baroque virtuosi concert program

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The Baroque period was one of great change and

is famous for its elaborate fi ne detail in sculpture,

architecture and music. The creativity that fosters this

kind of innovation continues today. For over 55 years

Transfi eld has applied similar creativity to the many

engineering projects it has pioneered and today our

investment in solar energy technology continues that

tradition.

Transfi eld’s founder, my father Franco, recognised a

very clear link between the creativity expressed in

art and that which is applied in business. In 2011 we

celebrate the 50 year anniversary of the establishment

of the Transfi eld Art Prize, an award created by Franco,

which led to the founding of the Biennale of Sydney.

Next year marks the 18th Biennale and Transfi eld is

proud to remain its founding partner.

Transfi eld has supported the ACO for over a decade.

In that time Richard Tognetti and his wonderfully

talented musicians have not only inspired Transfi eld,

they have captivated local and international audiences

with their delicately crafted and uniquely magnifi cent

music. As Chairman of the ACO, it is a privilege to

welcome you to this performance of Baroque Virtuosi.

GUIDO BELGIORNO-NETTIS AMJOINT MANAGING DIRECTOR,TRANSFIELD HOLDINGS

2 AUSTRALIAN CHAMBER ORCHESTRA

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

PREPARE IN ADVANCEA free 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].

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ACO ON THE RADIOABC Classic FM:

Tue 5 Jul 8.30pmDirect to air: Baroque Virtuosi concert

Sat 8 Oct 1pmSchubert String Quintet concert

Mon 19 Sep 8pm Direct to air: Viennese Serenade concert

NEXT TOURViennese Serenade

12 – 25 September

MESSAGE FROM THE GENERAL MANAGER

During the last couple of seasons, our audiences around

the country have responded so warmly to the opportunity

to hear members of the ACO stepping into the solo

spotlight that we have decided to make ACO soloists a

central feature of this national tour.

Five ACO musicians step forward in this concert, three

of whom, Helena Rathbone, Satu Vänskä and Christopher

Moore, will be familiar to our subscribers from concerto

performances in previous years. Th is time we’re immensely

proud to include two other members of the ACO as

soloists – violinists Madeleine Boud and Mark Ingwersen,

who join Helena and Satu in Vivaldi’s Concerto for four

violins.

It is particularly fi tting that Transfi eld should be the

National Tour Partner for this series of concerts. Since

2000, Transfi eld has been an important supporter of the

ACO, founded on a fi rm belief in what the ACO stands for

and our mission to bring great musical performances to

audiences all over the country. Underpinned by Transfi eld’s

support for more than a decade, the ACO has been able

to attract and retain the wonderful musicians who make

up the Orchestra, and those strengths are highlighted

throughout this program.

Th is concert also allows the newest addition to the

ACO’s gallery of legendary instruments to make its public

debut. Inspired by the example of the Commonwealth

Bank and by generous individuals such as Peter Weiss,

the ACO has established an instrument fund which will

enable our musicians to play on great instruments of the

calibre of Guarneri and Guadagnini. Th e ACO Instrument

Fund’s very fi rst instrument is a stunning 1728/29

Stradivari violin played by Satu Vänskä and we very much

hope that you will be so inspired by its exquisite tonal

qualities that you will join the growing number of investors

in the Fund who participate not only in the ownership of a

remarkable violin but also in a sound investment.

TIMOTHY CALNIN

GENERAL MANAGER

AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA 3

SPEED READThis program contrasts fi ve vibrant, virtuosic works composed within a four-decade span in the fi rst half of the 1700s, with four Australian compositions written during the last four decades. Two concerti grossi book-end the program: the fi rst by Handel, who composed over two dozen “grand concertos”, and the other by Corelli who, although he did not invent the concerto grosso, was its fi rst major exponent.

In a concerto grosso the soloist’s role is taken by a small group — a trio or quartet — playing against the larger ensemble. Such a format was revived in the 20th century: think of Elgar’s Introduction and Allegro or Schoenberg’s Concerto for String Quartet and Orchestra. In a similar fashion Sculthorpe’s Port Essington uses a trio to represent “civilisation” while the orchestra represents the bush. Ledger’s Johann has left the building, Brumby’s The Phoenix and the Turtle and Greenbaum’s Moments of Falling don’t utilise the concerto grosso format, but each in its own way — the anachronistic use of harpsichord or the atavistic soundworld of minimalism — harks back to something earlier, while remaining verifi ably contemporary.

Telemann’s Viola Concerto was the fi rst such solo work for the viola and remains a popular showpiece today. Tartini’s “Devil’s Trill” Sonata is much-loved of violinists and is heard here in an orchestral arrangement by the virtuoso Fritz Kreisler. And a concerto grosso of sorts from Vivaldi: Richard Tognetti said, “I always wanted to put Sculthorpe and Vivaldi side by side, wondering whether these strange bedfellows might actually make congenial compadres.”

TOUR FOURBAROQUE VIRTUOSIHELENA RATHBONE Lead ViolinSATU VÄNSKÄ ViolinMADELEINE BOUD ViolinMARK INGWERSEN ViolinCHRISTOPHER MOORE Viola

Th e Australian Chamber Orchestra reserves the right to alter scheduled

programs or artists as necessary.

Approximate durations (minutes):

12 – 7 – 6 – 4 – 9 – INTERVAL – 12 – 15 – 11 – 10

Th e concert will last approximately 2 hours including a

20 minute interval.

MELBOURNE

Town Hall

Sun 3 Jul 2.30pm

Mon 4 Jul 8pm

ADELAIDE

Town Hall

Tue 5 Jul 8pm

SYDNEY

City Recital Hall

Angel Place

Sat 9 Jul 7pm

Tue 12 Jul 8pm

Wed 13 Jul 7pm

SYDNEY

Opera House

Sun 10 Jul 2pm

BRISBANE

QPAC

Mon 11 Jul 8pm

WOLLONGONG

IPAC

Th u 14 Jul 7.30pm

HANDEL

Concerto Grosso,

Op.6 No.12

GREENBAUM

Moments of Falling

BRUMBY

Th e Phoenix and the

Turtle I and III

LEDGER

Johann has left the

building

[WORLD PREMIERE]

VIVALDI

Concerto for four violins,

RV580

I N T E R VA L

TELEMANN

Viola Concerto

SCULTHORPE

Port Essington

TARTINI (arr. Kreisler)

Violin Sonata, Op.1 No.4,

“Th e Devil’s Trill”

CORELLI

Concerto Grosso,

Op.6 No.2

Cover photo: Satu Vänskä © Gary Heery


AUSTRALIA’S ONLY STRADIVARIUS

In this concert, you will hear a 1728/29 Stradivarius violin which is, to our knowledge, the

only Stradivarius violin to be owned in Australia. Satu Vänskä will be playing it in this and

all future ACO national and international tours, sharing this exquisite work of art with all

of us.


Name the Strad

Instruments of this rarity and quality

frequently have nicknames, but our new

Stradivarius is yet to be named.

Th e Guarneri del Gesù violin bought by an

anonymous benefactor in 2007 for the use of

Richard Tognetti is known as the ‘Carrodus’,

after the Victorian English violinist, John

Carrodus, who owned the instrument. Th e

Guarneri fi lius Andreæ cello is known as the

‘Weiss’ cello, after its owner, Peter Weiss.

You are invited to suggest a suitable

nickname for this Stradivarius. To do so,

visit aco.com.au/stradivarius. A winning

name will be selected following this tour

and the winner will be invited to meet Satu

Vänskä backstage at a future concert, to see

and hear the instrument up close.

Australian Chamber Orchestra Instrument Fund Patron: Peter Weiss AM

Th e ACO has been able to purchase this

instrument through the creation of the

ACO Instrument Fund. Th e Fund has been

launched with the assistance of a most

generous donation by Peter Weiss, who

in 2007 also purchased the 1729 Guarneri

fi lius Andreæ cello played by Timo-Veikko

Valve, for use by the ACO.

Investors are invited to make donations

to the ACO or to buy units in the Fund,

which has purchased this Stradivarius and

will go on to invest in further high value

instruments for the use of ACO musicians.

Historically, such instruments have provided

investors with a solid return, as well as a

great deal of pleasure from hearing them

played by the world’s fi nest musicians.

