death and the maiden - au-com-aco … is nothing inherently miserable about samuel barber’s....

DEATH AND THE MAIDEN ALINA IBRAGIMOVA, VIOLIN AND DIRECTOR

PRINCIPAL PARTNER

T A K I N G O F F

C O M I N G H O M E I S N I C E B U T

I S W H E R E T H EE X C I T E M E N T L I V E S

P R I N C I PA L PA R T N E R O F A U S T R A L I A N C H A M B E R

O R C H E S T R A

Death and the Maiden

Alina Ibragimova Guest Director & Violin

The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

The concert will last approximately two hours,

including a 20-minute interval.

APPROXIMATE DURATION (MINUTES)

9 BARBER p14 Adagio for Strings, Op.11

12 MOZART p18 Adagio and Fugue in C minor, K.546 I. Adagio – II. Fuga

20 HARTMANN p20 Concerto funebre I. Introduction (Largo) – II. Adagio – III. Allegro di molto – IV. Choral (Langsamer Marsch)

I I INTERVAL (20 MINUTES)

5 ARVO PÄRT p22 Silouan’s Song (‘My soul yearns after the Lord…’)

39 SCHUBERT (arr. Richard Tognetti) p24 String Quartet No.14 in D minor, D.810 Death and the Maiden I. Allegro II. Andante con moto III. Scherzo (Allegro molto) IV. Presto

Pre-Concert Talk 45 minutes prior to the concert (see page 30 for details)

45mins prior

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MUSIC THAT TAKES YOU PLACES

Principal Partner of the Australian Chamber Orchestra

As an ACO Subscriber, enjoy discounts on selected domestic and international routes* when you fly with Virgin Australia. It’s just our little way of thanking you for supporting the Australian Chamber Orchestra too.

For more information visit aco.com.au/vadiscount or call the ACO on 1800 444 444.

Virgin Australia is proud to be the Principal Partner of the Australian Chamber Orchestra and its National Tour Partner for Death and the Maiden. This collaboration with the ACO will move audiences with its beautiful and passionate music played by brilliant violinist and guest director, Alina Ibragimova.

In 2018, we will be celebrating our sixth year of partnership with the ACO. Through our comprehensive domestic and international network, reaching more than 450 destinations worldwide, we have enabled the ACO to share its awe-inspiring programs with audiences across Australia and the world.

If these concerts inspire you to travel, Virgin Australia is pleased to offer ACO Subscribers an exclusive discount on domestic and international flights. Please visit aco.com.au/vadiscount for more information.

I hope you enjoy this inspiring performance.

John Borghetti AO Chief Executive Officer and Managing Director Virgin Australia

National Tour Partner

PRINCIPAL PARTNER

2018 National Concert Season 5

NICOLE CAR

“A voice full of emotion, power and range.” – HERALD SUN

Australia’s star soprano sings Mozart and Beethoven heroines alongside Principal Violin Satu Vänskä who showcases the ACO’s new 1726 Belgiorno Stradivarius with Beethoven’s Romance in F major for Violin and Orchestra.

Richard Tognetti DirectorNicole Car SopranoSatu Vänskä Violin

8 – 24 AprilSydney, Melbourne, Perth, Brisbane

Tickets from $55*

*Booking fee of $7.50 applies to all bookings. Prices vary according to venue and reserve.

Message from the Managing Director

Richard Evans

The ACO is privileged to perform with some of the world’s great artists who share our commitment in pursuing adventurous music-making and performance. Alina Ibragimova is one such artist. It has been ten years since Alina last played with the ACO, and we are delighted to welcome her back for our Death and the Maiden concerts.

This program examines and celebrates life in all its forms and requires a musician such as Alina who has an intensity of intelligence and an athletic virtuosity. She will be drawing upon her powers of performance to explore the full gamut of the human experience, from darkness and despair to hope and pure joy.

I thank our Principal Partner Virgin Australia who are the National Tour Partner for this series of concerts. They are instrumental in enabling us to perform all around the country, and the world, for which we are enormously grateful.

I am similarly delighted to take this opportunity to welcome the newest member of the ACO: the 1726 Belgiorno Stradivarius violin. This extraordinary 292-year-old instrument has been purchased by our Chairman Guido Belgiorno-Nettis am and Michelle Belgiorno for long-term loan to the ACO, where its custodian will be Principal Violin Satu Vänskä. It is due to the generosity of patrons like the Belgiorno-Nettis’ that we are in the very fortunate position of having one of the finest collections of string instruments of any orchestra in the world.

You can hear the 1726 Belgiorno Stradivarius make its national debut at our upcoming Nicole Car concerts, when Satu will perform Beethoven’s Romance for Violin and Orchestra in F major. I urge you not to miss the opportunity to hear this magnificent instrument in full voice.

I hope that you enjoy what promises to be an enlivening concert.


Nicole Car8 – 24 APRIL

SYDNEY, MELBOURNE, PERTH, BRISBANE

Australia’s star soprano sings Mozart and Beethoven heroines alongside Principal Violin Satu Vänskä who showcases the ACO’s new 1726 Belgiorno Stradivarius with Beethoven’s Romance in F major for Violin and Orchestra.

ACO In Hobart & Darwin13 MAY & 16 JUNE

HOBART & DARWIN

Oud player Joseph Tawadros joins the ACO for their highly anticipated return where they’ll perform Vivaldi’s Four Seasons.

Steven Isserlis Plays Shostakovich23 JUNE – 4 JULY

CANBERRA, MELBOURNE, ADELAIDE, PERTH, SYDNEY

Shostakovich’s monumental First Cello Concerto and Haydn’s London Symphony see Isserlis and the ACO at their sublime best.

What’s OnVisit aco.com.au to learn more.

The Lark Ascending15 – 24 MARCH

GERALDTON, KALGOORLIE, MANDURAH, BUNBURY, MARGARET RIVER, ALBANY

ACO Collective take Vaughan Williams’ The Lark Ascending to Western Australia, led by their energetic Artistic Director Pekka Kuusisto.

8 Australian Chamber Orchestra

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ACO concerts are regularly broadcast on ABC Classic FM. Death and the Maiden will be broadcast on Sunday 8 April at 5pm.

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‘Music is a means for us to express our most complex, and often intertwined, emotions.’

Music has the capacity to convey the vast expanse of human emotions, and this is what I set out to explore when curating this program. At times this may seem quite dark – there are themes of death, of loss – but darkness is often intermingled with other feelings, of hope, and even beauty and love.

Karl Amadeus Hartmann’s Concerto funebre is a piece that has stayed with me ever since I first performed it many years ago. Hartmann wrote this concerto in 1939 in the lead up to the second world war and was, I think, very much troubled by the world he was seeing around him. You can hear the desperation, the sheer terror, but at the same time there is something very human in the return to hope at the very end of the concerto.

Schubert is another composer who is a master at conveying what can almost be seen as a conflict of emotions. In his Death and the Maiden quartet there is so much sadness and melancholy, but also joy, sometimes within the same note. Even in the quartet’s darkest moments there are underlying feelings of tenderness. It is impossible to listen to this music and be unmoved.

Music is a means for us to express our most complex, and often intertwined, emotions. And it is the shared experience of these emotions that connect and bind us to one another as human beings.

Alina Ibragimova Guest Director & Violin

Introduction from Alina Ibragimova


Music and Melancholia

Arts Editor at The Weekly Review and faculty member of the School of Life Myke Bartlett, explores how music helps us tap into, and navigate, our inner emotions.

It’s not uncommon for anything in a minor key to be branded depressing. To put on Schubert’s Death and the Maiden during a lively party is to invite everyone to finish drinks and clear out, pronto.

But it’s unfair to blame music for being depressing. After all, there is nothing inherently miserable about Samuel Barber’s Adagio for Strings, even if it has a knack for reducing an audience to tears. Music doesn’t create emotion, but rather amplifies what is already within us. It elucidates and gives permission to emotions that we might struggle to express through language alone.

There’s a reason that teenagers have forever been drawn to music that swings between extremes of ecstasy and despair. Adolescence is a time of great turmoil, when our developing inner geography can seem a foreign and bewildering land. This is a time of life when music matters most. We map our inner lives in songs that give sense to the apparently insensible, helping us fashion the emotional toolkit we’ll need to navigate the delights and hardships that await us in adulthood.

