
Liz Cacciottolo & Walter Lewin
Mark Carnegie
Stephen & Jenny Charles
The Cooper Foundation
Chris & Tony Froggatt
Ann Gamble Myer
Daniel & Helen Gauchat
Andrea Govaert & Wik Farwerck
Dr Edward C. Gray
Angus & Sarah James
PJ Jopling am qc
Miss Nancy Kimpton
Bruce & Jenny Lane
Prudence MacLeod
Anthony & Suzanne Maple-Brown
Alf Moufarrige
Jennie & Ivor Orchard
Margie Seale & David Hardy
Tony Shepherd ao
Peter & Victoria Shorthouse
John Taberner & Grant Lang
Leslie C. Thiess
Alden Toevs & Judi Wolf
Transfield Holdings
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
E Xipell
Peter Yates am & Susan Yates
Peter Young am & Susan Young
Anonymous (3)
DIRETTORE $5,000 – $9,999
The Abercrombie Family Foundation
Geoff Ainsworth & Jo Featherstone
Geoff Alder
Bill & Marissa Best
Joseph & Veronika Butta
John & Lynnly Chalk
Elizabeth Chernov
Clockwork Theatre Inc
Andrew Clouston
Victor & Chrissy Comino
Leith & Darrel Conybeare
David Craig
Liz Dibbs
Ellis Family
Bridget Faye am
Michael Firmin
Ian & Caroline Frazer
David Friedlander
Kay Giorgetta
Tony & Michelle Grist
Fraser Hopkins
I Kallinikos
Keith & Maureen Kerridge
Macquarie Group Foundation
David Maloney & Erin Flaherty
P J Miller
Averill Minto
Jacqui & John Mullen
The Myer Foundation
Willy & Mimi Packer
peckvonhartel architects
Elizabeth Pender
Bruce & Joy Reid Trust
John Rickard
Andrew Roberts
Paul Schoff & Stephanie Smee
Greg Shalit & Miriam Faine
Joyce Sproat & Janet Cooke
Emma Stevens
Jon & Caro Stewart
Anthony Strachan
John Vallance & Sydney Grammar School
Geoff Weir
Shemara Wikramanayake
Cameron Williams
Anonymous (5)
MAESTRO $2,500 – $4,999
David & Rae Allen
Atlas D’Aloisio Foundation
Will & Dorothy Bailey Charitable Gift
Brad Banducci
Adrienne Basser
Doug & Alison Battersby
The Beeren Foundation
Berg Family Foundation
Rosemary & Julian Block
Gilbert Burton
Arthur & Prue Charles
Caroline & Robert Clemente
Robert & Jeanette Corney
Judy Crawford
Peter Curry
Rowena Danziger am & Ken Coles am
Dee de Bruyn
Kate Dixon
Leigh Emmett
ACO NATIONAL EDUCATION PROGRAM
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 Australianmusicians. This initiative is pivotal in securing the future of the ACO and the future ofmusic 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 Ali Brosnan on (02) 8274 3830 or ali.brosnan@aco.com.au
AUSTRALIAN CHAMBER ORCHESTRA 41
Suellen & Ron Enestrom
Jane & Richard Freudenstein
Tom Goudkamp oam
Megan Grace
Ross Grant
Maurice Green am & Christina Green
Warren Green
Nereda Hanlon & Michael Hanlon am
Liz Harbison
Gavin & Christine Holman
Simon & Katrina Holmes à Court
Mark Johnson
John Karkar qc
Carolyn Kay & Simon Swaney
John Kench
Julia Pincus & Ian Learmonth
The Alexandra & Lloyd Martin Family Foundation
Peter Mason am & Kate Mason
Paul & Elizabeth McClintock
Jane Morley
Sandra & Michael Paul Endowment
Justin Punch
Patricia H Reid Endowment Pty Ltd
Ralph & Ruth Renard
Chris Roberts
The Sandgropers
D N Sanders
Chris & Ian Schlipalius
Petrina Slaytor
Andrew Strauss
John & Josephine Strutt
David Thomas oam
