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*Terms and Conditions: Offer is available to ACO Subscribers only. Offer is available on selected Virgin Australia domestic and international operated services in Economy and Business class for travel until 14 September 2017. 20 day advance purchases applies. You may be required to provide verifi cation of your ACO subscription. Fares are subject to availability. Phone booking fee applies for bookings made by phone. A card payment fee will apply if payment is made via credit card or debit card. Additional fees will be charged for baggage in excess of any published allowances. Conditions and travel restrictions apply for all fares. Flights are subject to VA condition of carriage which are available at www.virginaustralia.com

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 fl y 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.

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C O N N E C T

S O C I A L LY We’d love to hear from you – join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don’t forget the hashtag #ACO17.

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A C O B L O G Visit the ACO Blog for up-to-date Orchestra news, interviews and insights. aco.com.au/blog

L O O K Watch us Live in the Studio, go behind-the-scenes and watch ACO concert footage on YouTube.

youtube.com/AustralianCO

L I S T E N Join us for a Spotify Session, hear concert tasters and playlists, and revisit past concerts on Spotify.

aco.com.au/Spotify

R A D I O Bach Violin Concertos will be broadcast live on ABC Classic FM on Sunday 9 April at 2pm.ACO concerts are regularly broadcast on ABC Classic FM. Follow us on Twitter to keep up to date.

Y O U R S AY Did you enjoy the concert? What was your favourite piece? Is this your first ACO experience? We love to hear what you think about our concerts and recordings or anything else you’d like to tell us.

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HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD?When the violin in question is a rare Guadagnini, handmade in 1759, you celebrate by giving it the biggest possible audience you can find.

That’s why we lent ours to the Australian Chamber Orchestra.That way, thousands of people can experience its remarkable sound. After all, an instrument this special is worth celebrating.

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N AT I O N A L T O U R P A R T N E R

For almost three decades, Commonwealth Bank has been a proud partner of the Australian Chamber Orchestra. During this time the ACO has gone from strength to strength, growing into an innovative and world-leading organisation.

Richard Tognetti is renowned for his interpretations of Bach’s music, earning him three consecutive ARIA Awards. His fresh approach and the ACO’s willingness to push boundaries brings a new perspective to a centuries-old art form.

At almost the exact time that Haydn was composing his Symphony No.27, master violin maker Giovanni Battista Guadagnini was crafting the violin we purchased in 2006 for the ACO’s use. We are delighted to be able to share this special instrument with audiences across Australia, played by Helena Rathbone, the ACO’s Principal Violin.

On behalf of the Commonwealth Bank, I hope you enjoy this special performance of Bach Violin Concertos.

Ian Narev

Chief Executive Officer Commonwealth Bank

NATIONAL TOUR PARTNER

8

A C O W H AT ’ S O NA C O V I R T U A L2 APRIL–27 MAY HAMILTON, BALLARAT, BENDIGO

Join our virtual orchestra on a tour of regional Victoria. Direct members of the ACO as they perform in your very own musical journey. aco.com.au/acovirtual

A C O U L U R U F E S T I VA L2–4 JUNE ULURU

We return to the spiritual heart of Australia. Featuring Australian soprano Greta Bradman and members of the Gondwana Indigenous Children’s Choir. aco.com.au/uluru

M O U N TA I N12 JUNE–20 AUGUST ADELAIDE, BRISBANE, CANBERRA, MELBOURNE, NEWCASTLE, PERTH, SYDNEY

A unique musical journey through vistas few have visited, this is a visceral experience by film director Jennifer Peedom, Richard Tognetti and the ACO. aco.com.au/mountain

D E AT H & T H E M A I D E N14–23 JUNE HEALESVILLE, BALLARAT, BENDIGO, HORSHAM, HAMILTON, WARRNAMBOOL

Swedish violist Malin Broman directs ACO Collective in an inventive program of emotive music by Schubert, Dowland and Britten. aco.com.au/deathmaiden

A C O S O L O I S T S5–19 MAY ADELAIDE, BRISBANE, MELBOURNE, PERTH, SYDNEY, WOLLONGONG

Directed by Principal Violin Satu Vänskä, this program showcases the extraordinary talents of the ACO’s world class musicians. aco.com.au/acosoloists

P E N R I T H S T R I N G S & T H E A C O E N S E M B L E21 MAY PENRITH

ACO Musicians join the Penrith Strings for their first public concert of 2017, featuring music by Mozart, Grieg and Geminiani. aco.com.au/penrith

Directed by Principal Violin Satu Vänskä, this program showcases the extraordinary talents of the ACO’s world-class musicians.

12 JUNE, 3–20 AUGUST ADELAIDE, BRISBANE, CANBERRA, MELBOURNE, NEWCASTLE, PERTH, SYDNEY

Uluru Ad.indd 1 24/03/2017 9:02 am

9

Richard Evans Managing Director

M E S S A G E F R O M T H E M A N A G I N G D I R E C T O R

Last October Richard Tognetti commenced as the inaugural Artist In Residence at the Barbican Centre’s new Milton Court Concert Hall, in London. Richard’s residency included a solo recital and workshop performance with electronic music students of the Guildhall. In March, we returned with the three programs and the full Orchestra to much acclaim, including a five-star review in The Guardian, which described our playing as ‘radiantly expansive’, and reconfirming that ‘[what] can never be doubted with this band is the commitment and panache of every morsel of the playing’.

Now home, Bach Violin Concertos sees the Orchestra return to chamber orchestra heartland repertoire. Richard has developed a shorthand for this series, referring to it as ‘Bach 1, 2, 3’, with the Bach concertos for one, two and three violins respectively, together with a solo work played by Timo-Veikko Valve (Tipi) on the luxurious Guarnerius filius Andreæ cello, generously donated by our patron Peter Weiss. Richard’s interpretation of Bach has become a touchstone for us over the years, and at this performance he is joined by Helena Rathbone and Satu Vänskä in its further exploration.