Led by Peter Weiss, our Founding Patrons

include Naomi Milgrom AO, Amina

Belgiorno-Nettis, John Leece OAM and

Anne Leece; Founding Investors include

Guido Belgiorno-Nettis AM and Michelle

Belgiorno-Nettis. If you are interested

in learning more about the Fund, please

contact Jessica Block, ACO Deputy General

Manager at [email protected]

or on (02) 8274 3803. Peter Weiss with Timo-Veikko Valve


HANDEL

Concerto Grosso in B minor, Op.6, No.12

(Composed 1739)

I. Largo

II. Allegro

III. Aria: Larghetto e piano

IV. Largo

V. Allegro

“Resourceful” is the word which comes to mind with

Handel. His compositional technique was so assured

that he could confi dently turn his hand to whatever best

seemed to suit the public mood (and therefore improve his

fi nancial situation). Th ankfully, his musical skill was such

that even when he composed at speed, hoping to make a

quick buck, the results have usually endured as wonderful

works of art.

Speed was of the essence in the autumn of 1739. Handel

had, in the past few years, seen his position as London’s

pre-eminent opera composer fade, as his audience’s tastes

moved towards more down-to-earth fare, and as he battled

a rival opera house. Appealing to their better selves, he

won back considerable ground with a series of oratorios;

but these were chiefl y associated with Lent and Easter,

and public sentiment was anyway divided over the

propriety of spending the holiest time of the year in a

concert hall.

What did the adaptable Handel do? On 22 November

(St Cecilia’s Day), fi ttingly, he opened a concert series,

including his new Ode for that patron saint of musicians.

Unfortunately the series was wracked with problems

that would chill the blood of any insurance broker. Th e

War of Jenkin’s Ear had reluctantly been declared on the

Spanish colonies, so many people didn’t feel like going out

for a good time. Th e weather was against Handel too: the

Th ames had frozen over in one of the bitterest seasons

on record. Despite the pleas of the theatre management

at Lincoln’s Inn Fields that “Particular Preparations are

making to keep the House warm” and that “Particular care

will be taken to have Guards plac’d to keep all the Passages

clear from the Mob”, the audience stayed away in droves.

Th en the singers fell sick too.

Passing not quite unnoticed in this ill-fated concert

series was a collection of “Grand Concertos”, which were

designed as interludes to rest ears wearied by the mostly

vocal content of the program. Between 29 September and

Handel is one of the giants of the German Baroque and an exact contemporary of Bach, but he made his career in England where he was a central fi gure of London musical life in the 1700s, transforming the world of opera and oratorio.

George Frideric HANDEL(b. Halle, 1685 — d. London, 1759)

ACO Performance History

Handel’s Concerto Grosso in B minor, Op.6, No.12, has only ever been included in subscription concerts in 2002.


30 October Handel wrote at unbelievable speed, producing

a concerto grosso every two days or so. Th e result was

his Op.6, containing “Twelve Grand Concertos, in Seven

Parts, for four Violins, a Tenor [viola], a Violoncello, with

a Th orough-Bass for the Harpsichord”. Th e set is now

widely considered the pinnacle of Handel’s composition for

instrumental ensemble.

Th ey were undoubtedly inspired by the concerti grossi

of Arcangelo Corelli, and those of his pupil Geminiani.

Th e English had learned to appreciate these even before

Handel came on the scene. Although Handel would have

known the “other” Italian concerto style (similar to the

three-movement form that Vivaldi made famous), he was

deliberately catering to public taste.

Th e title concerto grosso is literally “big concerto”, or “grand

concerto”, as Handel more elegantly put it. Whereas these

days we tend to think of a concerto in terms of a single

soloist pitted competitively against an orchestra, a “big”

concerto used a group of soloists instead of just one.

In this case (Op.6, No.12) they are a gang of three, the

“concertante”, working alternately with and against their

colleagues in the larger “ripieno”.

While the infl uence of Corelli and Geminiani is obvious,

musical scholarship has found that the ever-resourceful

Handel borrowed from other colleagues too. George

Muff at’s keyboard suites and Scarlatti’s harpsichord

exercises come in for their own fair share of the sincerest

form of fl attery; which is how such “theft” would have been

comfortably perceived in the 18th century.

Th e contrast between fast and slow movements in No.12

is a result of the concerto’s debt to dance suites and other

popular instrumental forms. Th e Aria is closely related to

the minuet, while the slow fourth movement and dashing

“dotted rhythm” fi fth movement fugue combine to create

something very close to a French overture.

Although the concert series for which the concertos

were designed didn’t make him wealthy, Handel had

the satisfaction of seeing published copies of Op.6 sell

to subscribers for their own use. Fans included most of

the royal family, London’s two biggest impresarios, and

a number of the major musical societies in England and

Ireland. Th e resourceful composer had judged his public

well and triumphed once again.

K.P. KEMP

© 2002

Further listening and reading

Several fi ne recordings of Handel’s many concerti grossi exist: a particularly exciting reading of the Op.6 set of 12 concertos is that by The Academy of Ancient Music, directed by violinist Andrew Manze in a 2–CD set (Harmonia Mundi HMU907228/29). E.J. Dent’s early, infl uential biography of Handel is now available online (and downloadable for e-book readers) at gutenberg.org/ebooks/9089.


GREENBAUM

Moments of Falling

(Composed 1988/1996)

Th e composer writes:

Th is piece is dedicated to Estonian composer Arvo Pärt,

and particularly in respect to his Cantus in Memory of

Benjamin Britten (1977/1980). I fi rst heard the work in

1987 as a 20-year-old undergraduate student. I was deeply

impressed, and some months later in 1988 I attempted a

similar mensuration canon structure, but in a compound

metre and also incorporating a phasing technique learned

from Steve Reich. Just another experiment in a long line

of minimalist pieces I wrote at that time – this one was

excitingly called “process #19”.

But this particular “process” stayed with me and in 1990

I made an electronic version for a play, Atlanta (Joanna

Murray-Smith), which involves a woman in her late

twenties who has “moments of falling” where she imagines

what it must be like to walk through glass and come

out on the other side. And so the title stuck. In 1996, I

orchestrated the piece for strings, which is now the fi nal

version.

Th e most overtly minimalist piece I have written, Moments

of Falling is constructed around a cascading 16-note

motif in the Aeolian mode. It features a high degree of

repetition, but as the motif is overlaid at diff erent speeds

in diff erent octaves, no bar is ever exactly the same.

STUART GREENBAUM

© 2010

Stuart GREENBAUM(b. Melbourne, 1966)

Greenbaum’s infl uences include pop, jazz and minimalism, but he is also deeply rooted in Australian traditions of composition and conceptions of place. He is now Professor and Convenor of Composition at Melbourne University.

A mode is a form of musical scale, and the Aeolian mode is a scale which can be replicated by playing an ascen ding sequence of white notes on the piano, starting on an A.

Further reading and listening

Stuart Greenbaum is one of several Australian composers interviewed in David Bennett’s enlightening (if infuriating) Sounding Postmodernism (Australian Music Centre, 2008). He also maintains an informative personal website (including many audio samples, and a full discography) at stuartgreenbaum.com.


BRUMBY

Th e Phoenix and the Turtle I and III

(Composed 1974)

I. Andante semplice

III. Lusingando


Th e Phoenix and the Turtle was commissioned by Musica

Viva for the 1974 Australian tour of the Academy of St

Martin-in-the-Fields under Neville Marriner. I had recently

returned from twelve months’ study in Rome with Franco

Evangelisti, and felt that the time had come to take a stand

with regard to my personal style of composition. For over

ten years I had been working in the twelve-tone method,

but had become increasingly dissatisfi ed as to the validity

of its philosophical basis. More importantly, I had grown

less than satisfi ed with the sound that resulted from its

application. Th e Musica Viva commission provided me with

an ideal opportunity to ask myself what I felt the stuff of

music to be really about.

Inspiration for the work came from the Shakespearean

poem of the same name, which “celebrates the decease

of two, chaste lovers, who were perfectly united in an

ideal passion”. Th e idea of regeneration, symbolised by

the phoenix, is one which I have long found attractive

because of its close relationship to the idea of continuous

variation: continually creating something new from the

ashes of the old. For this principle I openly acknowledge

my indebtedness to Schoenberg, but my application of it

is in a clearly tonal context, stylistically far removed from

Schoenberg’s. My aim was not to seek some literal musical

parallel to the poem, even if this were possible, but rather

to let the poem act as a catalyst on my musical thinking.

Amongst the music I admire most, various “love music”

features prominently – Tristan und Isolde, Pelleas et

Melisande, Romeo and Juliet – and this was to be my essay

in that genre.

I resolved to take as simple a musical idea as possible, the

intervals of the second (with its inversion, the seventh) and

of the third (with its inversion, the sixth). With this basic

material I determined to “start again”; and hence, when the

work was completed, I felt that my personal musical style

had in a sense been reborn from the ashes of the old.