Little wonder that we often return to music for solace in times of hardship. It was through composing his Concerto funebre that Karl Amadeus Hartmann made sense of the horrors inflicted on Germany by the Nazi party. Its mournful violin refrain echoes his despair and foreboding at what is to come, but also seems to speak of a tender humanity, wounded but not without hope. It is telling that some of the most melancholic music is also the most beautiful, perhaps because we recognise truth in its complexity. Sad songs shine a light into our own private darknesses, showing us things we already knew were there, however we might have tried to deny them.

To embrace melancholy feels deeply counter cultural at this moment in history. Ours is a world of celebration and

‘Music doesn’t create emotion, but rather amplifies what is already within us’

OPPOSITE: This dreamy illustration by John Craig featured on the cover image of The Smashing Pumpkins’ 1995 album Mellon Collie and the Infinite Sadness


‘Melancholic music offers a roadmap to the parts of ourselves we most need to access, in dark times and bright.’

hedonism, where music exists to inspire us to party on or, more often, to cheerily distract us. But melancholic tunes offer an antidote to this relentless, noisy and exhausting positivity. They invite us to slow down and spend time with our own thoughts – a prospect many seem to find confronting.

Melancholic music offers a roadmap to the parts of ourselves we most need to access, in dark times and bright. It helps us hone in on the wordless emotions we need to feel in order to better understand ourselves. Far from being depressing, it reminds us of the full breadth of our emotional landscapes and the solace of knowing that life can’t – and shouldn’t – always play out in a major key.


Adagio for Strings, Op.11 On completing the second movement of his String Quartet, Op.11 in 1936, Samuel Barber knew that he had created something special, declaring it a ‘knockout!’. What he had intuitively recognised was the special quality of this movement which, in its incarnation as an arrangement for string orchestra in five parts, was one day to make the Adagio into his most resoundingly successful and popular work.

Barber’s personal belief in the Adagio led him to present the string orchestra arrangement along with his First Essay for orchestra for the perusal of the great conductor Arturo Toscanini. Departing America for Italy in the summer, Toscanini sent back the scores to Barber without comment. Distressed and ‘annoyed’ at the lack of response, Barber sent his composer-friend Gian-Carlo Menotti on a pre-arranged visit to Toscanini’s summer house without him, apologising that he was not feeling well. Toscanini is reported to have told Menotti, ‘I don’t believe that. He’s mad at me. Tell him not to be mad. I’m not going to play one of his pieces, I’m going to play both!’

Toscanini’s regular orchestral broadcasts in many ways defined American musical taste during the 1930s and so it was of the utmost significance that the Italian conductor recognised the American composer. The broadcast on 5 November 1938 brought Barber’s music to the attention of a national audience. A subsequent review by Olin Downes in the New York Times included the comment: ‘This is the product of a musically creative nature…who leaves nothing undone to achieve something as perfect in mass and detail as his craftsmanship permits.’

Downes alludes to one of the great appeals of this work. By no means is it an ‘intellectual exercise’; there is something in the shape and simple truth of the Adagio that is emotionally satisfying. It is written in a language that enables it to speak to the most diverse cross-section of society and this has ensured its popularity. Barber’s Adagio gives voice to otherwise inexpressible human emotions.

‘Barber’s Adagio gives voice to otherwise inexpressible human emotions.’

Samuel Barber (1910-1981)

Samuel Barber photographed by Carl Van Vechten, December 11, 1944


Modern perceptions of the Adagio have been coloured by its frequent use in advertising and films. Through its association with the deaths of prominent American personalities the Adagio has also acquired the unfortunate reputation of ‘national funeral music’, having been performed at the funerals of such diverse individuals as President Franklin D. Roosevelt, Albert Einstein and Princess Grace of Monaco.

The Adagio has its own innate intensity which in many ways is generated by the seamless line of its structure. This is most obvious in the original version for string quartet, but which is also apparent in the string orchestra arrangement, and Barber’s subsequent setting of the work as a choral Agnus Dei. Any added emphasis in performance is in danger of distorting the Adagio and corrupting its graceful simplicity. The extra weight of the orchestral version is already enough to encourage most conductors to a slower, more extended reading. The additional resonance of the full string sections can make the Adagio up to three minutes longer than the quartet version, while still making musical sense.

Perhaps Aaron Copland best captured the essence of the Adagio when he commented:

It’s really well felt, it’s believable you see, it’s not phoney. He’s not just making it up because he thinks that it would sound well. It comes straight from the heart…The sense of continuity, the steadiness of the flow, the satisfaction of the arch that it creates from beginning to end – they’re all very gratifying, satisfying, and it makes you believe in the sincerity which he obviously put into it.

Kylie Burtland, Symphony Australia ©1996. Reprinted with permission.

‘It comes straight from the heart.’ AARON COPLAND


‘The role of classical music in cinema runs the gamut from the perfunctory to the profound. Less than two minutes of Barber’s piece is heard in Platoon, but its inclusion added immeasurably to the film.’

Classical music has accompanied some of the most iconic moments in cinema history. When sound and vision are in perfect harmony, the effect can be exhilarating says UK film journalist and critic Ian Haydn Smith.

A pivotal scene in Platoon (1986), Oliver Stone’s Oscar-winning Vietnam drama, takes place as a battalion of US soldiers are airlifted out of the jungle. Rising above the dense green canopy, they witness a GI entering a clearing. He is severely injured and pursued by Viê. t Cô. ng guerrillas. The soldiers watch on helplessly from the helicopters, unable to save the sergeant. We know his first wounds were inflicted by one of his own, and the conflict between the good but doomed Elias and his nemesis Barnes plays out on a mythical level, as a battle for the souls of the young soldiers conscripted to fight. That mythic quality is reinforced by the music that accompanies Elias’ fall. As bullets riddle his body and in a final, Christ-like pose, Elias dies, Samuel Barber’s Adagio for Strings reaches its crescendo.

The role of classical music in cinema runs the gamut from the perfunctory to the profound. Less than two minutes of Barber’s piece is heard in Platoon, but its inclusion added immeasurably to the film. It works because the drama of the scene is matched by the emotional force of the music. In a similar vein, the final moments of Robert De Niro’s The Good Shepherd (2006) are played out to Arvo Pärt’s solemn, measured Silouan’s Song. The music here adds weight to the tragedy of a man who has sacrificed his personal life in the pursuit of power.

A piece of classical music needn’t dominate a scene to work effectively. (Although a skilled filmmaker like Stanley Kubrick fully understood its impact when employed at the right moment, as evinced by his use of The Blue Danube in 2001: A Space Odyssey [1968], Handel’s Sarabande as a portend of tragedy in Barry Lyndon [1975] and, most chillingly, Beethoven’s Ninth in A Clockwork Orange [1971].) In her adaptation of The Portrait of a Lady (1996), Jane Campion subtly employs Franz Schubert’s String Quartet in D minor to accentuate Isabel Archer’s inner

Film and the Power of Music


‘It works because the drama of the scene is matched by the emotional force of the music.’

torment. By contrast, Roman Polanski’s Death and the Maiden (1994), a faithful adaptation of Ariel Dorman’s taut chamber play, introduces Schubert’s 1824 composition less as a backdrop than a character – an involuntary witness to a terrible past.

When classical music is used poorly or without imagination in a film, it can be insipid or manipulative – cheap sentimentality that undermines the power of a scene and the emotional weight of the original composition. When it works, it can move us. If the use of Adagio for Strings in Platoon accentuated the fall of man, in David Lynch’s The Elephant Man (1980) it reaches out into the universe. In the film’s closing moments, John Merrick carefully removes the pillows on his bed and lies back. His hope is to dream – to reach up into the sky, lifted out of the pain of his physical being, and into the heavens. In these transcendent moments, it is the power and grace of Barber’s music that transports us along with him.

ABOVE: Scene from Platoon (1986) Director: Oliver Stone


Adagio and Fugue in C minor, K.546(Composed 1782/1788)

I. Adagio – II. Fuga

In 1781 Mozart moved to Vienna. His disapproving father is not alone in thinking that the abrupt shift – from the quiet enclave of an archbishop’s palace in Salzburg to the cosmopolitan capital – went to his head. However, some of the notables with whom he began to rub shoulders were very useful, not least as unofficial and unacknowledged mentors.

One such was Baron Gottfried van Swieten (1733-1803), a minor diplomat at the Viennese court. He is remembered now with great affection by music lovers as the writer of libretti for Haydn, including The Creation and The Seasons; as one of Beethoven’s principal patrons; and as the man who tried unsuccessfully to organise a decent funeral for Mozart.