Peter Tonagh
Ralph Ward-Ambler am & Barbara Ward-Ambler
The WeirAnderson Foundation
Ivan Wheen
Simon Whiston
Anna & Mark Yates
Anonymous (5)
VIRTUOSO $1,000 – $2,499
Jennifer Aaron
Annette Adair
Michael & Margaret Ahrens
Antoinette Albert
Mrs Jane Allen
Matt Allen
Philip Bacon am
Samantha Baillieu
Barry Batson
Ruth Bell
Justice Annabelle Bennett ao
Virginia Berger
Brian Bothwell
Jan Bowen
Michael & Tina Brand
Vicki Brooke
Diana Brookes
Mrs Kay Bryan
Sally Bufé
Neil Burley & Jane Munro
Ivan Camens
Ray Carless & Jill Keyte
Bella Carnegie
James Carnegie
Roslyn Carter
Andrew Chamberlain
Julia Champtaloup & Andrew Rothery
K. Chisholm
Angela and John Compton
Martyn Cook Antiques
Alan Fraser Cooper
P Cornwall & C Rice
Laurie & Julie Ann Cox
Judith Crompton
June Danks
Ian Davis
Michael & Wendy Davis
Martin Dolan
Anne & Thomas Dowling
Dr William F Downey
Emeritus Professor Dexter Dunphy am
Peter Evans
Julie Ewington
Ian Fenwicke & Prof. Neville Wills
Don & Marie Forrest
Bill Fleming
Elizabeth Flynn
Justin & Anne Gardener
Matthew Gilmour
In memory of Fiona Gardiner-Hill
Colin Golvan qc
Fay Grear
Kathryn Greiner ao
Paul & Gail Harris
Bettina Hemmes
Reg Hobbs & Louise Carbines
Michael Horsburgh am & Beverley Horsburgh
Monique D’Arcy Irvine & Anthony Hourigan
Stephanie & Mike Hutchinson
Colin Isaac & Jenni Seton
Phillip Isaacs oam
Will & Chrissie Jephcott
Brian Jones
Bronwen L Jones
Genevieve Lansell
Mrs Judy Lee
Michael Lin
Airdrie Lloyd
Alceon Group
Trevor Loewensohn
Robin & Peter Lumley
Diana Lungren
Greg & Jan Marsh
Massel Australia Pty Ltd
Jane Mathews ao
Julianne Maxwell
Karissa Mayo
Kevin & Deidre McCann
Brian & Helen McFadyen
Ian & Pam McGaw
J A McKernan
Diana McLaurin
Peter & Ruth McMullin
Phil & Helen Meddings
Roslyn Morgan
Suzanne Morgan
Glenn Murcutt ao
Baillieu Myer ac
Dennis & Fairlie Nassau
Nola Nettheim
Anthony Niardone
Paul O’Donnell
Ilse O’Reilly
Origin Foundation
James & Leo Ostroburski
Anne & Christopher Page
Prof David Penington ac
Matthew Playfair
Mark Renehan
AUSTRALIAN CHAMBER ORCHESTRA42
Dr S M Richards am & Mrs M R Richards
Warwick & Jeanette Richmond In memory of Andrew Richmond
Josephine Ridge
David & Gillian Ritchie
Roadshow Entertainment
Em. Prof. A. W. Roberts am
Jennifer Sanderson
In memory of H. St. P. Scarlett
Lucille Seale
Gideon & Barbara Shaw
Maria Sola
Dr P & Mrs D Southwell-Keely
Keith Spence
Dr Charles Su & Dr Emily Lo
Magellan Logistics Pty Ltd
Robert & Kyrenia Thomas
Anne Tonkin
Ngaire Turner
Kay Vernon
Marion W Wells
Barbara Wilby
Nick & Jo Wormald
Lee Wright
Don & Mary Ann Yeats am
William Yuille
Brian Zulaikha
Anonymous (18)
CONCERTINO $500 – $999
A Ackermann
Mrs C A Allfrey
Elsa Atkin am
A. & M. Barnes
Tessa Barnett
Robin Beech
Hugh Burton-Taylor
Jasmine Brunner
Lynda Campbell
Helen Carrig & Ian Carrig oam
J. M. Carvell
Scott Charlton
Colleen & Michael Chesterman
Richard & Elizabeth Chisholm
Stephen Chivers
Olivier Chretien
ClearFresh Water
Warren Coli
Sally Collier
Marie Dalziel
Jill Davies
Mari Davis
Dr Christopher Dibden