Corporate and philanthropic support is an essential part of our orchestra. Our National Tour Partner for this program, the Commonwealth Bank, have generously been a significant supporter and partner in our business for nearly 30 years. Their longstanding commitment and investment in the very heart of our organisation, not least through the extraordinary Guadagnini violin played at this performance by Helena, has enabled us to develop and invest in our artists and audiences across Australia, and the world. We thank them for all that they have done and continue to do.

I look forward to seeing you all in the concert hall, wherever that may be, and I hope you enjoy every morsel of this very special program.

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Richard Tognetti Director and Violin | Choir of London | Nicholas Mulroy Evangelist

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Richard Tognetti Director & Violin Helena Rathbone Violin Satu Vänskä Violin Timo-Veikko Valve Cello

BACH (arr. Tognetti) Violin Partita No.3 in E major, BWV1006: Preludio

BACH Violin Concerto No.2 in E major, BWV1042 I. Allegro II. Adagio III. Allegro assai

HAYDN Symphony No.27 in G major I. Allegro molto II. Andante: siciliano III. Finale: Presto

BACH Concerto for 2 Violins in D minor, BWV1043 I. Vivace – II. Largo ma non tanto – III. Allegro

Interval

BACH Concerto for 3 Violins in D major, BWV1064R I. Allegro II. Adagio III. Allegro

BACH Cello Suite No.4 in E-flat major, BWV 1010: Sarabande

HAYDN Symphony No.22 in E-flat major The Philosopher I. Adagio II. Presto III. Menuet & Trio IV. Finale: Presto

This program will be broadcast live and live streamed on ABC Classic FM radio and website on Sunday 9 April at 2pm. It will also be available from the same day for on-demand listening through the ABC Classic FM website.

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

B A C H V I O L I N C O N C E R T O S

Approximate durations (minutes):3 – 17 – 14 – 14 – INTERVAL – 16 – 4 – 16 The concert will last approximately two hours, including a 20-minute interval.

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When I was a kid, I gave my mum a recording of Bach’s Brandenburg Concertos with Karl Richter and the Münchener Bach Orchestra (very old fashioned and stodgy) as a birthday present. This was the first recording I heard of Bach’s Brandenburgs – incidentally, Nick Drake was listening to the Brandenburgs the night before he died! Around the same time, my father took me to see Tarkovsky’s Solaris which features the Chorale Prelude ‘Ich ruf zu dir, Herr Jesu Christ’. Its sense of other worldliness has never left me.

‘Most contemporary music is about love between two people. What makes Bach’s music particularly striking is that it’s about the love of God. This should present a hurdle to someone who, like me, doesn’t believe in God – but it doesn’t. What I appreciate in Bach is his ability to suggest to me what a belief in God feels like. His music seems to me to be about devotion to a perfect ideal – something purer, better, higher...’, says Alain de Botton

There is no question that Bach is a plant from the good Lord above. We listen to Bach, and it’s like listening to the beating heart of God and we need to remind ourselves that Bach is one of us. But who or what else on this planet, or any other, can move an alexithymic to weep, and inspire an atheist into a state of exalted numinosity?

His own son, CPE said of his father’s music, ‘[his music] has higher intentions; it’s not supposed to fill the ear but to make your heart move’.

Glenn Gould said, ‘I really can’t think of any other music which is so all-encompassing, which moves me so deeply and so consistently, and which, to use a rather imprecise word, is

W H AT Y O U A R E A B O U T T O H E A R

PICTURED: This is the cover of the remastered edition of the Richter recording of Bach’s Brandenburg Concertos.

PICTURED: Herbert von Karajan at the keyboard, playing Bach’s Brandenburg Concerto No.3.

PICTURED RIGHT: A poster advertising Tarkovsky’s cinematic masterpiece Solaris.

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Richard Tognetti

valuable beyond all of its skill and brilliance for something more meaningful than that – its humanity.’

As a teenager, I grew up listening to the pioneers of the early music movement at a time when Karajan was the Emperor. These innovators and radical misfits often made ambit claims of knowing what the ‘composer’ intended, whereas the attraction was a new and vibrant way of playing this great and lesser-explored music from the Baroque.

I listened to performances by Dutch, English and Austro-German pioneers: Anner Bylsma, the first cellist to convincingly record the Bach Suites on a period instrument; the great Frans Brüggen, who conducted Mozart’s last symphonies with the ACO for the Adelaide Festival 1990; and Christopher Hogwood with whom the ACO worked a great deal.

So although much of the early music movement was based on dogma (spurious at that), there was also something liberating about it: we had the gate open to an earlier age, whilst forging a new and exciting path. Bach wanted his art to evolve and not be set in stone. There is a certain irony to Bach now being the most travelled of any composer on the planet, metaphysically speaking. He is in a spaceship as we play this concert, powering across the galaxy, through the time/space continuum. But in his own lifetime, he never went anywhere really. Bach was possibly quite content being parochial; he didn’t seem to have a need to seek broader fame.

Arguably, more than just about any other composer, you can adapt, transform and really experiment with Bach’s music. And that’s because, as Alex Ross so faultlessly explains ‘Bach became an absolute master of his art by never ceasing to be a student of it’.

Interpretations aren’t just about brushing off the patina of ‘bad habits’ or dabbing antiseptic and Dettol on the music or setting it in aspic. It’s about evolution and how the music resonates today. And that’s the great challenge in performing Bach.

And then we have the ‘Father of the Symphony’, Franz Joseph Haydn, who wrote more than one hundred of them. Haydn never ceases to be extraordinary and imaginative and each symphony is a world unto its own.

PICTURED: One of the ACO’s most ardent supporters and creative artistic forces, the great Christopher Hogwood.

PICTURED: Voyager 1 is currently exploring space, filled with an array of objects from earth, hoping to make first contact with other life forms. It carries with it the very recording Richard Tognetti gave his mum of Karl Richter conducting the Münchener Bach Orchestra playing Bach’s Brandenburg Concertos.

PICTURED: The great Dutch cellist Anner Bylsma.

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A D E L A I D E , B R I S B A N E , M E L B O U R N E P E R T H , S Y D N E Y, W O L L O N G O N G

Experience the extraordinary talents of this orchestra of soloists in a thrilling concert featuring music by Vivaldi, Locatelli, Mendelssohn, Debussy, James Ledger and more.