Swieten was one of the first notable ‘early music’ fanatics. It’s hard for us now to fathom the thirst for novelty which, coupled with the total lack of recording technology, meant that Baroque composers such as Bach and Vivaldi were rather obscure by Mozart’s time. Bach cropped up a bit in church music or as the author of contrapuntal exercises used for teaching. Mozart had doubtless encountered this music during his happy time in London as a child, where he learned from Bach’s son Johann Christian. But it seems to have been at Swieten’s social Sunday salon concerts that he gained a deeper knowledge of Bach.

What else was Mozart doing around this time? He was writing music of all sorts, getting married to Constanze Weber, and teaching piano to young ladies. One of these was Josepha von Auernhammer. He was famously rude about her. Mozart only ever wrote two duets for two separate pianos (as opposed to duets for four hands, where the performers sit closely side by side at the keyboard). Given that both these two-piano works were written for himself and Josepha to perform, it is tempting to draw conclusions about his seating plan.

Wolfgang Amadeus Mozart (1756–1791)


‘ When we hear something like the fugal finale to the ‘Jupiter’ symphony (1788), we know that by then Mozart definitely knew his way around a fugue’

The second of these two-piano works was a fugue in C minor, now catalogued as K.426. It is relevant here because in 1788 Mozart returned to it and orchestrated it for strings, and added an Adagio in order to create the work on this program, K.546.

Constanze also rates a separate mention here, because her husband’s letters tell us that she liked fugues. There are a number of autograph scraps of fugal works intended for her to play, for entertainment and education (although it seems Mozart never got around to finishing most of them). Many seem to have been a response to his experiences with Baroque music at Swieten’s salons. When we hear something like the fugal finale to the ‘Jupiter’ symphony (1788), we know that by then Mozart definitely knew his way around a fugue, but he doesn’t seem to have really warmed to them.

Perhaps he simply regarded them, as did many of his contemporaries, as rather old-fashioned and even a little contrived – clever, rather than emotional. Fugues could also carry certain connotations of church music; and indeed by adding the Adagio Mozart effectively created the two-movement form known as a ‘church’ sonata; plus of course implying the prelude-fugue pattern he knew from Bach.

This rather sombre, formal work appears to have been completed on 26 June 1788 (the same day, weirdly, on which Mozart signed off on his joyous and entirely ‘modern’ Symphony No.39). He was not a composer who wasted much time on writing music just for the fun of it – is it possible that this Adagio and Fugue was intended for a Swieten salon performance? It’s nice to think that perhaps it was, and that this urbane and generous man enjoyed Mozart’s musical offering as a reflection of, and tribute to, his own tastes and interests.

K.P. Kemp © 2005


Karl Amadeus Hartmann bust by Leo von Klenze, 1843-53 Munich Hall of Fame.

Concerto funebre for violin and string orchestra (1939, rev. 1959)

I. Introduction (Largo) – II. Adagio – III. Allegro di molto – IV. Choral (Langsamer Marsch)

Like many artists in Hitler’s Germany, the composer Karl Amadeus Hartmann went into what is often known as ‘internal exile’. Born in Munich in 1905, Hartmann grew up in a liberal, cosmopolitan family. The Hartmanns refused to join in the anti-French hysteria whipped up during the First World War; as Hitler’s rise to power became more and more inevitable, Karl and his brothers campaigned actively against the Nazis. The composer later wrote that as the Nazis consolidated their power:

my brothers and I managed to distance ourselves from the army, the labour battalions and similar pleasantries…we are known as one of the few genuinely anti-fascist families in Munich.

Nevertheless, Hartmann saw what was coming, saying that the year 1933 ‘with its misery and hopelessness…was logically bound to develop from the idea of tyranny, the most terrible of all crimes – war’. While other artists either fled Germany, or to some degree accommodated themselves to the new regime, Hartmann stayed on and continued to work, producing a large amount of music including several symphonies. (Fortunately for him, Hartmann’s father-in-law was a ball bearing magnate who naturally had a ‘good war’.) His symphonic poem Miserae was composed in 1934 and dedicated to those who had been murdered in the Dachau concentration camp, which had been established the previous year. The work was performed in Prague, but its reception led to Hartmann’s being intimidated by Nazi functionaries. He therefore decided to have nothing performed in Germany while the regime lasted.

In 1939, Hartmann composed a work for violin and strings entitled Musik der Trauer (‘Music of mourning’) and dedicated it to his four-year-old son Richard. The score was smuggled out of Germany to Switzerland, where it was

Karl Amadeus Hartmann (1905–1963)


Zurich Tonhalle, Musica Viva Poster, 1971. Designed by Joseph Müller-Brockmann

‘No artist, unless wishing himself as written off to nihilism, can sidestep his commitment to humanity.’ KARL AMADEUS HARTMANN

premiered at St Gallen in 1940. In 1959, Hartmann revised the score, giving it its present title, Concerto funebre. It is a document of the composer’s repudiation of Nazism. Embedded in the work are quotations and references to other music which make this clear. Shostakovich also cultivated this kind of quotation, and Hartmann’s style has other aesthetic affinities with the Russian’s. In the first movement, for instance, Hartmann quotes hymns of the 13th-century Czech Hussite sect to express his feelings on the invasion by Germany of Czechoslovakia in 1938 (and the rest of Europe’s policy of appeasement). There are references to themes from two movements of Smetana’s Má vlast, and, in the final movement, the Russian revolutionary song known in Germany as Unsterbliche Opfer (Immortal offerings) – which Shostakovich later used – provides the main material.

Much of Hartmann’s music came to light only when he organised a series of Musica Viva concerts after the War. Despite his having studied with Webern during the war, his essentially diatonic style was out of step with the developments of the postwar avant-garde of Boulez and Stockhausen, and Norman Lebrecht has suggested that ‘powerful conductors with a Nazi past – Karajan, Böhm – eliminated his work from concert circulation’.

Hartmann wrote that ‘no artist, unless wishing himself as written off to nihilism, can sidestep his commitment to humanity’. His music shows that he had the courage of his convictions.Gordon Kerry © 2005 Reprinted with permission of Symphony Services International


Estonian composer Arvo Pärt

Silouan’s Song (‘My soul yearns after the Lord...’)

Pärt brought the inevitable official disfavour of Estonia’s Communist government on himself in 1968 with his Credo, a work that was not only Christian in motivation but decadently ‘formalist’ in style. Between then and the mid-70s, Pärt wrote little music, and his religious faith increased while his commitment to avant-garde modernism ebbed away. Then, at the time he was formally received into the Orthodox Church, he produced works, such as the popular Fratres, which established his individual voice and international reputation.

Since 1991 Pärt has often turned to the theology of Saint Silouan (1866–1938), a Russian-born mystic who lived as a monk on Mount Athos and was canonised in 1987. Composed in 1991, Silouan’s Song is Pärt’s first work based on Silouan’s writings about the soul’s urge to reunite with God, and is dedicated to Silouan’s disciple and amanuensis, the Archimandrite Sophrony.

In his unique ‘tintinnabuli’ (bell-ringing) style, Pärt pits a stepwise melody, representing the sinful world, against a more stable triadic line, representing the world of objective reality, over a static drone bass. Silouan’s Song begins and ends on the edge of audibility, moving into and away from the higher registers with increasing emotional intensity. The stepwise melody is at times heard within the texture, with repeated notes in the highest lines. With relatively short phrases punctuated by silence, the effect is something like the repetitions of musical phrases as the verses of a psalm are chanted; and indeed, the work’s subtitle ‘My soul yearns after the Lord...’ refers to Psalm 42:1.

Simple rhythm enhances sudden contrasts of texture – passages in the achingly dissonant middle register against serene higher passages – and there is an impassioned climax (prepared, typically for Pärt, by two bars of silence marked crescendo), though the piece ends provisionally: the soul continues to yearn.

© Gordon Kerry 2018

Arvo Pärt (born 1935)


‘ Pärt pits a stepwise melody, representing the sinful world, against a more stable triadic line, representing the world of objective reality’

Icon of Saint Silouane at the entrance of Saint Silouane Monastery


Franz Schubert, 1846. Lithograph by artist Josef Kriehuber.

‘An orchestra has powers of expressiveness and warmth beyond that of a quartet.’