The Hon. Catherine Branson & Dr Alan Down
In memory of Raymond Dudley
M T & R L Elford
Christine Evans
Penelope & Susan Field
Elizabeth Finnegan
Jean Finnegan & Peter Kerr
Sheila Fitzpatrick in memory of Michael Danos
Michael Fogarty
Brian Goddard
George H. Golvan qc & Naomi Golvan
Prof Ian & Dr Ruth Gough
Grandfather’s Axe
Victoria Greene
Annette Gross
Lesley Harland
Susan Harte
Alan Hauserman & Janet Nash
Gaye Headlam
Peter Hearl
Kingsley Herbert
Marian Hill
Sue & David Hobbs
Geoff Hogbin
Mary Ibrahim
How to Impact Pty Ltd
Peter & Ann Hollingworth
Pam & Bill Hughes
Dr & Mrs Michael Hunter
Margaret & Vernon Ireland
Dr Anne James & Dr Cary James
Owen James
Barry Johnson & Davina Johnson oam
Caroline Jones
Mrs Angela Karpin
Bruce & Natalie Kellett
Professor Anne Kelso ao
Graham Kemp & Heather Nobbs
Josephine Key & Ian Breden
Wendy Kozica & David O’Callaghan qc
TFW See & Lee Chartered Accountants
Wayne & Irene Lemish
David & Sandy Libling
Greg Lindsay ao & Jenny Lindsay
Megan Lowe
Dr & Mrs Donald Maxwell
H E McGlashan
I Merrick
Louise Miller
John Mitchell
John K Morgan
Simon Morris & Sonia Wechsler
Julie Moses
Dr Greg Nelson
J Norman
Graham North
Robin Offler
Leslie Parsonage
Deborah Pearson
Michael Peck
Kevin Phillips
Bernard Hanlon & Rhana Pike
Rosie Pilat
Michael Power
Beverly & Ian Pryer
Dr Anoop Rastogi
Garry Scarf & Morgie Blaxill
Berek Segan obe am & Marysia Segan
John C Sheahan qc
Andrew & Rhonda Shelton
Sherborne Consulting
Roger & Ann Smith-Johnstone
Alida Stanley & Harley Wright
Judy Ann Stewart
In memory of Dr Aubrey Sweet
Gabrielle Tagg
Arlene Tansey
Barrie & Jillian Thompson
Matthew Toohey
Nev & Janie Wittey
G C & R Weir
Anonymous (23)
AUSTRALIAN CHAMBER ORCHESTRA 43
Mr Guido Belgiorno-Nettis am Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings
Aurizon Holdings Limited
Mr Philip Bacon am Director Philip Bacon Galleries
Mr David Baffsky ao
Mr Brad Banducci Director Woolworths Liquor Group
Mr Marc Besen ac & Mrs Eva Besen ao
Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management
Mr John Borghetti Chief Executive Officer Virgin Australia
Mr Matt Byrne Director ROVA Media
Mr Michael & Mrs Helen Carapiet
Mr Jim Carreker Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux
Mr Stephen & Mrs Jenny Charles
Mr & Mrs Robin Crawford
Rowena Danziger am & Kenneth G. Coles am
Dr Bob Every ao Chairman Wesfarmers
Ms Tracey Fellows Chief Executive Officer REA Group
Mr Bruce Fink Executive Chairman Executive Channel Network
Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel
Mr Richard Freudenstein Chief Executive Officer FOXTEL
Ms Ann Gamble Myer
Mr Daniel Gauchat Principal The Adelante Group
Mr Colin Golvan qc & Dr Deborah Golvan
Mr John Grill ao Chairman WorleyParsons
Mr Grant Harrod Chief Executive Officer LJ Hooker
Mr Richard Herring Chief Executive Officer APN Outdoor
Mrs Janet Holmes à Court ac
Mr & Mrs Simon & Katrina Holmes à Court Observant
Mr John Kench Chairman Johnson Winter & Slattery
Ms Catherine Livingstone ao Chairman Telstra