© COLIN BRUMBY

Colin BRUMBY(b. Melbourne, 1933)

One of the most prolifi c Australian composers, Brumby has written in almost every genre and in a myriad of styles, from austere atonality in the 1960s to a pleasing tonality — starting with The Phoenix and the Turtle — from the 1970s on.

Twelve-tone method refers to a style of composition in which all 12 notes of the chromatic scale are accorded equal importance, unlike traditional tonal harmony where key centres are given greater importance than other notes.

Further listening

Colin Brumby’s music is well represented by the overview albums Music of Colin Brumby (Jade JADCD1082) and The Trenchant Troubadour (Grevillea GRVCD-5100), available from the Australian Music Centre (australianmusiccentre.com.au).


LEDGER

Johann has left the building

(Composed 2007)


Johann has left the building was composed in 2007 from

material I had that dated back to 1997. At its core are

Bach-like chordal movements and it is scored for a typically

baroque ensemble of strings and harpsichord. However,

the piece is in the very “un-Baroque” time signature of

7/4 and this is further complicated by some alien tones

and clusters that fl oat over the top of the whole thing.

Furthermore, some of the gestures in the strings have a

rock and roll infl uence.

I haven’t quite decided if it sounds more like Bach travelling

through time to play something like Elvis Presley’s “Hound

Dog”, or Elvis himself travelling back through time to play a

Brandenburg Concerto!

JAMES LEDGER

© 2011

James LEDGER(b. Perth, 1966)

Ledger is developing a major compositional career in Perth where he is lecturer in composition at the University of Western Australia. He has spent periods in residence with the Adelaide and West Australian Symphony Orchestras, and his Bassoon Concerto was recently premiered by Sydney Symphony.

Further reading

James Ledger is one of many Australian composers discussed in Gordon Kerry’s essential New Classical Music: Composing Australia (UNSW Press, 2009) and he also keeps a personal website at jamesledger.com.


Antonio VIVALDI(b. Venice, 1678 — d. Vienna, 1741)

The “red priest” Vivaldi transformed the concerto with works such as The Four Seasons, promoting the virtuoso violinist to the forefront of his boundless musical invention.

VIVALDI

Concerto for four violins in B minor, RV580

(Composed 1711)

I. Allegro

II. Largo – Larghetto – Adagio – Largo

III. Allegro

Vivaldi shares with Mozart the dubious honour of having

died in relative obscurity and abject poverty in Vienna.

Both proceeded to the next life in pauper’s graves. For a

composer like Vivaldi, however, whose career had been

mostly high profi le and his fi nancial situation comfortable,

such a modest departure from this world was prophetic.

Because although his brilliantly eccentric violin playing

and unusual status as the red-haired, musical priest were

remembered and referred to in various written sources,

awareness and performance of his music seemed to vanish

for the remainder of the 18th century. Th e Venetian

dramatist Goldoni recalled in 1761 that Vivaldi had been

a “famous violin player…noted for his sonatas, especially

those called Th e Four Seasons”. In 1787, however, his regard

for Vivaldi was dimmer: he was merely an “excellent violin

player and mediocre composer”.

Th e rediscovery – quite literally – of Vivaldi’s music began

in the early 19th century, as a by-product of the renewed

interest in the music of J.S. Bach. Th e pioneering Bach

scholar J.S. Forkel referred in his 1802 biography to the

German composer’s indebtedness to Vivaldi, and to his

transcription for keyboard of his violin concertos. Over

20 Bach transcriptions were soon unearthed, including

his concerto for four harpsichords and string orchestra. In

1850, over a century after Vivaldi’s death, the original work

was identifi ed by C.L. Hilgenfeldt as the tenth concerto

of the Venetian composer’s Opus 3 – a concerto for four

violins. Vivaldi, the composer, was on the map again, and

the next 50 years saw the discovery of a good portion of

the instrumental music. In 1905, a history of the concerto

by Arnold Schering paid Vivaldi the compliment of him

being the “exemplary for the shaping of the violin concerto”

(in its three-movement, fast-slow-fast model). It wasn’t

until a 97-volume collection of manuscripts, owned by a

Salesian monastery, came up for sale in 1926 that a broader

representation of Vivaldi’s music was discovered – a

further 140 instrumental works, 29 cantatas and 12 operas.

Th ere have been further discoveries in subsequent decades,

and the Vivaldi catalogue now lists over 500 concertos.


Although very popular in the ACO’s early days, Vivaldi’s Concerto for four violins did not appear in the ACO’s subscription series until 1995. Subsequently it was included in the 1999 and 2004 series.



There are several biographies that piece together what is known of Vivaldi’s life. One of the most readable is H.C. Robbins Landon’s Vivaldi: Voice of the Baroque (University of Chicago Press, 1996). And of the many recordings of the concertos (or of selections from that massive body of work) two of the best are the 6-CD Academy of Ancient Music/Christopher Hogwood set (Philips 689302) and the 5-CD set by the English Concert/Trevor Pinnock (Archiv 471317).

324 are for a single solo instrument (214 for violin), and

the remainder are for multiple combinations or for

orchestra without soloist. Th ere is a handful of four-violin

concertos, but RV580 is the best known, partly because of

transferred acquaintance with the Bach transcription for

harpsichords.

Vivaldi’s Opus 3 set of concertos, L’estro armonico – four

each for one, two and four violins – was published in

1711 by Etienne Roger in Amsterdam (at that time, Dutch

and English engraving processes were acknowledged to

be superior). In the opening Allegro, between the tutti

ritornelli (refrains) Vivaldi evenly shares out the solo

episodes, mostly of fl uid semi-quaver passage-work,

between the four players. Often there is a single solo line,

joined at times by a second, pairing soloist – underpinned

by a “concertante” bass line.

Th e second movement is framed by almost-severe, dotted

rhythm passages; centrally, a steady harmonic progression

is made remarkable by Vivaldi’s rhythmic divisions and

precise instructions for bowing articulation – unusual for

that time. Above repeated quavers in the lower strings,

diff erent violin lines are instructed to play semi-quavers

either all detached, in slurred pairs, or in a three-plus-one

pattern. Above this, the fi rst solo violin performs rapid,

string-crossing demi-semi quavers.

Th e fi nal Allegro is a more conventional ritornello

movement than the fi rst (which starts with a solo violin

rather than a tutti statement). Th ere is also more

interaction between the soloists, as their lines weave in

and out of each other.

K.P. KEMP

© 2006


TELEMANN

Viola Concerto in G major

(Composed c.1716–1721)

I. Largo

II. Allegro

III. Andante

IV. Presto

Consider Georg Philipp Telemann: his is usually only

the third name mentioned in any discussion of the great

German composers born in that golden decade, the 1680s,

but in his own time his fame and reputation far exceeded

that of his two direct contemporaries, Bach and Handel.

Now, although he has by no means disappeared, his works

are something of a cul-de-sac compared with the well-worn

highways of JSB and GFH’s worklists. It’s not really fair.

For one, he trumps them for prolifi cacy – we know that

Bach wrote at least fi ve complete cycles of church cantatas,

but Telemann wrote more than 30, and it’s likely that he

wrote at least a dozen more operas than that genius of

the theatre, Handel. But, in a massive output, there is the

question of strike-rate, and Telemann’s was not perhaps

as high as Bach’s; and history has also been unkind in

preserving Telemann’s works. Although a lot of Bach’s

music has been lost, Telemann suff ered even more cruelly:

of those 50-plus operas, for example, only nine have come

down to us intact.

Ironically it was the tastemakers of the 19th century,

those who did so much to restore Bach’s reputation, who

proscribed Telemann. All those operas counted against

him, for one. Compared with the master Bach, whose

commitment to his post spawned the most focused

oeuvre of sacred music ever compiled, Telemann’s diverse

approach to music-making made him appear frivolous

by comparison.

But, gradually, we are getting to know Telemann’s music,

and are the better for it. It was the charm of his music

compared with the severity of Bach’s which made him

more popular in the 18th century and led to his rejection

in the 19th, but in fact we can enjoy them both as two very

diff erent musical characters, albeit operating at exactly

the same time in more-or-less the same place. Crucially,

Telemann’s more innovative moments allow us to see him

as a forerunner of the Classical style, paving the way –

much as did Bach’s son Johann Christian – with his

development of the so-called galant style.