String Quartet No.14 in D minor, D.810 Death and the Maiden Arranged for string orchestra by Richard Tognetti

I. Allegro II. Andante con moto III. Scherzo (Allegro molto) IV. Presto

Franz Schubert managed to compress a world of drama into each of his many small but perfectly formed songs. In his great Lied Die Erlkönig, for example, three quite distinct characters (the King of the Elves, a dying child and a distraught father) present a complete scenario in the space of a few minutes. The song Death and the Maiden D.531 draws on similar techniques to juxtapose two contrasting characters and their respective musical themes.

With both these songs, in the best traditions of German Romantic literature, it is never totally clear whether the ‘evil’ characters of the Erlkönig and Death are real or wholly imaginary. The frightened victims in each case are thoroughly convinced of their solidity, which is enough to create a dramatic conflict. It’s somewhat ironic that this natural compositional flair for drama never successfully transferred to opera, something which frustrated Schubert immensely.

Schubert’s achievements in song writing also owe something to a happy confluence of events. As any composer looking to write vocal music has found, there are far fewer good librettists than composers. For some reason, there did seem to be an unusual number of Germanic poets in the 18th and 19th centuries whose work lent itself easily to music. Alongside the still-famous names of Schiller and Goethe, Schubert set words by countless lesser poets including Matthias Claudius, author of Death and the Maiden.

Claudius was inclined from an early age to focus on spiritual themes, and after the death of his beloved brother he became even more intensely religious. This particular poem seems to draw on both the 19th-century fascination with Gothic horror stories, and the basic human need (especially in times of poor medical care) to find a level of acceptance

Franz Schubert (1797–1828)


‘...does one go gently, or rage?’

of mortality. Death could be a scourge or a blessing, and in a strongly Christian culture the boundary was not always clear.

The song Death and the Maiden was composed in 1817, the same year as the more lighthearted The Trout. Some time between 1824 and 1827, Schubert reworked the principal melodies of these songs into chamber music. The Trout Quintet was a suitably sunny work, in keeping with its original inspiration; but the String Quartet D.810 reached a new level of dark expression. Schubert wrote his last three string quartets, including D.810, shortly after enduring a bad bout of syphilis. Besides the physical discomfort, there must have been the mental anguish of knowing that this particular illness precluded him from forming an honourable and eventually permanent relationship.

Although the thematic music of the Maiden makes no appearance in the quartet D.810, the agitated, driving Allegro first movement is its emotional equivalent. For the slow movement, however, Schubert revisited the voice of Death and found a theme which could be presented with five variations. The movement increases in intensity, but as with the original song, the ending comes to rest with indefinable calm. A grimly energetic Scherzo and its correspondingly mild Trio maintain the ambiguity – does one go gently, or rage? The Finale gives no answers, although there may be a clue lurking in this danse macabre: the second subject bears a strange similarity to the otherworldly voice of the Erlkönig.

Richard Tognetti’s desire to recast the quartet for a string orchestra is not an unnatural one. Mahler did it too, although in his lifetime he only performed the slow movement. An orchestra has powers of expressiveness and warmth beyond that of a quartet. A new and welcome depth can be added with a double bass line, and the increased opportunities for intensity and contrast are surely true to the spirit of Schubert’s composition. © Katherine Kemp


Death and the Maiden BY MATTHIAS CLAUDIUS (1740-1815)

The Maiden ‘Pass by, oh, pass by me! Pass by, you cruel skeleton! I am still young – go, please dear man! And leave me untouched.’ Death ‘Give me your hand, you pretty, sweet creature, I am your friend; I have not come to punish you. Be of good courage! For I am not cruel; Gently, in my arms, you shall sleep.’

Death and the Maiden (1915) by Artist Egon Schiele (Oil on canvas)

27

Performing music from baroque to new commissions on both modern and period instruments, Alina Ibragimova has established a reputation as one of the most accomplished and intriguing violinists of the younger generation. This was illustrated in her prominent presence at the 2015 BBC Proms, which included a concerto with a symphony orchestra, a concerto with a baroque ensemble and two Royal Albert Hall late-night recitals featuring the complete Bach partitas and sonatas, which commanded capacity audiences, and for which The Guardian commented “The immediacy and honesty of Ibragimova’s playing has the curious ability to collapse any sense of distance between performer and listener”.

Highlights among future concerto engagements include debuts with the Boston Symphony, Montreal Symphony, Chamber Orchestra of Europe, Royal Stockholm Philharmonic, Hungarian National Philharmonic, Scottish Chamber Orchestra, Tokyo Symphony, returns with the London Symphony, BBC Symphony, residencies with the Strasbourg Philharmonic and at the Casa della Musica in Porto, as well as extensive touring in Australia (Sydney, Melbourne, Adelaide and Tasmania symphony orchestras).

As a recitalist, Alina has appeared at venues including the Wigmore Hall, Concertgebouw Amsterdam, Salzburg Mozarteum, Vienna’s Musikverein, Park Avenue Armory in New York, Carnegie Hall, Palais des Beaux Arts Brussels, Theatre des Champs-Elysees, Vancouver Recital Series, San Francisco Performances, and at festivals including Salzburg, Verbier, Gstaad, MDR Musiksommer, Manchester International, Lockenhaus, Lucerne, Mostly Mozart New York and Aldeburgh.

Her long-standing duo partnership with pianist Cédric Tiberghien has featured a highly successful complete cycle of both the Beethoven and Mozart violin sonatas at the Wigmore Hall. Future plans for the duo also include extensive touring in Japan and North America.

Alina Ibragimova

“The immediacy and honesty of Ibragimova’s playing has the curious ability to collapse any sense of distance between performer and listener”.


Over the years, Alina has appeared with orchestras including the London Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, Bamberger Symphoniker, Deutsche Kammerphilharmonie Bremen, WDR Sinfonieorchester Köln, Stuttgart Radio Symphony, Orquestre Philharmonique de Radio-France, Seattle Symphony, Mariinsky Theatre Orchestra, Philharmonia, Orchestra of the Age of Enlightenment, and all the BBC orchestras. Conductors with whom Alina has worked include Bernard Haitink, Sir John Eliot Gardiner, Valery Gergiev, Paavo Järvi, Yannick Nézet-Séguin, Vladimir Jurowski, Rafael Frühbeck de Burgos, Sir Charles Mackerras, Sir Mark Elder, Philippe Herreweghe, Osmo Vänskä, Hannu Lintu, Sakari Oramo, Ilan Volkov, Tugan Sokhiev, Jakub Hrusa, Ludovic Morlot, Edward Gardner and Gianandrea Noseda.

As soloist/director Alina has toured with the Kremerata Baltica, Britten Sinfonia, Academy of Ancient Music, and the Australian Chamber Orchestra.

Born in Russia in 1985 Alina studied at the Moscow Gnesin School before moving with her family to the UK in 1995 where she studied at the Yehudi Menuhin School and Royal College of Music. She was also a member of the Kronberg Academy Masters programme. Alina's teachers have included Natasha Boyarsky, Gordan Nikolitch and Christian Tetzlaff.

Alina has been the recipient of awards including the Royal Philharmonic Society Young Artist Award 2010, the Borletti-Buitoni Trust Award 2008, the Classical BRIT Young Performer of the Year Award 2009 and was a member of the BBC New Generation Artists Scheme 2005-7. She was made an MBE in the 2016 New Year Honours List. Alina records for Hyperion Records and performs on a c.1775 Anselmo Bellosio violin generously provided by Georg von Opel.

“A violinist of uncompromising intensity.”

– The Guardian UK


The Australian Chamber Orchestra travels a remarkable road. Founded by cellist John Painter in November 1975, this 17-piece string orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in history but always looking to the future, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations.

Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts across Australia each year. This intrepid spirit isn’t confined to the country they call home, as the Orchestra maintains an international touring schedule that finds them in many of the world’s greatest concert halls including Amsterdam’s Concertgebouw, London’s Barbican Centre and Royal Festival Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. In 2018 the ACO commenced a three-year London residency as International Associate Ensemble at Milton Court in partnership with the Barbican Centre, with whom they share a commitment in presenting concerts that inspire, embolden and challenge audiences. Whether performing in Manhattan, New York, or Wollongong, New South Wales, the ACO is unwavering in their commitment to creating transformative musical experiences.