Mr Andrew Low Head of Investment Banking CLSA
Mr Didier Mahout CEO Australia & NZ BNP Paribas
Mr David Mathlin
Ms Julianne Maxwell
Mr Michael Maxwell
Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank
Ms Naomi Milgrom ao
Ms Jan Minchin Director Tolarno Galleries
Mr Jim Minto Managing Director TAL
Mr Alf Moufarrige Chief Executive Officer Servcorp
Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects
Peter Lehmann Wines
Mr Mark Robertson oam & Mrs Anne Robertson
Ms Margie Seale & Mr David Hardy
Mr Glen Sealey General Manager Maserati Australia & New Zealand
Mr Tony Shepherd ao
Ms Anne Sullivan Chief Executive Officer Georg Jensen
Mr Paul Sumner Director Mossgreen Pty Ltd
Mr Mitsuyuki (Mike) Takada 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
ACO CHAIRMAN’S COUNCIL
AUSTRALIAN CHAMBER ORCHESTRA44
GOVERNMENT PARTNERS
The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The ACO is supported by the NSW Government through Arts NSW.
QUEENSLAND REGIONAL TOURING PARTNER
The ACO’s Queensland regional touring is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.
THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT
SYDNEY DEVELOPMENT COMMITTEE
Heather Ridout ao (Chair) Director, Reserve Bank of Australia
Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings
Bill Best
Leigh Birtles Executive Director, UBS Wealth Management
Maggie Drummond
Tony Gill
Andrea Govaert
John Kench Chairman, Johnson Winter & Slattery
Jennie Orchard
Tony O’Sullivan
Peter Shorthouse Client Advisor, UBS Wealth Management
Mark Stanbridge Partner, Ashurst
Nina Walton
MELBOURNE DEVELOPMENT COUNCIL
Pater Yates am (Chairman) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Debbie Brady
Stephen Charles
Christopher Menz
Paul Cochrane Investment Advisor, Bell Potter Securities
Colin Golvan qc
Simon Thornton Partner, McKinsey & Co.
EVENT COMMITTEES
SYDNEY
Lillian Armitage
Margie Blok
Judy Anne Edwards
Sandra Ferman
Elizabeth Harbison
Julianne Maxwell
Julie McCourt
Elizabeth McDonald
Sandra Royle
Nicola Sinclair
John Taberner (Chair)
Liz Williams
Judi Wolf
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 and Jocelyn Wolfe
ACO COMMITTEES
DISABILITY ADVISORY COMMITTEE
Amanda Tink Independent Consultant, Amanda Tink Consultancy
Morwenna Collett Manager, Project Controls & Risk
Disability Coordinator, Australia Council for the Arts
AUSTRALIAN CHAMBER ORCHESTRA 45
ACO CORPORATE PARTNERS
THE ACO THANKS OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT
PERTH SERIES AND WA REGIONAL TOUR
PARTNER
ASSOCIATE PARTNER: ACO VIRTUAL
OFFICIAL PARTNERSCONCERT AND
SERIES PARTNERS
NATIONAL TOUR PARTNERSFOUNDING PARTNER
FOUNDING PARTNER: ACO VIRTUAL
EVENT PARTNERSMEDIA PARTNERS
AUSTRALIAN CHAMBER ORCHESTRA46
ACO NEWS
Chairman’s Council and Major Patrons’ Cocktail Party – Sydney
Our annual Sydney Chairman’s Council and Major Patrons’ Cocktail Party took place at Government House, in the presence of His Excellency General The Honourable David Hurley ac dsc (Ret’d), Governor of New South Wales on Wednesday 25 February.