Georg Philipp TELEMANN(b. Magdeburg, 1681 — d. Hamburg, 1767)

Hugely prolifi c, Telemann was a central musical fi gure in Baroque Germany — more famous and esteemed even than Bach. His innovative works across almost every genre place him as one of the chief forerunners of the Classical period.



So much of Telemann’s music is worthy of further exploration it’s worth overlooking the odd dodgy performance (and a preponderance of fl ute music) and investing in the (bargain-priced) 29–CD set, called the “Telemann Edition” from Brilliant Classics (94104).

Th e Viola Concerto in G – perhaps the fi rst viola concerto

ever written – beautifully demonstrates the bridge that

Telemann built between the baroque and the classical

periods. It’s in four (brief ) movements – slow-fast-slow-

fast – in the style of a Baroque church sonata. Th e opening

of the fi rst movement sounds not dissimilar to a Handel

largo aria, but it is the lightness of touch in the gentle,

translucent accompaniment and the song-like nature of the

melody itself that betray key hallmarks of the galant style.

Th e vigorous Allegro plays the lower, darker registers of

the viola against the higher strings, and even though the

melodic line is busy it is always agreeably unfussy. For the

Andante the viola sings a plaintive minor-key line with

brief interruptions from the rest of the orchestra, before

the fi nal movement Presto sees the soloist develop an

energetic, joyful melodic fi nale befi tting such a charming

and appealing work.

MICHAEL STEVENS

© ACO 2011


SCULTHORPE

Port Essington

(Composed 1977)

I. Prologue: Th e Bush

II. Th eme and Variations: Th e Settlement

III. Phantasy: Unrest

IV. Nocturnal: Estrangement

V. Arietta: Farewell

VI. Epilogue: Th e Bush


Port Essington tells the story in musical terms of the

attempted settlement of Port Essington, on the northern

coast of Australia. Two attempts were made: the fi rst in

1824, later abandoned, and a second in 1838, abandoned

in 1849. Th e port was, incidentally, the terminal point for

Leichhardt’s overland expedition from Brisbane in 1845.

It appears that the main reason for the abandonment of Port

Essington was, simply, that those living there were unable to

adapt to the peculiar condition of the land. Th e soldiers of the

garrison, for instance, at all times wore uniforms appropriate to

an English winter than to an endless Capricornian summer. For

me, because my life is centred upon the idea of a culture that

is appropriate to Australia, the story has a special importance.

Th e music, broadly speaking, exists on two planes: a string

orchestra represents the bush; and a string trio, playing what

appears to be nineteenth-century drawing room music,

represents the settlement. During the two opening sections

of the work, the two planes co-exist in a not unharmonious

manner, but, as the work progresses, the insistence of the

music of the string orchestra brings about a withdrawal

of the music played by the string trio. Following this

withdrawal, the string trio makes a fi nal statement, and the

music is echoed by the string orchestra, suggesting that

some kind of agreement could have been possible.

Th e work is made up of six sections played without breaks. It

should be mentioned that the theme heard in the Prologue is

an adaptation of an Aboriginal melody “djilile” (“whistling-duck

on a billabong”) from Arnhem Land, collected by Professor

A.P. Elkin. Th is melody serves as a theme for the complete

work, which is a double set of variations, one in my own

manner and one in a nineteenth-century European manner.

Port Essington was commissioned by Musica Viva Australia

for the ACO, who gave the premiere performance in

Brisbane in August 1977.

PETER SCULTHORPE © 1977

Peter SCULTHORPE(b. Launceston, 1929)

Sculthorpe is the pre-eminent Australian composer, whose work has come most closely to defi ning what an Australian sound might be. He has composed extensively for the ACO.


Sculthorpe is the feature of Michael Hannan’s Peter Sculthorpe: His Music and Ideas, 1929–1979 (University of Queensland Press, 1982) and Graeme Skinner’s Peter Sculthorpe: the making of an Australian composer (UNSW Press, 2007). Sculthorpe’s own autobiography is Sun Music (ABC Books, 1999). The ACO has recorded most of Sculthorpe’s string orchestra works, including Port Essington, for ABC Classics (454 504-2) and Chandos Records (CHAN10063) — both albums are available from aco.com.au/shop. Sculthorpe’s own website is petersculthorpe.com.au.


TARTINI

Violin Sonata in G minor, Op.1, No.4,

“Th e Devil’s Trill”

Arranged by Fritz Kreisler

(Probably composed after 1745)

I. Larghetto aff ettuoso

II. Allegro – Tempo giusto

III. Andante

IV. Allegro assai – Andante – Allegro assai

Musical pacts with the devil are not the sole domain of

Delta bluesmen, although Robert Johnson’s is the most

famous. Th ree centuries before Johnson allegedly made a

midnight deal with the devil at a Mississippi crossroads,

however, the violin virtuoso Giuseppe Tartini made a

Faustian pact of his own. As he reported to his friend

Jérôme Lalande (who later published the story), “One night

I dreamt that I had made a pact with the devil; he was my

servant and anticipated my every wish. I had the idea of

giving him my violin to see if he might play me some pretty

tunes (beaux aires), but imagine my astonishment when

I heard a sonata so unusual and so beautiful, performed

with such mastery and intelligence, on a level I had never

before conceived was possible! I was so overcome that I

stopped breathing and awoke gasping. Immediately I seized

my violin, hoping to recall some shred of what I had just

heard – but in vain. Th e piece I then composed is without

a doubt my best, and I still call it ‘Th e Devil’s Sonata’, but it

falls so short of the one that stunned me that I would have

smashed my violin and given up music forever if I could but

have possessed it.”

Th e modesty is typical of the painfully proper Tartini,

and indeed the work is a masterpiece – defi nitely his

most famous, if not even his fi nest work. But his secretive

nature was such that, even though he identifi ed the work

as his best, he refused to have it published in his lifetime.

Although it is undoubtedly virtuosic – Tartini is the fi rst-

known owner of a Stradivarius violin, and was a celebrated

performer and teacher all over Europe – the Sonata is

not mindlessly showy, but is rather a deeply expressive,

evocative work. (Tartini, incidentally, was born in Piran,

then part of the Venetian empire but now enclosed within

modern Slovenia, making him perhaps the world’s most

famous Slovenian composer.)

Although Tartini’s concertos tended to be constructed

in the fast-slow-fast pattern established by Vivaldi, in his

Giuseppe TARTINI(b. Piran, 1692 — d. Padua, 1770)

Tartini was one of the great violin virtuosos and teachers of 18th-century Italy, famous not only for his compositions (including over 130 violin concertos) but also for his theoretical treatises on violin technique.



A good recording of several of Tartini’s violin sonatas (including the “Devil’s Trill”) is the 2-CD set by the Locatelli Trio (Hyperion CDD22061). For those wishing to delve into Tartini’s infl uential pedagogical works, Erwin Jacobi’s edition of Tartini’s Traité des agréments de la musique (Moeck Verlag, 1961) includes English translations of all the major writings.

Sonatas he varied the number and type of movements

considerably. In this sonata, a graceful, mysterious

Larghetto aff ettuoso gives way to a sprightly Allegro

movement in which the violinist begins to get a proper

workout. A gloriously beautiful, slower Andante

movement follows, acting merely as a brief introduction

to the Allegro fi nale, in which the “devil’s trill” – or, the

“devil’s trill at the foot of the bed” as the score appealingly

denotes it – is heard for the fi rst time. But it is every bit

as wistful as it is fl ashy, and the whole is one of the most

attractive violin solos of the late Baroque. Th e virtuosic

nature of the work, originally for solo violin and basso

continuo, naturally appealed to the great Fritz Kreisler, and

it is his arrangement of the piece for larger forces that is

most often heard in orchestral concerts today.

MICHAEL STEVENS

© ACO 2011


CORELLI

Concerto Grosso in F major, Op.6, No.2

(Published 1714)

I. Vivace

II. Allegro

III. Grave – Andante Largo

IV. Allegro

From its ancient beginnings – when tubas and trumpets

sounded in the amphitheatres and fl utes piped in the

temples – to more recent times when the operas of

Rossini, Donizetti, Verdi and Puccini were premiered,

Rome has had a diverse and colourful musical history.

But there were two golden ages in that city of seven hills –

one vocal and sacred, the other instrumental and secular.

Palestrina’s compositional activities in various churches

and the Sistine Chapel were the crowning achievements

of a refi ned style of polyphony in the 16th century. And

about one hundred years later, a young violinist from

near Ravenna and Bologna arrived in Rome, and was to

remain there for nearly 40 years until his death in 1713.