15

BACH (arr. Tognetti)

PRELUDIO FROM VIOLIN PARTITA NO.3 IN E MAJOR, BWV1006

Composed 1720.

Bach was content in Cöthen. He was in his 30s; he found love again with his second wife Anna Magdalena, after the death of his first wife, Maria Barbara; his career was going well; he had established a reputation as an organist of considerable skill; and felt incredibly blessed that his employer, Prince Leopold of Anhalt-Cöthen was ‘a gracious prince who both loved and knew music’.

During his tenure at Cöthen, from 1717 to 1723, he concentrated on secular works. The Well-Tempered Clavier, the Two- and Three-Part Inventions, the French Suites, the Cello Suites, the completion of the Brandenburg Concertos and the Six Sonatas and Partitas for Solo Violin are among just some of the works completed at Cöthen.

It is possible that he began work on the sonatas and partitas while he was still in Weimar. The autograph copy is dated 1720, midway through his time at Cöthen. They were almost certainly performed at the prince’s palace during one (or maybe more) of the regular musical soirées. Bach himself may have been the violinist, although it could also have been the ‘premier cammer musicus’ (concertmaster) at the Cöthen Court, Joseph Spiess.

Bach’s son, Carl Philipp Emanuel, had no doubt that his father could most certainly have played the sonatas and partitas himself. In 1774, in a letter to Johann Nikolaus Forkel, German musicologist and JS Bach biographer, CPE wrote: ‘In his youth, and until the approach of old age, he played the violin cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with the harpsichord. He understood to perfection the possibilities of all stringed instruments. This is evidenced by his solos for the violin and for the violoncello without [accompanying] bass. One of the greatest violinists told me once that he had seen nothing more perfect for learning to be a good violinist, and could suggest nothing better to anyone eager to learn, than the said violin solos without bass.’

Whereas the three solo Sonatas are in the tradition of the Italian church sonata, the Partitas owe much to the French dance suite, Italian movement titles notwithstanding. The Preludio from the E major Partita is joyful and exuberant. Bach clearly loved this

A B O U TT H E M U S I C

PICTURED: Johann Sebastian Bach, 1720.

JOHANN SEBASTIAN BACH Born Eisenach, 1685. Died Leipzig, 1750.

Johann Sebastian Bach is one of the greatest, if not the single greatest, of all composers. A working musician his entire life, his composition ranges from the deeply spiritual to the flamboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.

PICTURED: A map of Cöthen, where Bach lived and worked.

16

‘In his youth, and until the approach of old age, he played the violin cleanly and penetratingly . . .’ CPE BACH

movement, as he not only arranged it for lute, he also composed a version for full orchestra with solo organ to herald the beginning of Cantata 29, Wir danken dir, Gott, wir danken dir.

And it was not only Bach who loved the buoyant and high-spirited Preludio – violinist, composer and great friend of Johannes Brahms, Joseph Joachim, reimagined it for the Berlin Philharmonic with him playing solo and full orchestral accompaniment; Schumann wrote a version with piano accompaniment; and, in its original solo form, the Preludio was one of the first solo violin works to be recorded by the great violinist/composer Pablo de Sarasate in about 1904.

© Australian Chamber Orchestra

BACH

VIOLIN CONCERTO NO.2 IN E MAJOR, BWV1042

Composed 1708–1717?

I. Allegro II. Adagio III. Allegro assai

Since no autograph copy of Bach’s Violin Concerto in E Major exists, determining an exact date of composition is next to impossible. Scholars suspect that it was written during Bach’s tenure at Cöthen along with the D minor Double Violin Concerto and the A minor Violin Concerto and more probably lost works. The surviving solo violin concertos bear the fingerprints of Italian composers such as Corelli and, above all, Vivaldi, who was one of Bach’s favourites. There is much of Vivaldi’s drama and exuberance in both concertos (though tempered with Teutonic common sense, of course), especially in the attention-grabbing gestures with which they begin. The homage to Italy is incorporated into the formal structure of the E major concerto in its fast movement-slow movement-fast movement plan (since nearly every concerto since Bach’s day plays out this way it seems natural to us now, but it was a new invention in the 18th century). The first movement is an adaptation of another Italian form: the da capo aria. Familiar from the operas of Italianate composers such as Handel, a da capo (literally, ‘from the head’ or, as we’d say today, ‘from the top’) aria falls into three parts – a self-contained opening verse (A) which ends with a sense of ‘closure’, a contrasting section (B), usually in a different key,

17

and a return of the opening verse (A) ,with the same lyrics as before also, perhaps embellished with extempore ornaments this time.

The first movement begins with a pert outline of the triad of E major – Do, Mi, Soh – immediately establishing the key centre of the work. Three important motives are presented: the rising triad, then a miniature fanfare-figure, then a motif with high repeated notes and a swooping flourish. As the movement unfolds, Bach expertly shuffles and recombines this apparently slight material, creating an expansive dialogue for soloist and orchestra. And dialogue is the best word to describe it: while there are moments of soloistic display, this is not a virtuoso showpiece in the style of, say, Vivaldi’s Four Seasons. Rather, the soloist surfs on the surface of the ripieno group, rising above and dipping into the onward flow of music. The middle, contrasting B section is cast in the relative minor key of C-sharp minor. And here the soloist takes on a more individual role, with elaborate figure work featuring double stopping and string crossing, the orchestra playing an accompanying role. The return to the ‘head’ is effected by a series of stealthy approaches to the home key of E major and sudden deflections away from it so when the triad motif suddenly bounds out we have a sense of relieved arrival.

The second movement is a sombre aria in C-sharp minor. The soloist spins a fantasia-like song over a restlessly oscillating bass figure in what could be described as a dark mirror image of the famously serene ‘Air on the G-string’ from the D-major Orchestral Suite. The bass-heavy texture of this movement throws the airy pathos of the solo violin line into relief.