The Orchestra regularly collaborates with artists and musicians who share their ideology: from Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Olli Mustonen, Brett Dean and Ivry Gitlis, to Neil Finn, Jonny Greenwood, Katie Noonan, Barry Humphries and Meow Meow; to visual artists and film makers such as Michael Leunig, Bill Henson, Shaun Tan, Jon Frank and Jennifer Peedom, who have co-created unique, hybrid productions for which the ACO has become renowned.

In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Their recordings of Bach’s violin works won three consecutive ARIA Awards. Recent releases include Mozart’s Last Symphonies, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. Documentaries featuring the ACO have been shown on television worldwide.

aco.com.au

‘The Australian Chamber Orchestra is uniformly high octane, arresting and never ordinary.’THE AUSTRALIAN

Australian Chamber Orchestra

Richard Tognetti Artistic Director & Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Maja Savnik Violin Ike See Violin Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass

PART-TIME MUSICIANS

Thibaud Pavlovic-Hobba ViolinCaroline Henbest Viola Daniel Yeadon Cello


Musicians on Stage

Players dressed by SABA

1 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

2 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund.

3 Timo-Veikko Valve plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund.

4 Florian Peelman plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor.

Alina Ibrigamova Leader and Violin

Helena Rathbone 1 Principal ViolinChair sponsored by Kate & Daryl Dixon

Aiko Goto ViolinChair sponsored by Anthony & Sharon Lee Foundation

Ilya Isakovich ViolinChair sponsored by The Humanity Foundation

Tim Gibbs

Guest Principal Double BassCourtesy of Philharmonia Orchestra

Lachlan O’Donnell Violin

Veronique Serret Violin

Elizabeth Woolnough ViolaCourtesy of Melbourne Symphony Orchestra

Timo-Veikko Valve 3 Principal CelloChair sponsored by Peter Weiss ao

Melissa Barnard CelloChair sponsored by Dr & Mrs J Wenderoth

Ike See ViolinChair sponsored by Di Jameson

Maja Savnik 2 ViolinChair sponsored by Alenka Tindale

Thibaud Pavlovic-Hobba Violin

Liisa Pallandi ViolinChair sponsored by The Melbourne Medical Syndicate

Florian Peelman 4 Guest Principal Viola Chair sponsored by peckvonhartel architects

Nicole Divall ViolaChair sponsored by Ian Lansdown

Timothy Nankervis Cello Courtesy of Sydney Symphony Orchestra


Pre-concert talks take place 45 minutes before the start of every concert. Pre-concert speakers are subject to change.

Thu 15 March, 6.45pm Newcastle City Hall Pre-concert talk by Francis Merson

Sat 17 March, 7.15pm Llewellyn HallPre-concert talk by Francis Merson

Sun 18 March, 1.45pm Arts Centre MelbournePre-concert talk by Lucy Rash

Tue 20 March, 7.15pm City Recital HallPre-concert talk by Francis Merson

Wed 21 March, 6.15pm City Recital HallPre-concert talk by Francis Merson

Fri 23 March, 12.45pm City Recital HallPre-concert talk by Francis Merson

Sat 24 March, 6.15pm City Recital HallPre-concert talk by Francis Merson

Sun 25 March, 1.15pm Sydney Opera HousePre-concert talk by Francis Merson

Mon 26 March, 6.45pm Arts Centre MelbournePre-concert talk by Lucy Rash

Pre-concert Talks

IN CASE OF EMERGENCIES…Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.

CITY RECITAL HALL LIMITED

2–12 Angel PlaceSydney NSW 2000

Administration (02) 9231 9000Box Office (02) 8256 2222Web www.cityrecitalhall.com

Renata Kaldor ao Chair, Board of DirectorsElaine Chia CEO

AUSTRALIAN NATIONAL UNIVERSITYLlewellyn Hall School of Music

William Herbert Place(off Childers Street),Acton, Canberra

Venue Hire InformationTelephone (02) 6125 2527Email [email protected]

GRAND VENUES OF NEWCASTLE CITY HALL Owned and operated by the City of Newcastle

290 King Street, Newcastle NSW 2300

Telephone (Venue & Event Coordinators) (02) 4974 2996 Ticketek Box Office (02) 4929 1977 Email [email protected]

ARTS CENTRE MELBOURNE

PO Box 7585, St Kilda Road, Melbourne VIC 8004

Telephone (03) 9281 8000Box Office 1300 182 183Web artscentremelbourne.com.au

James MacKenzie PresidentVictorian Arts Centre TrustClaire Spencer Chief Executive Officer

SYDNEY OPERA HOUSEBennelong Point

GPO Box 4274, Sydney NSW 2001

Telephone (02) 9250 7111Box Office (02) 9250 7777Email [email protected] sydneyoperahouse.com

Nicholas Moore Chair, Sydney Opera House TrustLouise Herron am Chief Executive Officer

Venue Support


BOARD

Guido Belgiorno-Nettis amChairman

Liz LewinDeputy

Bill BestJohn Borghetti aoJudy CrawfordJohn KenchAnthony LeeMartyn Myer aoJames OstroburskiCarol Schwartz amJulie SteinerJohn TabernerNina WaltonSimon Yeo

ARTISTIC DIRECTOR

Richard Tognetti ao

ADMINISTRATIVE STAFF EXECUTIVE OFFICE

Richard EvansManaging Director

Alexandra Cameron-FraserChief Operating Officer

Katie HeneberyExecutive Assistant toMr Evans and Mr Tognetti ao& HR Officer

ARTISTIC OPERATIONS

Luke ShawDirector of Artistic Operations

Anna MelvilleArtistic Administrator

Lisa MullineuxTour Manager

Ross ChapmanTouring & Production Coordinator

Nina KangTravel Coordinator

Bernard RofeLibrarian

Joseph NizetiMultimedia, Music Technology& Artistic Assistant

EDUCATION

Vicki NortonEducation Manager

Caitlin GilmourEmerging Artists and Education Coordinator

FINANCE

Fiona McLeodChief Financial Officer

Yvonne MortonFinancial Accountant & Analyst

Dinuja KalpaniTransaction Accountant

Samathri GamaethigeBusiness Analyst

DEVELOPMENT

Anna McPhersonDirector of Corporate Partnerships

Jill ColvinDirector of Philanthropy

Tom TanseyEvents & Special ProjectsManager

Sarah MorrisbyPhilanthropy Manager

Sally CrawfordPatrons Manager

Lillian ArmitageCapital Campaign Manager

Yeehwan YeohInvestor Relations Manager

Camille ComtatCorporate Partnerships Executive

Kay-Yin TeohCorporate Partnerships Administrator

MARKETING

Antonia FarrugiaDirector of Marketing

Caitlin BenetatosCommunications Manager

Rory O’MaleyDigital Marketing Manager

Christie BrewsterLead Creative

Cristina MaldonadoMarketing & Communications Executive

Shane ChoiMarketing Coordinator

Colin TaylorTicketing Sales & Operations Manager Dean WatsonCustomer Relations & Access Manager

Christina HollandOffice Administrator

Robin HallArchival Administrator

AUSTRALIAN CHAMBER ORCHESTRAABN 45 001 335 182Australian Chamber OrchestraPty Ltd is a not-for-profit companyregistered in NSW.

In PersonOpera Quays, 2 East Circular Quay,Sydney NSW 2000

By MailPO Box R21, Royal ExchangeNSW 1225 Australia

Telephone(02) 8274 3800Box Office 1800 444 444

[email protected]

Webaco.com.au

Behind the Scenes


ACO 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 PATRONThe late Amina Belgiorno-Nettis

PRINCIPAL CHAIRS

Richard Tognetti aoArtistic Director & Lead ViolinWendy EdwardsPeter & Ruth McMullinLouise & Martyn Myer aoAndrew & Andrea Roberts

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Principal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter Weiss ao

Maxime BibeauPrincipal Double BassDarin Cooper Foundation

CORE CHAIRS

VIOLINGlenn ChristensenTerry Campbell ao & Christine Campbell

Aiko GotoAnthony & Sharon Lee Foundation

Mark IngwersenJulie Steiner & Judyth Sachs

Ilya IsakovichThe Humanity Foundation

Liisa PallandiThe Melbourne Medical Syndicate

Maja SavnikAlenka Tindale

Ike SeeDi Jameson

VIOLARipieno ViolaPhilip Bacon am

Nicole DivallIan Lansdown

CELLOMelissa BarnardDr & Mrs J. Wenderoth

Julian ThompsonThe Grist & Stewart Families

ACO COLLECTIVE

Pekka KuusistoArtistic Director & Lead ViolinHorsey Jameson Bird

GUEST CHAIRS

Brian NixonPrincipal TimpaniMr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICIMr R. Bruce Corlett am &Mrs Annie Corlett am

ACO Life Patrons

IBMMr Robert Albert ao & Mrs Libby AlbertMr Guido Belgiorno-Nettis amMrs Barbara Blackman ao

Mrs Roxane ClaytonMr David Constable amMr Martin Dickson am & Mrs Susie DicksonThe late John Harvey ao

Mrs Alexandra MartinMrs Faye ParkerMr John Taberner & Mr Grant LangMr Peter Weiss ao

ACO Bequest Patrons

The ACO would like to thank the following people, who remembered the Orchestra in their wills. Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Director of Philanthropy, on 02 8274 3835.