Arcangelo Corelli’s residence there coincided with, and

substantially contributed to, a remarkable fl owering of

the dramatic and musical arts in Rome. He and many

other musicians, including Alessandro and Domenico

Scarlatti, and the young Handel, benefi ted from the

cultural largesse of patrons such as Queen Christina

of Sweden, Princess Maria Livia Spinola Borghese,

the Cardinals Pamphili and Ottoboni, and numerous

Accademie (academies).

Corelli’s fame during his lifetime, and subsequent infl uence

throughout Europe in the 18th century, were based on just

six volumes of published music (though we can assume

that a much broader output has been lost). He shares the

dual distinctions of being the fi rst composer in musical

history to gain a reputation through instrumental music

only – solo sonatas, trio sonatas and concerti grossi – and

to have acquired that fame through the enormous growth

of music publishing from around 1700 onwards. Each of

his six opus sets was issued dozens of times throughout the

18th century, and his Opus 6 concertos were particularly

popular in England, where they were even more highly

regarded in some quarters than Handel’s Opus 3 and 6

sets, published in 1740.

It is estimated that Corelli’s activities as violinist and

ensemble director would have given him, during his four

Arcangelo CORELLI(b. Fusignano, 1653 — d. Rome, 1713)

Corelli was a central fi gure in Rome in the mid-Baroque period, as a composer, a violinist and a teacher. His pupils included Geminiani and Locatelli, and his compositional infl uence extended far and wide — J.S. Bach was a keen student of Corelli’s music.


The ACO fi rst performed Corelli’s Concerto Grosso in F major, Op.6, No.2 in a 1989 subscription series, then again in 1997 and 2004.



Corelli’s twelve concerti grossi have been recorded and re-recorded, especially the best-known, Op.6, No.8, (often called the “Christmas Concerto”). An excellent CD set is that performed by The English Concert under their founder- director Trevor Pinnock (Archiv 423 626–2).

decades in Rome, well over 100 opportunities to compose

such concertos for large public gatherings, banquets and

civil ceremonies. Th e six published set of concertos must

therefore be a mere fraction of what he wrote in this

manner. But it can also be seen as the composer’s “Best

of…” compilation; the fruits of rigorous selection, revision

and reordering.

Th is particular concerto was used by British composer

Michael Tippett in 1953 in his famous Fantasia

Concertante: his own homage to Corelli, 300 years after

the composer’s birth. Th e opening Vivace – assertive,

and like a call to attention – is followed by a fl uent,

imitative Allegro (still within the same fi rst movement,

however) which typically sets up the contrasts between the

concertante (solo) and ripieno (tutti) groups. Th is proceeds

for a while, and rather abruptly runs into its own buff ers;

ready for a darker, more sombre Adagio section involves

harmonic suspensions very typical of Corelli. Th e fi rst and

second sections are then repeated, but this time in the

F major’s dominant key, C major. At the end of this

modifi ed Allegro the two solo violins climb up the

arpeggio of F – and, for those interested in musical trivia,

the high F that the fi rst violin reaches is the highest note

that Corelli ever required in his printed works.

Th e Allegro second movement, a loosely worked fugue,

is followed by a leisurely Grave – Andante Largo with no

concertante elements. And the fi nal Allegro brings back

the question-answer, solo-tutti exchange with a Gavotte-

like movement in two (repeated) sections.

MEURIG BOWEN

© 1999


HELENA RATHBONELEAD VIOLIN

Helena Rathbone was appointed Principal Second Violin of

the Australian Chamber Orchestra in 1994. Since then she

has performed as soloist and Guest Leader with the ACO

in Australia and overseas. In 2006 Helena was appointed

Director and Leader of the ACO’s second ensemble ACO2

which sources musicians from the ACO’s Qantas Emerging

Artists Program.

Helena studied with Dona Lee Croft and David Takeno in

London and with Lorand Fenyves in Banff , Canada.

Before moving to Australia, she was Principal Second

Violin and soloist with the European Community Chamber

Orchestra and regularly played with ensembles such as the

Academy of St Martin-in-the-Fields.

When not performing with the ACO, Helena has been leader

of Ensemble 24, guest leader of the Tasmanian Symphony

Orchestra and is a frequent tutor and chamber orchestra

director at National Music Camps and with the Australian

Youth Orchestra. She has appeared in the Australian Festival

of Chamber Music, Christchurch Arts Festival, Sangat

Festival in Mumbai and Florestan Festival in Peasmarsh,

Sussex. As a regular participant of the International Musicians

Seminar at Prussia Cove (Cornwall), Helena played in the

IMS tour of the UK in 2007. Th e group, led by Pekka Kuusisto,

won the Royal Philharmonic Society Award for chamber

music 2008.

Helena performs on a 1759 J.B. Guadagnini violin, kindly made

available to her by the Commonwealth Bank Group.

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SATU VÄNSKÄASSISTANT LEADER

Satu Vänskä was appointed Assistant Leader of the ACO in 2004.

Satu was born to a Finnish family in Japan where she began violin

lessons at the age of three. Her family moved back to Finland in

1989 where she studied at the Sibelius Academy and with Pertti

Sutinen at the Lahti Conservatorium. From 1997, Satu studied

with Ana Chumachenco at the Hochschule für Musik in Munich.

At age eleven, Satu was selected for the Kuhmo Violin School in

Finland where she attended masterclasses with Ilya Grubert, Zinaida

Gilels and Pavel Vernikov, and performed at the Kuhmo Chamber

Music Festival with the Kuhmo Virtuosi Chamber Orchestra.

In 1998, Sinfonia Lahti named Satu the Young Soloist of the

Year, and in 2000, she was a prize-winner of the Deutsche

Stiftung Musiklebe. In Germany, Satu played with the Munich

Philharmonic and the Bavarian Radio Symphony Orchestra.

Satu has performed solos in Finland, Germany, Spain, Australia

and Canada. As a chamber musician, she has played at festivals

in Finland and Germany, including the Tuusulanjärvi Festival

and the Festivo Aschau. Satu has recorded chamber music for

BIS Records.

Satu performs on a 1728/29 Stradivarius, lent to her by the

ACO Instrument Fund.

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CHRISTOPHER MOOREVIOLA

Born in Newcastle, Christopher Moore’s strongest childhood

memory was seeing his mother Patricia (a long time ACO

Newcastle subscriber) pulling into the driveway of his Valentine

home with a tiny blue violin case on the back seat. Pat was and

still is a dedicated amateur musician and took Chris to concerts

long before he learned to tie his shoelaces. After studying with

prominent Sydney Suzuki teachers, Marjorie Hystek and the

late Harold Brissendon, he completed his Bachelor of Music in

Newcastle with violinist and pedagogue Elizabeth Holowell.

After working with the Adelaide and New Zealand Symphony

Orchestras as a violinist, Chris decided to take up a less highly

strung instrument and moved his musical focus and energy

to the viola. He had always thought the violin made his head

look big! He accepted a position as violist with the Melbourne

Symphony Orchestra – a position he held for eighteen months

before successfully auditioning for the position of Associate

Principal Viola with the same orchestra.

During the 2006 ACO season, Chris appeared as Guest Principal

Violist and then accompanied the ACO on their Malaysian tour.

It was during this time that Chris successfully auditioned for the

ACO’s Principal Viola position.

Christopher plays on a 1937 Arthur E. Smith viola (Sydney).

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MARK INGWERSENVIOLIN

Mark Ingwersen joined the ACO as a full-time member in 1999.

Mark graduated with a Bachelor of Music from the Canberra

School of Music, where he received the Erika Haas Award

for Achievement in Chamber Music in 1993. He received a

Queen’s Trust Scholarship in 1995 and a year later was awarded

a scholarship for the Guildhall School of Music and Drama

in London, where he completed the Advanced Instrumental

Studies course.

Mark has performed with the Sydney Symphony, Australian

Brandenburg and Australian Opera and Ballet Orchestras, as

well as guest Associate Concertmaster with the Tasmanian

Symphony Orchestra.

Mark has also performed with the European Union Chamber

Orchestra, Royal Philharmonic, and as Concertmaster with the

Batignano Festival Opera Orchestra.

As a soloist, he has performed with the Australian Brandenburg

Orchestra and the Canberra School of Music Orchestra. He

was a fi nalist performer in the 1995 Geelong Advertiser Music

Scholarship. As a chamber musician, Mark has performed

at the Canberra and Australian Festival of Chamber Music

Festivals. He has also performed at St James’ Piccadilly,

St Mary-le-Strand, and with the Guildhall School of Music.