The brief third movement is a brisk and dance-like (though too quick to dance to) gigue in perpetual motion, reminiscent in its headlong joy to the finale of the Third Brandenburg Concerto. The main motif is an extension of the triadic figure that opens the first movement but leaping enthusiastically up to the octave. Suddenly we understand that Bach has derived the entire concerto from a series of closely related motifs based on this simple major chord, finding a world in a grain of sand.

© Robert Murray

PICTURED: Johann Sebastian Bach wrote some of his finest works during his tenure at Cöthen.

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HAYDN

SYMPHONY NO.27 IN G MAJOR

Composed 1757?

I. Allegro molto II. Andante: siciliano III. Finale: Presto

The classical symphony was still in its formative phase and Joseph Haydn still in his 20s when what we know as his Symphony No.27 was composed for the aristocratic Count Morzin. But already the young composer demonstrated a command of symphonic dialectic, particularly in the opening movement, which would lead him in time, with more than 100 symphonies to his credit, to be considered the ‘father’ (or at least the godfather!) of the symphony.

Symphony No.27 is not to be reckoned alongside the bleak No.26 (‘Lamentatione’) of about 1768, a Sturm und Drang work evoking the passion and grief of Holy Week. While both symphonies share a three-movement structure, the ‘Lamentatione’ with its closing minuet looks forward, whereas No.27 follows the simple fast–slow–fast pattern of the traditional Italian overture, or sinfonia. The misleadingly numbered No.27 actually dates from several years earlier than No.26. It was probably among the last of Haydn’s dozen or more earliest symphonies, composed between about 1757 and 1761, when he directed the fine wind band and small but brilliant orchestra maintained by the Morzin family in Vienna and its summer palace at Lukavec, near Pilsen in Bohemia.

His engagement by Count Morzin liberated the young Haydn. He had eked out a precarious existence in Vienna, after losing his treble voice and his place in the choir of St Stephen’s Cathedral, by playing the organ and leading the orchestra in church, by busking in nocturnal serenade parties and accompanying singing lessons, and by furnishing music on demand for the politically risky pantomime-musicals of the contemporary Viennese theatre. When recommended to Morzin by his first aristocratic patron, Baron Fürnberg, who had commissioned his first string quartets, Haydn was at last able, as his biographer Griesinger tells us, ‘to enjoy the happiness of a carefree existence.’

Cares are indeed flung aside as the confident opening theme on winds and first violins strides purposefully up the notes of

FRANZ JOSEPH HAYDN Born Rohrau, 1732. Died Vienna, 1809.

Franz Joseph Haydn was hugely prolific and highly influential. His output encompassed almost every form of music, sometimes to an extreme degree (over 100 symphonies, over 60 string quartets). The link in the chain between Bach and Mozart, the Classical era, would be unimaginable without him.

PICTURED: Portrait of Joseph Haydn by Thomas Hardy.

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the chord above a bed of busy semiquavers in the second violins. The strings alone quietly introduce a modest second subject which is soon swept up in the general high spirits as Haydn works out his material – ideas which, both here and in the Finale, are more motivic than melodic in any extended sense.

Melody is the province of the central Andante, based on the fashionably melancholy siciliano dance form, which supposedly originated in Sicily. In the hushed atmosphere of muted violins above a pizzicato bass, and in the lightly swaying rhythms and the pensive minor mode of most of the development, we may imagine a desolate heroine in one of Haydn’s operas. Beneath the surface calm, however, Haydn’s structure is inventively, and characteristically, irregular, the odd 17-bar length of the exposition being phrased as 7+5+5 bars.

Although a hunt may be implied in the finale by its rhythm and the exuberant horns (originally omitted from the score but almost certainly an early, authentic addition), this movement also exudes a whiff of greasepaint, as a virtual ‘all’s-well-that-ends-well’ comic opera finale.

© Anthony Cane

PICTURED: Joseph Haydn.

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BACH

CONCERTO IN D MINOR FOR 2 VIOLINS, BWV 1043

Composed c1717-23.

I. Vivace – II. Largo ma non tanto – III. Allegro

During Bach’s time as ‘Konzertmeister’ at the Weimar Court (1708–17), he became well acquainted with the Italian concerto in its solo and group forms. He made a number of transcriptions of works not only by Vivaldi, but also by Telemann and the musically talented nephew of his employer Grand-Duke Wilhelm Ernst of Saxe-Weimar, Johann Ernst.

When Johann Sebastian moved to the court of Cöthen in 1717 to take up the post of Kapellmeister, the range of his compositional duties shifted from choral to instrumental music. Because both the court and principality of Cöthen had adopted the Reformed Calvinistic faith, there was little requirement for four-part, Lutheran style choral music, and so instruments consequently held sway. Bach’s patron Prince Leopold had already studied with J.D. Heinichen in Rome as part of his coming-of-age, aristocratic Grand Tour. He was thus a tolerably good bass singer, violinist, gambist and harpsichordist. These enthusiasms spurred a considerable upgrade of the Cöthen orchestra. Of most significance to this expansion was the disbanding of the court orchestra in Berlin in 1713, upon the accession of Friedrich Wilhelm I as King of Prussia. Known as the ‘Soldier King’, he was more interested in military prowess than musical patronage, and instigated this savage cultural cut in much the same way that administrations of all eras have funded political ‘necessities’ at the expense of art and culture.

But Berlin’s loss was Cöthen’s gain. Prince Leopold picked up five players from the dissolved orchestra, and, as two violinists, a cellist, an oboist and bassoonist, they formed the experienced core of a 17-strong band that J.S. Bach encountered on his arrival in December 1717. In addition to Joseph Spiess and Martin Friedrich Marcus, the ‘kapelle’ included four other tutti string players, two trumpeters, two flautists, the eminent gamba player Christian Ferdinand Abel, and a part-time timpanist, Unger: who doubled up as the tenant innkeeper at the local Grosser Gasthof (imagine the demand from his instrumental colleagues for free beer after a concert).

PICTURED: Leopold, Prince of Anhalt-Köthen.