Guests were treated to a performance by Richard, Liisa, Sascha and Julian in the Ballroom, before enjoying drinks and canapés in the historic house and gardens as the sun set over Sydney Harbour. As we celebrate the Orchestra’s 40th anniversary year, this was a fitting location in which to thank our most valued patrons and supporters.
We’d like to thank His Excellency and Mrs Hurley for so generously welcoming us at Government House.
Julian Thompson, Guido Belgiorno-Nettis am, Liisa Pallandi, Richard Tognetti ao, His Excellency General The Hon David Hurley ac dsc (Ret’d), Governor of NSW, Mrs Hurley, Sascha Bota.
RIGHT: Julian Thompson, Liisa Pallandi, Doris Weiss, Peter Weiss ao, Sascha Bota, Ginny and Leslie Green.
Marian Moufarrige, Ann and Warwick Johnson.
Rachel Peck, Yvonne von Hartel, Andrea Kowalski, Marten Peck.
Allegra Spender, Guido Belgiorno-Nettis am and Carla Zampatti ac.
PHOTOS: © Fiora Sacco
AUSTRALIAN CHAMBER ORCHESTRA 47
ACO’s ‘A Night of Nights’
On Tuesday 24 February, the ACO performed for the second time at the Melbourne Hebrew Congregation, to a rapturous audience. The evening began with a short performance of ‘Fiddles on Fire’ by talented young violin students from Sholem Aleichem College, led by Ilya Isakovich, who had held a workshop with music students late last year. Richard Tognetti then led a captivating program featuring works by Bach, Haydn and Mendelssohn and concluded the evening with Ravel’s haunting Kaddish and Barber’s beautiful and moving Adagio for Strings.
Our warm and heartfelt thanks are due to Gandel Philanthropy, The Pratt Foundation, Marc Besen ac and Eva Besen ao, The Leo and Mina Fink Fund and Doctors Victor and Karen Wayne for their generous support of the Orchestra in this unforgettable performance.
Richard Tognetti and the ACO during the performance.
Our patrons Dr Karen Wayne, Dr Victor Wayne and Julian Thompson at the post-performance reception.
Richard Tognetti and the ACO receive a standing ovation from the audience after the performance.
BELOW LEFT: Richard Tognetti, Satu Vänskä, Mark Ingwersen and Illya Isakovich.
BELOW RIGHT: Illya Isakovich and members of the ACO lead students from Sholem Aleichem College during their performance of ‘Fiddles on Fire’.
PHOTOS: © Ivanna Oksenyu
AUSTRALIAN CHAMBER ORCHESTRA48
Welcome to our two newest ACO members – Glenn Christensen and Liisa Pallandi
ACO NEWS
Glenn and Liisa’s appointments are particularly special to the ACO as they are both former Emerging Artists, completing our education and mentoring program in 2012. Liisa and Glenn took some time out while on tour with The Four Seasons to tell us what it’s like to be part of the ACO.
How have you been enjoying your first national tour as permanent players with the ACO?
Glenn: I’m really enjoying the tour. It’s nice to join the Orchestra on such an interesting, fun and rewarding program. Life on tour can be a little tough with early mornings and late nights, lots of travel. But doing it with this group of people makes it enjoyable. I really like getting to know each of the cities we visit – it’s a little personal goal to seek out the best bars and coffee, as well as running routes in each place!
Liisa: It’s amazing how different it feels to be ‘one of the team’. Everyone was very supportive of Glenn and me whilst we were on trial. But it’s such a different (and enjoyable!) feeling to be a permanent member. On these national tours everyone seems to have a tried and tested routine: where they go to eat, shop, exercise, friends they always catch up with … So I’m really looking forward to touring regional Queensland with AcO2 and America with ACO later in the year, just to see what it’s like when everyone is in unfamiliar territory.