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MADELEINE BOUDVIOLIN

Madeleine Boud began playing violin aged four. She graduated

with fi rst-class honours from the Australian Institute of Music

studying with Alice Waten, with whom she also studied at the

Australian National Academy of Music. She has participated

in masterclasses with Pinchas Zukerman, Boris Kushnir and

Felix Andrievsky.

Madeleine was principal player in the WA and Australian

Youth Orchestras and has worked with the Sydney Symphony,

Sydney Philharmonia, Australian Opera and Ballet Orchestra,

Schoenberg Ensemble and Lucerne Festival Academy Orchestra.

As soloist, Madeleine performed with the WA Symphony and

Youth Orchestras. She was soloist in the Bruch Violin Concerto

for the ballet Paquita, and in Wheeldon’s ballet After the Rain.

Madeleine performed at Blackwood River Chamber Music

Festival and Melbourne Arts Festival and was prize-winner in

the Gisborne International Music Competition.

Madeleine received a scholarship to the Lucerne Festival

Academy and worked with Ensemble Intercontemporain. She

was accepted into the ACO’s Qantas Emerging Artist Program

and is now an ACO core player.

Madeleine plays a 1957 A.E Smith violin.

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“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 plays a 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, on loan from Peter

Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759

J.B. Guadagnini violin on loan from the Commonwealth Bank

Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius

violin owned by the ACO Instrument Fund, through which

investors participate in the ownership of historic instruments.

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 Photos: Paul Henderson-Kelly, Helen White

* Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.✫ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello kindly on loan from Peter Weiss AM.# Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andreæ cello kindly on loan from the Australia Council.

SATU VÄNSKÄ≈

Assistant LeaderViolinChair sponsored by Robert &

Kay Bryan

MADELEINE BOUDViolinChair sponsored by Terry

Campbell AO & Christine Campbell

HELENA RATHBONE*Guest Leader

ViolinChair sponsored by Hunter Hall

Investment Management Limited

ALICE EVANSViolinChair sponsored by Jan Bowen,

Th e Davies and Th e Sandgropers

AIKO GOTOViolinChair sponsored by Andrew &

Hiroko Gwinnett

MARK INGWERSENViolinChair sponsored by Runge

ILYA ISAKOVICHViolinChair sponsored by Melbourne

Community Foundation – Connie

& Craig Kimberley Fund

VERONIQUE SERRETViolin

TIMOVEIKKO VALVE✫

Principal CelloChair Ssonsored by Mr Peter

Weiss AM

STEPHEN KINGViolaChair sponsored by Philip

Bacon AM

NICOLE DIVALLViolaChair sponsored by Ian & Nina

Lansdown

CHRISTOPHER MOOREPrincipal ViolaChair sponsored by Tony

Shepherd

BRIELLE CLAPSON†Violin

HOLLY PICCOLIViolin

DONALD NICOLSONPrincipal Harpsichord

† Appears courtesy of the Sydney Symphony

Players dressed by

AKIRA ISOGAWA MELISSA BARNARDCelloChair sponsored by Th e Bruce &

Joy Reid Foundation

JULIAN THOMPSON#

Cello Chair sponsored by the Clayton

Family

MAXIME BIBEAUPrincipal BassChair sponsored by John Taberner

& Grant Lang


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 & OPERATIONS

Richard Tognetti AO

Artistic Director

Michael Stevens

Head of Artistic Planning

& Operations

Gabriel van Aalst

Orchestra Manager

Erin McNamara

Tour Manager

Elissa Seed

Travel Coordinator

Jennifer Collins

Librarian

EDUCATION

Vicki Stanley

Education and Emerging Artists

Manager

Sarah Conolan

Education Assistant

FINANCE

Steve Davidson

Chief Financial Offi cer

Shyleja Paul

Assistant Accountant

DEVELOPMENT

Alexandra Cameron-Fraser

Corporate Relations and

Public Aff airs Manager

Kate Bilson

Events Manager

Tom Carrig

Senior Development Executive

Lillian Armitage

Philanthropy Manager

Kylie Anania

Patrons Manager

Liz D’Olier

Development Coordinator

MARKETING

Georgia Rivers

Marketing Manager

Rosie Rothery

Marketing Executive

Chris Griffi th

Box Offi ce Manager

Mary Stielow

National Publicist

Dean Watson

Customer Relations Manager

Lachlan Wright

Offi ce Administrator & Marketing

Assistant

INFORMATION SYSTEMS

Ken McSwain

Systems & Technology Manager

Emmanuel Espinas

Network Infrastructure Engineer

ARCHIVES

John Harper

Archivist

BEHIND THE SCENES

BOARD

Guido Belgiorno-Nettis AM (Chairman)

Angus James (Deputy Chairman)

Bill Best

Liz Cacciottolo

Chris Froggatt

Janet Holmes à Court AC

Brendan Hopkins

Tony Shepherd

Andrew Stevens

John Taberner

Peter Yates AM

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


ACKNOWLEDGEMENTS

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 (Tom) Parry AM

Mr Leo Schofi eld AM

Mr Evan Williams AM

EXECUTIVE MANAGEMENT

Chief Executive Offi cer Richard Evans

Chief Operating Offi cer David Antaw

Chief Financial Offi cer Claire Spencer

Director, Building Development & Maintenance

Greg McTaggart

Director, Marketing, Communications & Customer Services

Victoria Doidge

Director, Venue Partners & Safety Julia Pucci

Executive Producer, SOH Presents Jonathan Bielski

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

Australian National University

William Herbert Place (off Childers Street)

Acton, Canberra

VENUE HIRE INFORMATION

Phone: +61 2 6125 2527

Fax: +61 2 6248 5288

Email: [email protected]

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


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

Sophie Mitchell

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

Executive Manager – Human Resources Alicia Dodds

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

Patrons are advised that the Performing Arts Centre has

EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM

system and EXIT passageways. In case of an alert, patrons

should remain calm, look for the closest EXIT sign in GREEN, listen

to and comply with directions given by the inhouse trained attendants

and move in an orderly fashion to the open spaces outside the Centre.

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

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A City of Sydney Venue

Clover Moore

Lord Mayor

Managed by

PEGASUS VENUE MANAGEMENT (AP)

PTY LTD

Christopher Rix

Founder

Management and Staff

General Manager Bronwyn Edinger

Sales & Marketing Manager Gina Anker

Technical Manager Cally Bartley

Functions & Bar Manager Paul Berkeley

Technician Donald Brierley

Marketing Assistant Kim Bussell

Event & Production Coordinator Katie Christou

Venue Services Manager James Cox

Accounts Coordinator Kerry Johnston

Duty Manager Barbara Keff el

Publicist Cassie Lawton

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CITY RECITAL HALL

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Administration 02 9231 9000

Box Offi ce 02 8256 2222 or 1300 797 118

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Website www.cityrecitalhall.com


Think Outside...

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


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

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 PATRONSMr Barry Humphries AO CBESir Michael Parkinson CBE

LEAD PATRONS $50,000+Th e Belgiorno-Nettis FamilyTh e Bruce & Joy Reid FoundationMrs Janet L Holmes à Court ACConnie & Craig KimberleyJan MinchinDame Elisabeth Murdoch AC DBE

MAJOR PATRONS$20,000 – $49,999Mr Robert Albert AO & Mrs Libby AlbertPhilip Bacon AMLiz Cacciottolo & Walter LewinRowena Danziger & Ken Coles

Mr Peter HallAnthony & Sharon LeeLouise & Martyn Myer FoundationHarry Triguboff AO & Rhonda Triguboff Ian Wallace & Kay FreedmanAnonymous (1)

ENSEMBLE PATRONS $10,000 – $19,999Mr Bill & Mrs Marissa BestJenny & Stephen CharlesMr & Mrs Robin CrawfordMartin Dickson AM & Susie DicksonChris & Tony FroggattAnn Gamble MyerLeslie & Ginny GreenBrendan & Bee HopkinsPJ Jopling QCPrudence MacLeodMacquarie Group FoundationDonald McGauchieMr Andrew Messenger

Gretel Packerpeckvonhartel architectsJulien & Michelle PlayoustJohn Taberner & Grant LangMichael & Eleonora Triguboff Peter Weiss AM

SOLO PATRONS $5,000 – $9,999Antoinette AlbertTony & Carol BergRobert & Kay BryanRoss & Rona ClarkeWendy EdwardsChris & Judy FullertonPhillip Isaacs OAMWayne N KratzmannIan & Nina LansdownIrene LeeJustice Jane Mathews AOCarole & Peter MullerCraig NgGraham J RichDr Gillian Ritchie

Vivienne SharpeTony ShepherdBeverley TrivettAnonymous (2)

PATRONS $500 – $4,999Isla BaringJan BowenTh e Hon. Mr Laurie Brereton & Th e Hon. Justice Trisha KavanaghEdmund CaponDavid & Jane ClarkeJillian CobcroftAnn & Bruce CorlettTerry & Lynn FernBill & Lea FerrisAlan & Joanna GemesPeeyush & Shubura GuptaMichael & Anna JoelNicky McWilliamSusan & Garry RothwellPeter Yates AM & Susan Yates

OTHER COMMISSIONSRobert & Nancy Pallin

Steven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinAustin Bell & Andrew Carter

T Cavanagh & J GardnerChin Moody FamilyAnne Coombs & Susan VargaGreg DicksonJohn Gaden AMCathy Gray

Brian Kelleher Penny Le Couteur Andrew Leece Scott Marinchek & David WynneKate MillsJanne Ryan

Barbara Schmidt & Peter CudlippJane SmithRichard SteelePeter Weiss AMCameron WilliamsAnonymous (1)

ACO SPECIAL COMMISSIONS

Th e ACO pays tribute to our generous donors who have provided visionary support of the

creative arts by collaborating with the ACO to commission new works in 2011.