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Much of the music from this period in Bach’s life is lost, or its provenance obscured. We know about the ‘Brandenburg’ concertos; but little is known about the circumstances which led to the composition of an equally fine work, the Concerto for Two Violins. Its three-movement fast, slow, fast form is obviously based on the Italian models Bach had studied at Weimar, but its dazzling counterpoint belongs entirely to ‘the master’.

Those inclined to be sentimental might also put some credence in the idea that it was written at the time the widowed Bach was falling in love with Anna Magdalena, soon to become his second wife. One can draw all sorts of romantic ideas from this. For a start, there is the imagery of two soloists – the musical couple. Their lively interplay in the first movement interacts still further with the ensemble, or the world at large. The second movement, however, is all about intimacy. Elisabeth Söderström once described the kind of gentle, short-long bass ostinato which forms the accompaniment, as being related to heartbeats. Add to this the lingering, entwined solo lines and you can see why some people get misty-eyed. The Allegro brings us back into the world again, the minor key doing nothing to diminish its impression of looking forward.

© Meurig Bowen / K.P. Kemp

PICTURED: Johan Sebastian Bach with his family. Painting by Toby Rosenthal.

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BACH

CONCERTO FOR 3 VIOLINS IN D MAJOR, BWV 1064R

Composed c1730.

I. Allegro II. Adagio III. Allegro assai

Johann Sebastian Bach was a practical composer, writing whatever music was required of him with little thought to his lasting fame or legacy. Hardly any of his music was published during his lifetime; the majority of his work was preserved in his own manuscripts and the handwritten copies of others. There are probably hundreds of compositions by Bach that were written down once for a specific occasion, never needed again, and subsequently lost.

This concerto very nearly joined the ranks of the missing. There is no surviving manuscript of the original; what we have instead is the music for a Concerto in C major for three harpsichords. This was written sometime in the early 1730s, probably for performance by Bach and two of his sons with the Leipzig Collegium Musicum. In the early 20th century, Arnold Schering, a German musicologist, pointed out that many of the figurations in the solo harpsichord parts looked like they were originally intended for violin. After further research, it is now almost unanimously accepted that this concerto started out as a triple violin concerto in D major. By analysing other arrangements Bach made of his own works, it has been possible to reconstruct the triple violin concerto from the harpsichord version.

The first movement is strongly reminiscent of the Vivaldi concerto style that Bach so admired. The soloists play in unison at the beginning, announcing the sturdy ritornello phrase that returns faithfully throughout the movement. This opening theme is functional rather than melodic, but with so many strands of music interweaving in the same register (two orchestral violin parts as well as the three soloists), simple building blocks are ideal. Listeners can easily feel disoriented by such thickly woven counterpoint; the writer Percy M. Young suggests listening ‘from within – as though one were taking part in the performance.’

The musical strands are more distinct in the Adagio, where the three soloists work in tandem to create long, singing phrases

PICTURED: The Zimmermann Coffee House in Leipzig, where the Collegium Musicum performed.

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over the orchestra’s forlorn tread. Bach uses a basso quasi ostinato – a single-bar bass pattern that is repeated over and over at different pitches. Increasingly anguished harmonies almost bring the languid plodding to a standstill several times, but with a sigh the orchestra carries on to complete the movement.

The final movement returns to the bright character of the first. This time the ritornello is more complicated, made up of three themes layered together. In between this recurring refrain, the three soloists are each given an extended run on their own, and they make the most of it. It’s almost like a chase – the orchestra sprints to keep up with the speedy virtuosity of the first two solos, and then is almost tripped over by the mischievous harmonies of the third. Eventually the ritornello finds its feet and we reach the end.

© David John Lang

BACH

SARABANDE FROM CELLO SUITE NO.4 IN E-FLAT MAJOR, BWV1010Composed c1720.

Bach’s six suites have been dated to the early 1720s, while Bach was Kapellmeister at the court of Prince Leopold in Cöthen, near Leipzig. Their core contents correspond closely to the layout of harpsichord dance-suite sets also compiled during the Cöthen years (1717-23), the six ‘French Suites’, six ‘English Suites’, and six ‘Partitas’. Each cello suite has six movements, beginning with a substantial Prelude, followed by an immutable sequence of dance-types: Allemande, Courante and Sarabande and, in final position, a Gigue. For the fifth movements, there is some variation: Bach selects Menuets for Suites I and II, Bourrees for Suites III and IV, and Gavottes for the remaining two.

Though the composition sketches are lost, the earliest surviving copy of the suites was certainly ‘authorised’. It is in the clear and meticulous handwriting of Bach’s second wife, Anna Magdalena, and must have originated either soon after, or at least not much before their wedding, late in 1721. Whether all six works were new at the time is open to question. The last two suites differ sufficiently from the others to suggest that they may have been conceived separately.

PICTURED: Title page of Anna Magdalena Bach’s copy of the cello suites.

. . . the three soloists work in tandem to create long, singing phrases over the orchestra’s forlorn tread.

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There remains, however, the question of who the suites were compiled for and why. As Bach himself is not known to have played or taught the cello, it has been generally assumed that he wrote them for a Cöthen cellist such as Christian Bernhard Linike or the court bass viol player CF Abel. But, by this time, Bach was also assiduously developing closer ties with the musical establishments in the major centres of his region, especially Dresden and Potsdam-Berlin. He compiled his set of six Brandenburg Concertos to impress a potential patron in 1721, and some scholars believe that another set of six unaccompanied works from these years, the six Sonatas and Partitas for solo violin, were likewise partly targeted exercises in self-promotion.

The cello was only then emerging as a solo instrument of significance, and Bach’s suites are a pioneering work – one which was long misunderstood. So, what the recipients of Bach’s largesse might have done with the six cello suites remains open to speculation. Their usefulness for teaching and practice is self-evident. Small gatherings of connoisseurs may well have been invited to hear them rehearsed, perhaps as many as three or four suites at a time (more would necessarily have required a change of instruments and tunings). Nor is dancing itself out of the question, for some if not all the movements.

