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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
4 AUSTRALIAN CHAMBER ORCHESTRA
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.
AUSTRALIAN CHAMBER ORCHESTRA 5
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
6 AUSTRALIAN CHAMBER ORCHESTRA
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.
AUSTRALIAN CHAMBER ORCHESTRA 7
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.
8 AUSTRALIAN CHAMBER ORCHESTRA
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.
AUSTRALIAN CHAMBER ORCHESTRA 9
BRUMBY
Th e Phoenix and the Turtle I and III
(Composed 1974)
I. Andante semplice
III. Lusingando
Th e composer writes:
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).
10 AUSTRALIAN CHAMBER ORCHESTRA
LEDGER
Johann has left the building
(Composed 2007)
Th e composer writes:
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.
AUSTRALIAN CHAMBER ORCHESTRA 11
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.
ACO Performance History
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.
12 AUSTRALIAN CHAMBER ORCHESTRA
Further reading and listening
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
AUSTRALIAN CHAMBER ORCHESTRA 13
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.
14 AUSTRALIAN CHAMBER ORCHESTRA
Further reading and listening
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
AUSTRALIAN CHAMBER ORCHESTRA 15
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
Th e composer writes:
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.
Further reading and listening
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.
16 AUSTRALIAN CHAMBER ORCHESTRA
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.
AUSTRALIAN CHAMBER ORCHESTRA 17
Further reading and listening
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
18 AUSTRALIAN CHAMBER ORCHESTRA
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.
ACO Performance History
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.
AUSTRALIAN CHAMBER ORCHESTRA 19
Further reading and listening
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
20 AUSTRALIAN CHAMBER ORCHESTRA
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.
Ph
oto
: Pau
l He
nd
ers
on
-Ke
lly
AUSTRALIAN CHAMBER ORCHESTRA 21
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.
Ph
oto
: Pau
l He
nd
ers
on
-Ke
lly
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).
Ph
oto
: Pau
l He
nd
ers
on
-Ke
lly
22 AUSTRALIAN CHAMBER ORCHESTRA
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.
Ph
oto
: Pau
l He
nd
ers
on
-Ke
lly
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.
Ph
oto
: He
len
Wh
ite
AUSTRALIAN CHAMBER ORCHESTRA 23
“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.
24 AUSTRALIAN CHAMBER ORCHESTRA
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
AUSTRALIAN CHAMBER ORCHESTRA 25
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
26 AUSTRALIAN CHAMBER ORCHESTRA
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
AUSTRALIAN CHAMBER ORCHESTRA 27
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.
All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—114 — 16458 — 1/050711
OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN
OVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. New Zealand — Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2—E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998.Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.
Chairman Brian Nebenzahl OAM, RFD
Managing Director Michael Nebenzahl
Editorial Director Jocelyn Nebenzahl
Manager—Production & Graphic Design Debbie Clarke
Manager—Production—Classical Music Alan Ziegler
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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This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.
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
Building Services Manager Graham Parsons
Executive Assistant Rosemary Penman
Operations Assistant Vico Th ai
Box Offi ce Manager Craig Th urmer
Technician Jeff Todd
Box Offi ce Assistant Rachel Walton
Event Assistant Stephanie Wise
CITY RECITAL HALL
ANGEL PLACE
2 –12 Angel Place,
Sydney, Australia
GPO Box 3339,
Sydney, NSW 2001
Administration 02 9231 9000
Box Offi ce 02 8256 2222 or 1300 797 118
Facsimile 02 9233 6652
Website www.cityrecitalhall.com
28 AUSTRALIAN CHAMBER ORCHESTRA
Think Outside...
APN Outdoor proudly supports the Australian Chamber Orchestrawww.apnoutdoor.com.au
AUSTRALIAN CHAMBER ORCHESTRA 29
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
30 AUSTRALIAN CHAMBER ORCHESTRA
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
AUSTRALIAN CHAMBER ORCHESTRA 31
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’
32 AUSTRALIAN CHAMBER ORCHESTRA
ACO DONATION PROGRAM
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
AUSTRALIAN CHAMBER ORCHESTRA 33
ACO DONATION PROGRAM
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
34 AUSTRALIAN CHAMBER ORCHESTRA
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
AUSTRALIAN CHAMBER ORCHESTRA 35
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
Chief Executive Offi cer
and Country Head
Bank of America Merrill
Lynch Australia
Dr Bob Every
Chairman
Wesfarmers
Mr Robert Scott
Managing Director
Wesfarmers Insurance
Mr Angelos
Frangopoulos
Chief Executive Offi cer
Australian News Channel
Mr John Grill
Chief Executive Offi cer
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
Chief Executive Offi cer
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
Chief Executive Offi cer
FOXTEL
Mr Peter Yates AM
Chairman
Royal Institution
of Australia and
Peony Capital
36 AUSTRALIAN CHAMBER ORCHESTRA
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
AUSTRALIAN CHAMBER ORCHESTRA 37
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
38 AUSTRALIAN CHAMBER ORCHESTRA
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
AUSTRALIAN CHAMBER ORCHESTRA 39
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
40 AUSTRALIAN CHAMBER ORCHESTRA
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.
AUSTRALIAN CHAMBER ORCHESTRA 41
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
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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.