CREATIVE MUSIC FUND COMMISSION

ACO INSTRUMENT FUND

Th e ACO has established its Instrument Fund, to off er patrons and investors the opportunity to

participate in the ownership of a bank of historic stringed instruments. Th e Fund’s fi rst asset is

Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Assistant Leader of the Orchestra.

Th e ACO pays tribute to its Founding Patrons of the Fund, who have made donations to the

Orchestra to assist the Fund to acquire the Stradivarius violin.

VISIONARY $500,000 – $1mPeter Weiss AM

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

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

QUARTET $50,000 – $99,000John and Anne Leece

SONATA $25,000 – $49,999

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

SOLO $5,000 – $9,999

PATRONS$500 – $4,999June & Jim ArmitageAngela Roberts

PETER WEISS AM, PATRON


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+

Mr Robert Albert AO &

Mrs Libby Albert

Daria & Michael Ball

Steven Bardy

Guido & Michelle

Belgiorno-Nettis

Liz Cacciottolo & Walter Lewin

John & Patti David

Pamela Duncan

Brendan & Bee Hopkins

Roger Massy-Greene &

Belinda Hutchinson AM

Miss Nancy Kimpton

Julianne Maxwell

Andrew P Messenger

Jeff Mitchell

Drs Alex & Pam Reisner

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

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

Philip A Levy

Fiona & Mark Lochtenberg

Lorraine Logan

Louise & Martyn Myer

Foundation

Marianna & Tony O’Sullivan

John Rickard

Roberts Family

A J Rogers

Alden Toevs & Judi Wolf

Ian Wilcox & Mary Kostakidis

Anonymous (5)

MAESTRO $2,500 $4,999

Michael Ahrens

Jane Allen

Will & Dorothy Bailey Bequest

Virginia Berger

Michael Cameron

Cam & Helen Carter

Jon Clark & Lynne Springer

Caroline & Robert Clemente

Leith & Darrel Conybeare

PATRONS

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

TRUSTS AND FOUNDATIONS

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST

THE THYNE REID FOUNDATION

THE NEILSON FOUNDATION

LIMB FAMILY FOUNDATION

THE SUNJOTO FOUNDATION — ‘The Spirit of Giving’



M Crittenden

John & Gloria Darroch

Kate Dixon

Leigh Emmett

Suellen Enestrom

John & Jenny Green

Nereda Hanlon & Michael

Hanlon AM

Don Hart

Lindi & John Hopkins

Penelope Hughes

Angela James & Phil McMaster

Philip Maxwell & Jane Th am

Jan McDonald

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

Greg Shalit & Miriam Faine

Mrs Carol Sisson

Petrina Slaytor

Dr Charles Su & Dr Emily Lo

Tom Th awley

Dr R & Mrs R Tinning

Laurie Walker

Alastair Walton

Ralph Ward-Ambler AM &

Barbara Ward-Ambler

Karen & Geoff Wilson

Janie & Neville Wittey

Sir Robert Woods

Anonymous (10)

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

Brains

Sally Bufé

Neil Burley & Jane Munro

Mark Burrows & Juliet

Ashworth

G Byrne & D O’Sullivan

J & M Cameron

Sandra Cassell

Ann Cebon-Glass

Paul Cochrane

John & Christine Collingwood

Judy Croll

Betty Crouchley

Diana & Ian Curtis

Marie Dalziel

June Danks

Michael & Wendy Davis

Christopher & Kathryn Dibden

Jennifer Dowling

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

Rhyll Gardner

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

Warren & Joan Johns

Andrew Johnston

D & I Kallinikos

John Landers & Linda Sweeny

Greg Lindsay AO & Jenny

Lindsay

Joanne Frederiksen & Paul

Lindwall

Bronwyn & Andrew Lumsden

Clive Magowan

Anne Male-Perkins

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

peckvonhartel architects

Prof David Pennington AC

Nick & Claire Poll

Warwick & Jeanette Richmond

In Memory of Andrew

Richmond

Em Prof A W Roberts

Pamela Rogers

Julia Champtaloup & Andrew

Rothery

D N Sanders

Tony Shepherd

Edward Simpson

Diana & Brian Snape AM

Maria Sola & Malcolm Douglas

Peter & Johanna Stirling Benson

John & Jo Stru tt

Leslie C Th iess

Colin & Joanne Trumble

Ngaire Turner

Kay Vernon

Ellen Waugh

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 (13)

CONCERTINO $500 $999

A Ackermann

Mrs Lenore Adamson

in memory of

Mr Ross Adamson

Mr L H & Mrs M C Ainsworth

A Annand

Elsa Atkin

Banting Electronics

Tamara Best

Brian Bothwell

Denise Braggett

D J Brown



Arnaldo Buch

Colleen & Michael Chesterman

Stephen Chivers

John Clayton

Angela & John Compton

Michael Cook

Alan Fraser Cooper

P Cornwell & C Rice

Money Warehouse

Sharlene Dadd

Lindee Dalziell

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

Julie Ewington

Mr & Mrs R J Gehrig

Mirek Generowicz

Brian Goddard

Steve Gray

Kelvin & Rosemary Griffi th

Tom Griffi th & Adrienne

Cahalan

Richard W Gulley

Matthew Handbury

Annie Hawker

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

Penelope Little

Sydney & Airdrie Lloyd

Lorraine Lord

Judy Lynch

James MacKean

Jennifer Marshall

Peter Mason AM

Donald C Maxwell

Dr Hamish & Mrs Rosemary

McGlashan

Kim & Shirley McGrath

Harold & Bertha Milner

John Mitchell

Marie Morton

Helen & Gerald Moylan

Sharyn Munro

Susan Negrau

Maurice Newman AC

Ken Nielsen

J Norman

Graham North

Robin Offl er

Allegra & Giselle Overton

Josephine Paech

Leslie Parsonage

Deborah Pearson

Mr Kevin Phillips

Michael Power

Alison Renwick

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

Andrew & Pip Stevens

IT

Elizabeth Th omas

Matthew Toohey

G C & R Weir

Dr Gwen Woodroofe

Woodyatt Family

Michael & Susan Yabsley

Anonymous (33)

CONTINUO CIRCLE

BEQUEST PROGRAM

Th e late Kerstin Lillemor

Andersen

Dave Beswick

Sandra Cassell

Th e late Mrs Moya Crane

Mrs Sandra Dent

Leigh Emmett

Th e late Colin Enderby

Peter Evans

Carol Farlow

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

Margaret & Ron Wright

Mark Young

Anonymous (9)

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

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 Peter Yates AM & Mrs Susan Yates