It took the skill and determination of Pablo Casals, who discovered the music in a second-hand shop as a child, to convince the world that the suites were musical achievements of the first order, worthy of a place in every cellist’s recitals. Casals developed a technique for playing them which in some respects went beyond what was available to the 18th-century cellist, particularly because of the longer modern bow, but he revealed how the challenge of the cello’s technique had brought out the best in Bach’s creativity: As in the violin suites, but more so, because the cello’s longer fingerboard made-multiple stopping less available, Bach used a basically melodic instrument to imply a complex polyphony.

© Australian Chamber Orchestra

PICTURED: Carl Friedrich Abel for whom Bach’s Cello Suites may have been written.

PICTURED: Sarabande from Bach’s Cello Suite No.4

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HAYDN

SYMPHONY NO.22 IN E-FLAT MAJOR THE PHILOSOPHER

Composed c1764.

I. Adagio II. Presto III. Menuet & Trio V. Finale: Presto

A number of subtitles or nicknames for Haydn’s symphonies have come into being as a means of setting at least some of their great number apart, and of distinguishing some of the many in like keys. The great Haydn scholar HC Robbins Landon has even gone so far as to describe these names as ‘marks of desperation’. The marking Le Philosophe (The Philosopher) is not as much desperate as a little mysterious – and, unlike many of its companions, was so named and so known in Haydn’s own lifetime. (It appears on the manuscript parts found in the Bibliotecca Estense, Modena).

The only possible explanation for the Philosopher’s presence in this symphony comes from some comments Haydn made late in life to his biographer Griesinger. ‘In his symphonies, he often PICTURED: Esterházy Palace.

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described moral character. In one of his oldest, which he could not precisely indicate to me, “the idea predominated of God speaking to an unrepentant sinner, asking him to reform, but the sinner in his rashness heeded not these exhortations”.’ It must have been hard indeed for an old man to recall the individual keys or numbers of symphonies written four decades before; but it does seem quite possible that the musical dialogue – and such symphonic ‘moral character’ – to which Haydn is referring is that of the twenty-second symphony’s first movement. This is one of his most sublime and unusual creations from the first years at the Esterházy court. Its solemnity matches both the proposed dialogue between God and Sinner, and the traditionally sombre nature of an opening Adagio in the four movement Sonata da Chiesa plan (the same prototype used by Telemann in the Trumpet Concerto that follows).

This thoughtful, almost ecclesiastical air is perfectly achieved by way of the pensive, antique walking bass, the Corelli-like suspensions, the muted strings, and by the sternness of the octave and unison intonations by horns and cors anglais. The plangent timbres of this darker-toned sibling of the oboe were a favourite of Haydn’s in the 1760s and early 1770s; but  the instrument’s appearance here is unique in his symphonic output. Such a movement and such a scoring may have been considered too unusual and uncommercial at that time, because in 1773 another version of the symphony was published in Paris with flutes replacing the cors anglais. The first movement was excised, and a new central Andante added instead.

PICTURED: The opening Adagio movement of Haydn’s Symphony No.22.

This is one of his most sublime and unusual creations from the first years at the Esterházy court.

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This alternative version, which began with the second movement Presto, must surely have been unsatisfactory. With its lively violins-led melody and ABA structure the movement serves well as a necessary release of tension from the contemplative opening; but it would have been weak as an opener in itself. The Menuetto’s crotchet-dominated melody is taken mainly by the strings, whereas the Trio brings the horns and cors anglais in paired thirds to the fore – a divertimento style, fusing outdoor-type wind writing and Ländler-type string accompaniment.

An outdoors feel is sustained in the concluding Presto, where, within the typical finale 6/8 meter, Haydn introduces the calls of the hunting-horn. This was something he would pursue again, more famously, in his Finales of symphonies 65 and 73 (this one, previously the overture to the opera La fedelta premiata dubbed

PICTURED: The opening of the Menuetto movement.

PICTURED: Haydn and companions perform a string quartet at the Esterházy Palace.

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ONE GREAT PERFORMANCE DESERVES ANOTHERWith 99% coverage of the Australian population, the Telstra Mobile Network performs for the ACO in more places than any other.

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La Chasse) and in the Hunting Chorus of his late oratorio The Seasons. Here, in this early work, the horn calls burst forth from the tense, vital opening; and, needless to say, the ‘English Horns’ have their say, in reply, with this motif too. Horace Fitzpatrick, writing about the Austro-Hungarian Horn Playing tradition, noted:

The hunt stood for all that was desirable in worldly virtue, representing a new embodiment of the old chivalrous-courtly ideals that were at the centre of aristocratic thought. As the ceremonial and signal instrument of the hunt, the horn in turn became a symbol of these values. To a nobleman of the time the sound of the horn had the power to excite deep feelings, for it called forth those ideals and aspirations which lay at the very heart of the courtly country life.

Haydn’s esteemed employer, Prince Nicolaus of Esterházy, would surely have been well pleased with this finale, when he heard it for the first time sometime in 1764, at one of the Tuesday or Thursday afternoon concerts at the court of Eisenstadt.

© Australian Chamber Orchestra

‘ . . . the sound of the horn had the power to excite deep feelings . . .’ HORACE FITZPATRICK

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R I C H A R D T O G N E T T IA R T I S T I C D I R E C T O R & V I O L I N

‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’ THE DAILY TELEGRAPH (UK)

SELECT DISCOGRAPHY

AS SOLOIST:

BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679

BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner

BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner

BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner

(All three Bach releases available as a 5CD Box set: ABC Classics 476 6168)

VIVALDI The Four Seasons BIS SACD-2103

Musica Surfica (DVD) Best Feature, New York Surf Film Festival

AS DIRECTOR:

GRIEG Music for String Orchestra BIS SACD-1877

Pipe Dreams Sharon Bezaly, Flute BIS CD-1789

All available from aco.com.au/shop

Photo by Paul Henderson Kelly

Australian violinist, conductor and composer Richard Tognetti was born in Canberra and raised in Wollongong. He has established an international reputation for his compelling performances and artistic individualism.

He began his studies in his home town with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director. He was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015.

Richard performs on period, modern and electric instruments and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, he has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovenian Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras, most recently as soloist and director with the MSO and TSO. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutosławski’s Partita. In November last year, he became London’s Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall.

Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd.

Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

Chair sponsored by the late Michael Ball am and Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew and Andrea Roberts

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H E L E N A R AT H B O N EV I O L I N

Helena Rathbone started the violin at the age of five with the London Suzuki group. She then went on to study at the RCM Junior department with Dona Lee Croft, and subsequently at the GSMD with David Takeno.

Before her appointment as Principal Second Violin of the ACO in 1994, she was Principal Second Violin with the European Community Chamber Orchestra and played regularly with ensembles such as the Academy of St Martin in the Fields.

In 2006, Helena was appointed Director of the ACO Collective. The Collective comprises musicians from the ACO’s Emerging Artists Program for which Helena is the orchestra representative and mentor. In her role as Principal Violin of the ACO, she also continues to perform regularly with the orchestra as a soloist and guest leader.

When not performing with the ACO, Helena has been a tutor and chamber orchestra director for the AYO at National Music Camps. She has also appeared at the Australian Festival of Chamber Music, Four Winds Bermagui, Christchurch Arts Festival, Sangat Chamber Music Festival (Mumbai) and at the Peasmarsh Festival (Sussex).

As a member of the International Musicians Seminar at Prussia Cove, Helena played in the IMS tour of the UK (led by Pekka Kuusisto) which was awarded the Royal Philharmonic Society Award for Chamber Music in 2008.

Helena has been Guest Concertmaster of many orchestras, most recently on a European tour with the Mahler Chamber Orchestra. The recordings of Beethoven’s 2nd and 4th piano concertos that the MCO made with Leif Ove Andsnes during this tour won the Concerto award and Recording of the Year award with BBC Music Magazine in 2015.

Helena lives in Sydney with her two sons and husband. She plays on a 1759 JB Guadagnini violin on loan from the Commonwealth Bank of Australia.

Chair sponsored by Kate and Daryl Dixon

Photo by Mick Bruzzese

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S AT U VÄ N S K ÄV I O L I N

Satu Vänskä was appointed Assistant Leader of the Australian Chamber Orchestra in 2004. She performs regularly as lead violin and soloist with the Orchestra. She is also curator, vocalist and front woman of the critically acclaimed electro-acoustic ensemble ACO Underground. As a singer and violinist she has collaborated with such distinguished artists as Barry Humphries, Meow Meow, Jonny Greenwood, The Presets, Jim Moginie, Brian Ritchie and Katie Noonan. Satu features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor. She was presented in recital in July 2012 by the Sydney Opera House as part of their Utzon Room Music Series.

Satu was born to a Finnish family in Japan where she took her first violin lessons at the age of three. Her family moved back to Finland in 1989 and she continued her studies with Pertti Sutinen at the Lahti Conservatorium and the Sibelius Academy. From 1997 Satu was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich where she finished her diploma in 2001. This led to performances with the Munich Philharmonic, the Bavarian Radio Symphony Orchestra, at the Tuusulanjärvi Festival, and at Festivo Aschau.

In 1998 Sinfonia Lahti named her ‘young soloist of the year’. In 2000 she was a prize-winner of the ‘Deutsche Stiftung Musikleben’ and from 2001 she played under the auspices of the Live Music Now Foundation founded by Lord Yehudi Menuhin which gave her the opportunity to perform with such musicians as Radu Lupu and Heinrich Schiff. In 2011, she became the custodian of the only Stradivarius violin in Australia – the magnificent 1728/29 violin on loan from the ACO’s Instrument Fund.

Chair sponsored by Kay Bryan

Photo by Mick Bruzzese

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T IMO -V E IK KO VA LV EC E L L O

Timo-Veikko ‘Tipi’ Valve is one of the most versatile musicians of his generation performing as a soloist, chamber musician and orchestral leader on both modern and period instruments.

Tipi studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden, focusing on solo performance and chamber music in both institutions.

Tipi has performed as a soloist with all major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. Most recently Tipi has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. ACO’s 2015 season included the world premiere of an arrangement of Olli Mustonen’s Sonata for cello and chamber orchestra, commissioned by Tipi and the ACO.

In 2006 Tipi was appointed Principal Cello of the Australian Chamber Orchestra with whom he frequently appears as soloist. He also curates the ACO’s chamber music series in Sydney. Tipi is a founding member of Jousia Ensemble and Jousia Quartet.

Tipi’s instrument is attributed to both Giuseppe Guarneri (filius Andreæ) and Bartolomeo Giuseppe Guarneri (del Gesù) from 1729, kindly donated by Peter Weiss ao.

Chair sponsored by Peter Weiss ao

Photo by Jack Saltmiras

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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

From its very first concert in November 1975, the Australian Chamber Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.

Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 21 players (four part-time), giving more than 100 performances in Australia each year, as well as touring internationally: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper.

Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland.

The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries, and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank.

The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards, and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.

Richard Tognetti Artistic Director & 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 Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass

PART-TIME MUSICIANS

Zoë Black Violin Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello

‘If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK)

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M U S I C I A N S O N S TA G E

Nicole Divall Viola Chair sponsored by Ian Lansdown

Ilya Isakovich ViolinChair sponsored by The Humanity Foundation

Liisa Pallandi ViolinChair sponsored by The Melbourne Medical Syndicate

Maja Savnik 4 ViolinChair sponsored by Alenka Tindale

Ike See ViolinChair sponsored by Di Jameson

Alexandru-Mihai Bota Viola Chair sponsored by Philip Bacon am

Mark Ingwersen ViolinChair sponsored by Julie Steiner & Judyth Sachs

Aiko Goto ViolinChair sponsored by Anthony & Sharon Lee Foundation

Glenn Christensen ViolinChair sponsored by Terry Campbell ao & Christine Campbell

Richard Tognetti ao 1 Artistic Director & ViolinChair sponsored by the late Michael Ball am & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts

Satu Vänskä 3 Principal ViolinChair sponsored by Kay Bryan

Helena Rathbone 2 Principal ViolinChair sponsored by Kate & Daryl Dixon

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1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.

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

3 Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.