The late Charles Ross AdamsonThe late Kerstin Lillemor AndersenThe late Mrs Sybil BaerThe late Prof. Janet CarrThe late Mrs Moya CraneThe late Colin Enderby

The late Neil Patrick GilliesThe late John Nigel HolmanThe late Dr S W Jeffrey amThe late Pauline Marie JohnstonThe late Mr Geoff Lee am oamThe late Shirley Miller

The late Josephine PaechThe late Richard PonderThe late Mr Geoffrey Francis ScharerThe late Scott Spencer


ACO Continuo Circle

The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Director of Philanthropy, on 02 8274 3835 for more information. Every gift makes a difference.

Steven BardyRuth BellDavid BeswickDr Catherine Brown-Watt & Mr Derek WattSandra CassellMrs Sandra DentPeter EvansCarol Farlow

Suzanne GleesonLachie HillDavid & Sue HobbsPenelope HughesToni Kilsby & Mark McDonaldMrs Judy LeeJohn MitchellSelwyn M OwenMichael Ryan & Wendy Mead

Ian & Joan ScottCheri StevensonLeslie C ThiessNgaire TurnerG C & R WeirMargaret & Ron WrightMark YoungAnonymous (16)

ACO Reconciliation Circle

Contributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Sarah Morrisby, Philanthropy Manager, on 02 8274 3803

Colin & Debbie Golvan Kerry Landman Peter & Ruth McMullin

Patterson Pearce FoundationSam Ricketson & Rosie Ayton

ACO Excellence Fund Patrons

ACO Excellence Fund Patrons enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

Dr Jane CookRobert & Jennifer GavshonCarole A.P. GraceRohan HaslamMike & Stephanie Hutchinson

Geoff & Denise IllingMegan LoweBaillieu Myer acDavid ShannonJ Skinner

Kim & Keith SpenceChristina Scala & David StuddyMike ThompsonDr Jason WenderothAnonymous (3)

ACO Next

ACO Next is an exciting philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

MEMBERSClare Ainsworth HerschellLucinda BradshawMarc BudgeJustine ClarkeEste Darin-Cooper & Chris BurgessAmy DenmeadeJenni Deslandes & Hugh MorrowAnthony Frith & Amanda Lucas-FrithShevi de SoysaRebecca Gilsenan & Grant MarjoribanksRuth Kelly

Aaron Levine & Daniela GavshonRoyston LimGabriel LopataRachael McVeanCarina MartinBarry MowszowskiLucy MyerJames OstroburskiNicole Pedler & Henry DurackMichael RadovnikovicJessica ReadAlexandra Ridout

Emile & Caroline ShermanTom SmythMichael SouthwellTom StackHelen TelferKaren & Peter TompkinsNina Walton & Zeb RicePeter Wilson & James EmmettThomas WrightAnonymous (2)


ACO Instrument Fund

The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s assets are the 1728/29 Stradivarius violin, the ‘ex Isolde Menges’ 1714 Joseph Guarnerius filius Andreæ violin and the ‘ex-Fleming’ 1616 Brothers Amati Cello. For more information, please call Yeehwan Yeoh, Investor Relations Manager on 02 8274 3878.

Peter Weiss aoPATRON ACO Instrument Fund

BOARD MEMBERSBill Best (Chairman)Jessica BlockJohn Leece amJulie SteinerJohn Taberner

PATRONS

VISIONARY $1m+Peter Weiss ao

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,999The late Amina Belgiorno-NettisNaomi Milgrom ao

OCTET $100,000 – $199,999John Taberner

QUARTET $50,000 – $99,999John Leece am & Anne LeeceAnonymous (1)

SONATA $25,000 – $49,999

ENSEMBLE $10,000 – $24,999Leslie C. ThiessAnonymous (1)

SOLO $5,000 – $9,999

PATRON $500 – $4,999In memory of Lindsay ClelandMerilyn & David HoworthLuana & Kelvin KingJohn Landers & Linda SweenyBronwyn & Andrew LumsdenPeter McGovernJohn & Virginia RichardsonPeter & Victoria ShorthouseRobyn TamkeAnonymous (2)

INVESTORSStephen & Sophie AllenJohn & Deborah BalderstoneGuido & Michelle Belgiorno-NettisBill Best

Benjamin BradySam Burshtein & Galina KasekoCarla Zampatti FoundationSally CollierMichael Cowen & Sharon NathaniMarco D’OrsognaDr William DowneyGarry & Susan FarrellGammell FamilyDaniel & Helen GauchatEdward GilmartinTom & Julie GoudkampPhilip HartogPeter & Helen HearlBrendan HopkinsAngus & Sarah JamesPaul & Felicity JensenDaniel & Jacqueline PhillipsRyan Cooper Family FoundationAndrew & Philippa StevensDr Lesley TreleavenThe late Ian Wallace & Kay FreedmanMedia Super

ACO Special Projects

SPECIAL COMMISSIONS PATRONS

Peter & Cathy AirdJosephine Kay & Ian BredanMirek GenerowiczAnthony & Conny HarrisRohan HaslamLionel & Judy KingBruce LaneDavid & Sandy LiblingRobert & Nancy PallinTeam SchmoopyRebecca Zoppetti Laubi

INTERNATIONAL TOUR PATRONS

The ACO would like to pay tribute to the following donors who support our international touring activities:

Linda & Graeme BeveridgeAnthony & Sharon Lee FoundationProfessor Anne Kelso aoBruce & Jenny LaneDelysia LawsonFriends of Jon & Caro StewartMike ThompsonOliver WaltonAnonymous (1)

JEWISH MUSEUM PATRONS

LEAD PATRON

PATRONSMarc Besen ac & Eva Besen ao

SUPPORTERSThe Ostroburski FamilyJulie Steiner

FRIENDLeo & Mina Fink Fund

EMANUEL SYNAGOGUE PATRONS

CORPORATE PARTNERSAdina Apartment HotelsMeriton Group

LEAD PATRONThe Narev Family

PATRONSDavid Gonski acLeslie & Ginny GreenThe Sherman FoundationJustin Phillips & Louise Thurgood-Phillips

ACO UK SUPPORTERS

AMBASSADORSBrendan & Bee HopkinsRupert Thomas & Kate Rittson-Thomas

FRIENDSJohn ColesJohn & Kate CorcoranHugo & Julia HeathDr Caroline LawrensonJohn TabernerPatricia ThomasPaula Bopf & Rob Rankin

SUPPORTERIsla Baring

ACO ACADEMY

LEAD PATRONSLouise & Martyn Myer ao

PATRONSPeter Jopling am qcWalter Barda & Thomas O’Neill

SUPPORTERHilary Goodson


ACO Special Projects

ACO MOUNTAIN PRODUCERS’ SYNDICATE

The Australian Chamber Orchestra would like to thank the following people for their generous support of Mountain:

Executive ProducerMartyn Myer ao

Major ProducersJanet Holmes à Court acWarwick & Ann Johnson

ProducersRichard CaldwellWarren & Linda ColiAnna Dudek & Brad BanducciWendy EdwardsDavid FriedlanderTony & Camilla GillJohn & Lisa Kench

Charlie & Olivia LanchesterRob & Nancy PallinAndrew & Andrea RobertsPeter & Victoria ShorthouseAlden Toevs & Judi Wolf

SupportersAndrew AbercrombieJoanna BaevskiAnn Gamble MyerGilbert GeorgeCharles & Cornelia Goode FoundationCharles & Elizabeth GoodyearPhil & Rosie Harkness