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

Brendan & Bee Hopkins

Mr John Leece OAM & Mrs Anne Leece

Ilma Peters

Mrs Patricia Reid

Mr Timothy Samway

Steve Wilson

ACO COMMITTEES

Chair – Bill Best

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

Elaine Davoren

Judy Anne Edwards

Elizabeth Harbison

Bee Hopkins

Sarah Jenkins

Vanessa Jenkins

Abigail Jones

Andrew Laughlin

David Stewart

Mary Stollery

Tom Th awley

Rosie Williams

Chair – Peter Yates AM

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

MELBOURNE DEVELOPMENT COUNCIL


ACO PARTNERS

2011 CHAIRMAN’S COUNCIL MEMBERS

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 Michael Carapiet

Executive Chairman

Macquarie Capital and

Macquarie Securities

Th e Hon. Stephen

Charles QC &

Mrs Jenny Charles

Mr & Mrs Robin

Crawford

Rowena Danziger AM

& Kenneth G. Coles AM

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 &

New Zealand

BNP Paribas

Mr John Marshall &

Mr Andrew Michael

Apparel Group Limited

Mr Peter Mason AM

Chairman

AMP Limited

& Mrs Kate Mason

Mr David Mathlin

Senior Principal

Sinclair Knight Merz

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 Jim Minto

Managing Director

TAL

Mr Clark Morgan

Vice Chairman

UBS Wealth

Management Australia

Mr Alf

Moufarrige OAM


Servcorp

Mr Scott Perkins

Head of Global Banking

Deutsche Bank

Australia/New Zealand

Mr Peter Schiavello

Managing Director

Schiavello Group

Mr Glen Sealey

General Manager

Maserati Australia &

New Zealand

Mr Ray Shorrocks

Head of Corporate

Finance, Sydney

Patersons Security

Mr & Mrs Clive Smith

Mr Andrew Stevens

Managing Director

IBM Australia &

New Zealand

Mr Michio (Henry) Taki

Managing Director

& CEO

Mitsubishi Australia Ltd

Mr Alden Toevs

Group Chief Risk Offi cer

Commonwealth Bank

of Australia

Mr Michael Triguboff

Managing Director

MIR Investment

Management Ltd

Ms Vanessa Wallace

Director

Booz & Company

Mr Kim Williams AM


FOXTEL

Mr Peter Yates AM

Chairman

Royal Institution

of Australia and

Peony Capital


ACO PARTNERS

Th e ACO receives around 45% of its income from the box offi ce, 35% from the business

community and private donors and less than 20% 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.

CONCERT AND SERIES PARTNERS

PREFERRED TRAVEL 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

FOUNDING PARTNER ACO2 PRINCIPAL PARTNER

NATIONAL TOUR PARTNERS


STACCATO: ACO NEWS STACCATO: ACO NEWS

May was a busy month for the ACO’s

Education Program. ACO players facilitated

string workshops in Melbourne, Perth and

Sydney. Th ese events are a great opportunity

for school string players to rehearse alongside

ACO musicians.

On 24 May, a quintet of ACO musicians

played a concert for primary school students

at Matraville Soldiers’ Settlement School, and

participated in the students’ music classes.

Th e children performed alongside and even

conducted the quintet of ACO players.

In Picton (NSW), on 27 May, a quartet of

ACO players led a workshop with local youth

ensemble, the Picton Strings, to prepare

them for their debut with the ACO. Th is

concert marks the beginning of the ACO’s

three-year project in Picton which aims to

develop musical culture in local schools and

throughout the community.

EDUCATION NEWS

Combined Schools Workshop in the ACO rehearsal studio, Sydney

Maxime Bibeau and Isabella Brown at the Sydney Combined Schools Workshop

Richard Tognetti with students from Matraville Soldiers’ Settlement School

Julian Thompson plays the “thongophone” with students from Matraville Soldiers’ Settlement School


STACCATO: ACO NEWS

AcO2 NSW, QUEENSLAND & NORTHERN TERRITORY TOUR

Since graduating from the Royal Academy

of Music in 2006, young British violinist

Th omas Gould has been showered with

glowing and enthusiastic acclaim from critics

and audiences. He makes his Australian debut

directing AcO2 in an ingenious arrangement

for string orchestra of one of the most

magnifi cent pieces of music of all time, Bach’s

Goldberg Variations. Starting with a simple

song, Bach guides us through a myriad of

musical styles over thirty variations. First,

though, music from Estonian pop-star-

turned-composer Erkki-Sven Tüür and

Schubert’s charming Arpeggione Sonata.

BACH & SCHUBERT

JS BACH Goldberg Variations, BWV988

SCHUBERT Arpeggione Sonata, D821

TÜÜR Action–Passion–Illusion

Th omas Gould Guest Director and Lead Violin

AcO2

PRESENTING PARTNER MAJOR PARTNER AcO2 PRINCIPAL PARTNER

Details & Bookings: aco.com.au

ROCKHAMPTON – Pilbeam Th eatreTue 16 Aug 7.30pm

MACKAY – Entertainment & Convention Centre Th u 18 Aug 7.30pm

CAIRNS – Civic Th eatreFri 19 Aug 7.30pm

NEW SOUTH WALES

PORT MACQUARIE – Th e Glasshouse GRAFTON – Clarence Valley ConservatoriumTue 9 Aug 8pm Wed 10 Aug 8pm

QUEENSLAND

REDLANDS – Performing Arts Centre Fri 12 Aug 7.30pm

NAMBOUR – Civic CentreSat 13 Aug 8pm

GLADSTONE – Entertainment Centre

Sun 14 Aug 8pm

NORTHERN TERRITORY

DARWIN – Th e Studio, Darwin Entertainment CentreSat 20 Aug 7pm


STACCATO: ACO NEWS

EUROPEAN TOUR WITH THE ACO25 November – 10 December

Hear the ACO perform in venues across

Europe:

• Musikverein, Vienna

• Concertgebouw, Amsterdam

• Philharmonie, Luxembourg

• Queen Elizabeth Hall, London

• Symphony Hall, Birmingham

and attend opera performances in Vienna and

Frankfurt.

Your host, Len Amadio AO, provides

cultural commentary on the music, art and

architecture of each of these magical cities and

introduces each of the concerts.

“I am delighted to off er a European music

tour featuring the Australian Chamber

Orchestra. Th e orchestra will perform

fi ve concerts in some of the world’s most

prestigious venues, joined by distinguished

soloists such as Freddy Kempf (piano), Tine

Th ing Helseth (trumpet), Simon Trpčeski

(piano) and Martin Fröst (clarinet). Th ere

will be ample sightseeing opportunities in

all cities we visit – Birmingham, London,

Vienna, Frankfurt, Amsterdam, the French

fortress city of Metz and Luxembourg. I urge

you to consider joining me as we experience

some of the great music centres of the UK

and Europe.”

–Len Amadio AO

Philharmonie, Luxembourg

Musikverein, Vienna

Concertgebouw, Amsterdam

Symphony Hall, Birmingham

For details please contact ALUMNI TRAVEL

1300 799 887 / [email protected] / www.alumnitravel.com.au


STACCATO: ACO NEWS

THE ACO’S 2011 CHAIRMAN’S COUNCIL AND MAJOR PATRONS COCKTAIL PARTIES

In March, the ACO hosted its annual

Chairman’s Council and Major Patrons

Cocktail Parties in Sydney and Melbourne.

Th ese special events thank the ACO’s

Chairman’s Council members and Major

Patrons for their continued investment in,

and support of the Orchestra.

In Sydney, Julia Ross opened her stunning

Point Piper home to the ACO on a glorious

Saturday evening for a cocktail party that

featured an exclusive performance by a

quartet of the ACO’s Principal musicians.

In Melbourne, the then Governor of Victoria,

His Excellency Professor David de Kretser AC

and Mrs Jan de Kretser invited the ACO to

Government House, for an evening soirée

featuring an exquisite performance by the

ACO led by Richard Tognetti.

Th e ACO’s Chairman’s Council and Major

Patrons are an integral part of the ACO family

and continue to generously support the players,

the ACO’s international touring schedule and

the ACO’s Education Program. We are truly

grateful for their invaluable support.

Sydney Chairman’s Council and Major Patrons Cocktail Party. Beau Neilson and Satu Vänskä in Sydney.

Melbourne Chairman’s Council and Major Patrons Cocktail Party.

Maudie Palmer AO, Marc Besen AO and Eva Besen AO in Melbourne. The ACO in Melbourne.


STACCATO: ACO NEWS

Katering Special OfferKatering, Sydney’s leading provider of

innovative, stylish and divine culinary

experiences, and loyal supporter of the

ACO, would like to off er ACO subscribers a

10% discount on catering for events hosted

between 1 June 2011 and 31 August 2011.

Book now!

Call Katering on 02 9319 2700 or visit

http://www.katering.com.au/

PARTNER OFFER

Every new performance of music or glass

of wine brings an experience that can be

mellow, enlightening, challenging, sublime

and, above all, passionate. At Cellarmasters

we appreciate sumptuous pieces that

are expertly crafted, fi nely tuned and

harmonious. Browse our range of wines

for delivery to your door with every bottle

covered by our Home Tasting Guarantee at

cellarmasters.com.au.

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PARTNER PROFILE

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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.

baroque virtuosi concert program

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