AUSTRALIAN CHAMBER ORCHESTRA 49
How did the Emerging Artists’ Program prepare you for life as a professional full-time player with an orchestra, specifically the ACO?
G: Getting an insight into the ACO’s ‘style’ of playing was one of the best things about the EA program. Also having regular contact with a mentor from the Orchestra was invaluable. It’s quite cool and very special to me that my mentor Aiko and I now stand next to each other as colleagues.
L: I’m not sure I’d be in this position today if it weren’t for the encouragement and guidance from Helena. She was an amazing mentor, very thoughtful and honest, and I always love playing alongside her. During my EA year I was lucky enough to sit next to Richard for The Reef tour which was a big learning curve for me. There was no ‘switching off’ on that tour!
Did you always want to be part of an orchestra?
G: I often considered being a vet, but I think being in an orchestra is probably much more fun.
L: I have always loved playing in groups, big or small, but I wasn’t always sure I could make it a career. Other things I vaguely considered were writing, journalism, law, and being a mermaid!
What do you know now that you are part of the ACO that you didn’t know prior to joining the Orchestra?
G: I love learning about all the players’ different lives, their hobbies and their individual little quirks. It makes life interesting!
L: How much goes on behind the scenes! I’ve never had to go to board meetings or strategic planning days before and it’s interesting to see the ‘non-artistic’ facets of the organisation. I’m also learning that it’s not so crazy to over-pack on tour. You really never know when you’ll want your own tea bags, snacks or that little something to make your hotel room feel more like home.
Are there any programs in particular you are looking forward to performing this year?
G: I’m particularly looking forward to Brahms 3. I came from the symphony orchestra background, and love these bigger works. To play this with the ACO will be awesome.
L: I’m looking forward to working with Richard Egarr and Olli Mustonen. Both programs are quite unfamiliar to me and I’ve only heard wonderful things about both of these guest directors.
AUSTRALIAN CHAMBER ORCHESTRA50
MEET OUR SUPPORTERS
Amanda Stafford from Western Australia is a highly valued donor to our Instrument Fund and National Education Program who attends our Perth concerts.
“I have been involved with the ACO for around three years now, when I decided to take up a subscription and simply plunge into what the orchestra offers.
My knowledge of classical music is not extensive, so I rarely look at the program beforehand but simply mark the date in my diary and turn up on the night. So each concert is a voyage into unknown territory with the occasional delight of hearing them play a piece of music I know and love already. There have been many wonderful discoveries which I now listen to at home on CDs, though nothing on CD quite matches the sound of the outstanding ACO instruments heard live.
My most amazing ACO experience was the opportunity to hear Richard, Satu and Rebecca playing their historic violins at a special ACO lunch for donors in Perth in 2014. Hearing them play the same pieces of music, one after another, was a rare insight into how different and special the sound produced by a violin can be.
Outside of work and ACO concerts, I enjoy seeking out the skills and work of artisans – those who are truly engaged in their craft. They range from the dressmaker who creates my clothes from vintage kimono fabric to the people who restored a VW Beetle for me and realised my dream of a lavender coloured car. They live with a passion for what they do and that’s a wonderful way to live.”
We would like to thank Amanda most warmly for her support.
If you would like more information about the ACO’s donations program, please contact Ali Brosnan on 02 8274 3830 or ali.brosnan@aco.com.au. If you would like to subscribe to the ACO, please contact our Box Office on 1800 444 444.
MAXIMUS CAFE NOW OPEN FOR DINNER
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AUSTRALIAN CHAMBER ORCHESTRA52
Since 1984, BNP Paribas has been supporting numerous festivals and artists, sharing our passion for classical music with a wider audience. It is with the same passion that we’ve been supporting the Australian Chamber Orchestra for 9 years as a proud National Tour Partner.
31 years of commitmentto classical music
bnpparibas.com.au
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