Peter & Janette KendallAndy Myer & Kerry GardnerSid & Fiona MyerAllan Myers acThe Penn FoundationPeppertree FoundationThe Rossi FoundationShaker & DianaMark StanbridgeKim Williams amPeter & Susan Yates

EUROPEAN TOUR PATRONS

Philippa & John ArmfieldWalter Barda & Thomas O’NeillSteven Bardy & Andrew PattersonChris & Katrina BarterRussell & Yasmin BaskervilleDavid Bohnett & Maria BockmannPaula Bopf & Robert RankinPaul BorrudCraig & Nerida CaesarTerry Campbell ao & Christine CampbellMichael & Helen CarapietStephen & Jenny CharlesAndrew Clouston & Jim McGownJohn ColesRobin Crawford am & Judy CrawfordGraham & Treffina DowlandDr William F DowneyVanessa Duscio & Richard EvansTerry & Lynn FernFitzgerald FoundationDaniel & Helen GauchatRobert & Jennifer GavshonNick & Kay GiorgettaColin Golvan qc & Debbie GolvanJohn Grill ao & Rosie Williams

Tony & Michelle GristEddie & Chi GuillemetteLiz HarbisonPaul & April HickmanCatherine Holmes à Court-MatherSimon & Katrina Holmes à CourtFamily TrustJay & Linda HughesDi JamesonAndrew & Lucie JohnsonSimon JohnsonSteve & Sarah JohnstonRussell & Cathy KaneJohn & Lisa KenchWayne KratzmannDr Caroline LawrensonJohn Leece am & Anne LeeceDavid & Sandy LiblingPatrick Loftus-Hills & Konnin TamDr Wai Choong Lye & Daniel LyeChristopher D. Martin & Clarinda Tjia-DharmadiJanet Matton & Robin RoweJulianne MaxwellNicholas McDonald & Jonnie KennedyAndrew & Cate McKenzie

Peter & Ruth McMullinJim & Averill MintoRany & Colin MoranUsmanto Njo & Monica Rufina TjandraputraDr Eileen OngJames OstroburskiSusan PhillipsSimon Pinniger & Carolyne RoehmAndrew & Andrea RobertsThe Ryan Cooper Family FoundationCarol Schwartz am & Alan Schwartz amRosy Seaton & Seumas DawesJennifer Senior & Jenny McGeePeter & Victoria ShorthouseHilary StackJon & Caro StewartJohn TabernerJamie & Grace ThomasAlenka TindaleDr Lesley TreleavenBeverley Trivett & Stephen HartPhillip Widjaja & Patricia KaunangSimon & Jenny Yeo


ACO National Education Program

The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive. If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) 8274 3835 or [email protected]

Donor list current as at 26 February 2018

PATRONS

Marc Besen ac & Eva Besen aoJanet Holmes à Court ac

EMERGING ARTISTS & EDUCATION PATRONS $10,000 +

Mr Robert Albert ao & Mrs Libby AlbertGeoff AlderKaren Allen & Dr Rich AllenAustralian Communities Foundation - Ballandry Fund Steven Bardy & Andrew PattersonRod Cameron & Margaret GibbsStephen & Jenny CharlesJane & Andrew CliffordIn memory of Wilma CollieRyan Cooper Family FoundationRowena Danziger am & Ken Coles amIrina Kuzminsky & Mark DelaneyEureka Benevolent FoundationTerry & Lynn FernMr & Mrs Bruce FinkDr Ian Frazer ac & Mrs Caroline FrazerDaniel & Helen GauchatJohn Grill ao & Rosie WilliamsAngus & Kimberley HoldenCatherine Holmes à Court-MatherBelinda Hutchinson am & Roger Massy-GreeneGB & MK IlettJohn & Lisa KenchMiss Nancy KimptonAnthony & Sharon Lee FoundationLiz & Walter LewinAndrew LowAnthony & Suzanne Maple-BrownJim & Averill MintoServcorpLouise & Martyn Myer FoundationJennie & Ivor OrchardJames Ostroburski & Leo OstroburskiThe Bruce & Joy Reid TrustMargie Seale & David HardyRosy Seaton & Seumas DawesTony Shepherd aoAnthony StrachanLeslie C. ThiessAlden Toevs & Judi WolfShemara WikramanayakeLibby & Nick WrightE XipellPeter Young am & Susan YoungAnonymous (3)

DIRETTORE $5,000 – $9,999

Walter Barda & Thomas O’Neill The Belalberi FoundationCarmelo & Anne BontempoHelen BreekveldtVeronika & Joseph ButtaSuellen & Ron EnestromPaul & Roslyn EspieBridget Faye amVivienne FriedLouise Gourlay oamLiz HarbisonAnnie HawkerJohn Griffiths & Beth JacksonI KallinikosThe Key FoundationKerry LandmanIn memory of Dr Peter LewinLorraine LoganDanita Lowes & David FileMacquarie Group FoundationDavid Maloney & Erin FlahertyThe Alexandra & Lloyd Martin Family FoundationRany MoranBeau Neilson & Jeffrey SimpsonParis Neilson & Todd BuncombeLibby & Peter PlaskittJohn RickardGreg Shalit & Miriam FaineVictoria & Peter ShorthouseJ SkinnerSky News AustraliaPetrina SlaytorJeanne-Claude StrongTamas & Joanna SzaboVanessa TayAlenka TindaleSimon & Amanda WhistonCameron WilliamsWoods5 FoundationAnonymous (3)

MAESTRO $2,500 – $4,999

Jennifer AaronAnnette AdairDavid & Rae AllenStephen & Sophie AllenWill & Dorothy Bailey Charitable GiftThe Beeren FoundationNeil & Jane BurleyCaroline & Robert ClementeLaurie & Julie Ann CoxCarol & Andrew Crawford

Anne & Tom DowlingAngelos & Rebecca FrangopoulosWarren GreenNereda Hanlon & Michael Hanlon amPeter & Helen HearlRuth Hoffman & Peter HalsteadWarwick & Ann JohnsonPeter & Ruth McMullinIn memory of Rosario Razon GarciaRoslyn MorganJane MorleyJenny NicolDavid Paradice & Claire PfisterSandra & Michael Paul EndowmentProf David Penington acKenneth Reed amRuth & Ralph RenardMrs Tiffany RensenFe & Don RossD N SandersCarol Schwartz am & Alan Schwartz amKathy & Greg ShandMaria SolaJosephine StruttSusan ThacoreRalph Ward-Ambler am & Barbara Ward-AmblerDon & Mary Ann YeatsProfessor Richard YeoWilliam & Anne YuilleAnonymous (4)

VIRTUOSO $1,000 – $2,499

Barbara AllanJane AllenLillian & Peter ArmitageIn memory of Anne & Mac Blight David Blight & Lisa MaeorgLyn Baker & John BevanAdrienne BasserDoug & Alison BattersbyRobin BeechBerg Family FoundationGraeme & Linda BeveridgeLeigh BirtlesJessica BlockIn memory of Peter BorosBrian BothwellVicki BrookeDiana BrookesDr Catherine Brown-Watt psm & Mr Derek WattStuart BrownSally BuféGerard Byrne & Donna O’Sullivan


Ian & Brenda CampbellRay Carless & Jill KeyteAnn Cebon-GlassDr Peter CliftonJohn & Chris CollingwoodAngela & John ComptonLeith & Darrel ConybeareR & J CorneyAnne CraigGay CruickshankIan Davis & Sandrine BarouhMartin DolanIn memory of Ray DowdellDr William F DowneyPamela DuncanEmeritus Professor Dexter DunphyCarmel DwyerKaren EnthovenPeter EvansJulie EwingtonPatrick FairPenelope & Susan FieldElizabeth FinneganJean Finnegan & Peter KerrDon & Marie ForrestJohn FraserChris & Tony FroggattAnne & Justin GardenerKay GiorgettaBrian GoddardJack Goodman & Lisa McIntyreIan & Ruth GoughMelissa & Jonathon GreenGrussgott TrustIn memory of Jose GutierrezLyndsey HawkinsKingsley HerbertLachie HillVanessa & Christian HolleChristopher HolmesMichael Horsburgh am & Beverley HorsburghPenelope HughesProfessor Emeritus Andrea Hull aoStephanie & Mike HutchinsonOwen JamesAnthony Jones & Julian LigaBrian JonesBronwen L JonesMrs Angela KarpinMichael KohnAirdrie LloydGabriel LopataGarth Mansfield oam & Margaret Mansfield oamGreg & Jan MarshJanet Matton & Robin RoweJane Tham & Philip MaxwellKevin & Deidre McCannJennifer Senior & Jenny McGeeHelen & Phil MeddingsJim MiddletonPeter & Felicia MitchellBaillieu Myer acNola Nettheim

Jenny NicholPaul O’DonnellShay O’Hara-SmithFran OstroburskiChris OxleyMimi PackerLeslie ParsonageRosie PilatDr S M Richards am & Mrs M R RichardsEm Prof A W Roberts amJulia Champtaloup & Andrew RotheryJ SandersonIn Memory of H. St. P. ScarlettMorna Seres & Ian HillDiana Snape & Brian Snape amDr Peter & Mrs Diana Southwell-KeelyKeith SpenceDr Charles Su & Dr Emily LoDavid & Judy TaylorRob & Kyrenia ThomasAnne TonkinNgaire TurnerKay VernonProf Roy & Dr Kimberley MacLeodJason WenderothPeter Yates am & Susan YatesRebecca Zoppetti LaubiAnonymous (21)

CONCERTINO $500 – $999

Mr & Mrs H T ApsimonJuliet AshworthElsa Atkin amRita AvdievChristine BarkerHelen BarnesIn memory of Hatto BeckMrs Kathrine BeckerRuth BellElizabeth BoltonLynne & Max BoothCarol BowerDenise BraggettMrs Ann BryceHenry & Jenny BurgerMrs Pat BurkeJosphine CaiHelen CarrigConnie ChairdAngela & Fred ChaneyColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversRichard Cobden scDr Jane CookJohn CurottaMarie DalzielMari DavisRosemary DeanKath & Geoff DonohueJennifer DouglasIn Memory of Raymond DudleyAgnes FanSusan Freeman

Louisa GeddesM GenerowiczPaul Gibson & Gabrielle CurtinDon & Mary GlueSharon GoldieColin Golvan qc & Debbie GolvanMrs Megan GracePaul Greenfield & Kerin BrownAnnette GrossKevin Gummer & Paul CumminsHamiltons Commercial InteriorsLesley HarlandPaul & Gail HarrisSue HarveyGaye HeadlamHenfrey FamilyDr Penny Herbert in memory of Dunstan HerbertDr Marian HillCharissa HoSue & David HobbsGeoff HogbinPeter & Edwina HolbeachRichard HunsteadGeoff & Denise IllingCaroline JonesPhillip JonesIrene Kearsey & Michael RidleyBruce & Natalie KellettIrene Ryan & Dean Letcher qcMegan LoweDiana LungrenDr & Mrs Donald MaxwellHE & RJ McGlashanJ A McKernanClaire MiddletonAndrew NaylorG & A NelsonNevarc Inc. Robyn NicolRobin OfflerSue PackerEffie & Savvas PapadopoulosIan PenbossElizabeth PenderHelen PerlenKevin PhillipsDenis & Erika PidcockBeverly & Ian PryerJennifer RankinJedd RashbrookeMichael ReadJoanna Renkin & Geoffrey HansenAlexandra Ridout Jennifer RoyleTrish Ryan & Richard Ryan aoScott SaundersGarry Scarf & Morgie BlaxillMarysia SeganDavid & Daniela ShannonAgnes SinclairKen SmithBrian StagollPatricia StebbensRoss Steele am


Cheri StevensonNigel StokeDouglas Sturkey cvo amIn memory of Dr Aubrey SweetDr Niv & Mrs Joanne TadmoreGabrielle TaggTWF Slee & Lee Chartered Accountants

Visionads Pty LtdJoy WearneGC & R WeirWestpac GroupHarley & Penelope WhitcombeKathy WhiteJames Williamson

Sally WillisJanie WitteyDr Mark & Mrs Anna YatesGina YazbekLiLing ZhengAnonymous (25)

ACO Committees

SYDNEY DEVELOPMENT COMMITTEE

Heather Ridout ao (Chair)Chair,Australian Super

Guido Belgiorno-Nettis amChairman, ACO

Gauri BhalaCEO, Curious Collective

John Kench

Jason LiChairman,Vantage Group Asia

Jennie Orchard

Peter ShorthouseSenior Partner,Crestone Wealth Management

Mark StanbridgePartner, Ashurst

Alden ToevsGroup Chief Risk Officer, CBA

Nina Walton

MELBOURNE DEVELOPMENT COMMITTEE

Colin Golvan qc

Peter McMullinChairman, McMullin Group

Martyn Myer aoChairman, Cogslate Ltd President, The Myer Foundation

James OstroburskiCEO, Kooyong Group

Rachel PeckPrincipal, peckvonhartel architects

Paul Sumner

Susan Thacore

Peter Yates amDeputy Chairman,Myer Family Investments Ltd &Director, AIA Ltd

DISABILITY ADVISORY COMMITTEE

Morwenna CollettDirector Major Performing Arts Projects Australia Council for the Arts

Alexandra Cameron-FraserChief Operating Officer, ACO

Sally CrawfordPatrons Manager, ACO

Vicki NortonEducation Manager, ACO

Dean WatsonCustomer Relations & AccessManager, ACO

EVENT COMMITTEES

SYDNEYJudy Crawford (Chair) Lillian ArmitageLucinda CowdroySandra FermanEleanor GammellFay Geddes

Lisa KenchJulianne MaxwellKarissa MayoRany MoranJohn Taberner

Lynne Testoni

BRISBANEPhilip BaconKay BryanAndrew CloustonDr Ian Frazer acMrs Caroline FrazerCass George

Wayne KratzmannShay O’Hara-SmithMarie-Louise TheileBeverley Trivett


Chairman’s Council

The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis amChairman, ACO

Mr Matthew AllchurchPartner, Johnson Winter & Slattery

Mr Philip Bacon amDirector, Philip Bacon Galleries

Mr David Baffsky ao

Mr Marc Besen ac & Mrs Eva Besen ao

Mr John Borghetti aoChief Executive Officer, Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar

Mr Michael & Mrs Helen Carapiet

Mr John CasellaManaging Director, Casella Family Brands (Peter Lehmann Wines)

Mr Michael Chaney aoChairman, Wesfarmers

Mr Robin Crawford am & Mrs Judy Crawford

Rowena Danziger am & Kenneth G. Coles am

Mr Bruce FinkExecutive Chairman Executive Channel Holdings

Mr Angelos FrangopoulosChief Executive Officer Australian News Channel

Ms Ann Gamble Myer

Mr Daniel GauchatPrincipal, The Adelante Group

Mr Robert Gavshon & Mr Mark RohaldQuartet Ventures

Mr James GibsonChief Executive Officer Australia & New ZealandBNP Paribas

Mr John Grill ao & Ms Rosie Williams

Mrs Janet Holmes à Court ac

Mr Simon & Mrs Katrina Holmes à CourtObservant

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom ao

Ms Jan MinchinDirector, Tolarno Galleries

Mr Jim & Mrs Averill Minto

Mr Alf Moufarrige aoChief Executive Officer, Servcorp

Mr John P MullenChairman, Telstra

Mr Ian NarevChief Executive OfficerCommonwealth Bank

Ms Gretel Packer

Mr Robert Peck am & Ms Yvonne von Hartel ampeckvonhartel architects

Mrs Carol Schwartz am

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyChief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd ao

Mr Peter ShorthouseSenior Partner Crestone Wealth Management

Mr Noriyuki (Robert) TsubonumaManaging Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa Wallace & Mr Alan Liddle

Mr Peter Yates amDeputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young


Holmes à Court Family FoundationThe Ross Trust

Janet Holmes à Court AC

Marc Besen AC & Eva Besen AO

We thank our Corporate Partners for their generous support

GOVERNMENT PARTNERS

MEDIA PARTNERS

PRINCIPAL PARTNER PRINCIPAL PARTNER: ACO COLLECTIVE

OFFICIAL PARTNERS

EVENT PARTNERS

NATIONAL EDUCATION PARTNERS

CONCERT AND SERIES PARTNERS

NATIONAL TOUR PARTNERS

ACO Partners


Performance at the highest level is critical in business and the concert hall.

We are dedicated supporters of both.

© Zan Wimberley

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PERFORMANCE

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