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

5 Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly donated to the ACO by Peter Weiss ao.

6 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council.

7 Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from a private Australian benefactor.

Players dressed by Willow and SABA

Vicki Powell# Viola

Michael Pisani# OboeCourtesy of Melbourne Symphony Orchestra

Dmitry Malkin OboeCourtesy of Jerusalem Symphony Orchestra

Jane Gower# BassoonCourtesy of Orchestre Révolutionnaire et Romantique

Maxime Bibeau 7 Principal Bass Chair sponsored by Darin Cooper Foundation

Julian Thompson 6 CelloChair sponsored by The Grist & Stewart Families

Melissa Barnard CelloChair sponsored by Martin Dickson am & Susie Dickson

Timo-Veikko Valve 5 Principal CelloChair sponsored by Peter Weiss ao

Ben Jacks# HornCourtesy of Sydney Symphony Orchestra

Stéphane Mooser Horn

João Rival# Harpsichord

# Guest Principal

Principal Viola Chair sponsored by peckvonhartel architects

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BOARD

Guido Belgiorno-Nettis am Chairman

Liz Lewin Deputy

Bill Best John Borghetti Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo

ARTISTIC DIRECTORRichard Tognetti ao

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Richard Evans Managing Director

Jessica Block Deputy General Manager

Alexandra Cameron-Fraser Chief Operating Officer

Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

ARTISTIC OPERATIONS

Luke Shaw Director of Artistic Operations

Anna Melville Artistic Administrator

Lisa Mullineux Tour Manager

Ross Chapman Touring & Production Coordinator

Danielle Asciak Travel Coordinator

Bernard Rofe Librarian

Cyrus Meurant Assistant Librarian

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

EDUCATION

Phillippa Martin ACO Collective & ACO Virtual Manager

Vicki Norton Education Manager

Caitlin Gilmour Education Coordinator

FINANCE

Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

DEVELOPMENT

Anna McPherson Director of Development

Jill Colvin Philanthropy Manager

Yeehwan Yeoh Investor Relations Manager

Lillian Armitage Capital Campaign Executive

David Herrero Events Manager

Tom Carrig Senior Development Executive

Sally Crawford Patrons Manager

Max Stead Development Executive

Kay-Yin Teoh Development Coordinator

Belinda Partyga Researcher

MARKETING

Antonia Farrugia Director of Marketing

Hilary Shrubb Publications Editor

Leo Messias Marketing Manager

Cristina Maldonado Marketing & Communications Executive

Chris Griffith Box Office Manager

Dean Watson Customer Relations & Access Manager

Christina Holland Office Administrator

Robin Hall Archival Administrator

A C O B E H I N D T H E S C E N E S

AUSTRALIAN CHAMBER ORCHESTRA

ABN 45 001 335 182

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B A C H V I O L I N C O N C E R T O S

T O U R D AT E S & P R E- C O N C E R T TA L K S

Pre-concert talks take place 45 minutes before the start of every concert.

Sun 2 Apr, 1.45pm Melbourne – Arts Centre Melbourne

Pre-concert talk by John Weretka

Mon 3 Apr, 6.45pm Melbourne – Arts Centre Melbourne

Pre-concert talk by John Weretka

Tue 4 Apr, 6.45pm Adelaide Town Hall

Pre-concert talk by Jim Koehne

Wed 5 Apr, 6.45pm Perth Concert Hall

Pre-concert talk by Fiona Campbell

Sat 8 Apr, 6.15pm Sydney – City Recital Hall

Pre-concert talk by Toby Chadd

Sun 9 Apr, 1.15pm Sydney Opera House

Pre-concert talk by Toby Chadd

Mon 10 Apr, 6.15pm Brisbane – QPAC Concert Hall

Pre-concert talk by Gordon Hamilton

Tue 11 Apr, 7.15pm Sydney – City Recital Hall

Pre-concert talk by Toby Chadd

Wed 12 Apr, 6.15pm Sydney – City Recital Hall

Pre-concert talk by Toby Chadd

Pre-concert speakers are subject to change.

TOUR PRESENTED BY

38

V E N U E S U P P O R T

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.

QUEENSLAND PERFORMING ARTS

CENTRE

Cultural Precinct,

Cnr Grey & Melbourne Street,

South Bank QLD 4101

PO Box 3567,

South Bank QLD 4101

Telephone (07) 3840 7444

Box Office 131 246

Web qpac.com.au

Christopher Freeman am Chair

John Kotzas Chief Executive

ADELAIDE TOWN HALL

128 King William Street,

Adelaide SA 5000

GPO Box 2252,

Adelaide SA 5001

Venue Hire Information

Telephone (08) 8203 7590

Email townhall@adelaidecitycouncil.com

Web adelaidetownhall.com.au

Martin Haese Lord Mayor

Mark Goldstone Chief Executive Officer

ARTS CENTRE MELBOURNE

PO Box 7585,

St Kilda Road, Melbourne VIC 8004

Telephone (03) 9281 8000

Box Office 1300 182 183

Web artscentremelbourne.com.au

Tom Harley President

Victorian Arts Centre Trust

Claire Spencer Chief Executive Officer

CITY RECITAL HALL LIMITED

Chair, Board of Directors Renata Kaldor ao

CEO Elaine Chia

2–12 Angel Place

Sydney NSW 2000

Administration 02 9231 9000

Box Office 02 8256 2222

Website www.cityrecitalhall.com

SYDNEY OPERA HOUSE

Bennelong Point

GPO Box 4274, Sydney NSW 2001

Telephone (02) 9250 7111

Box Office (02) 9250 7777

Email infodesk@sydneyoperahouse.com

Web sydneyoperahouse.com

Nicholas Moore

Chair, Sydney Opera House Trust

Louise Herron am Chief Executive Officer

PERTH CONCERT HALL

5 St Georges Terrace,

Perth WA 6000

PO Box 3041,

East Perth WA 6892

Telephone (08) 9231 9900

Web perthconcerthall.com.au

Brendon Ellmer General Manager

39

A C O B E Q U E S T P AT R O N S

The late Charles Ross Adamson

The late Kerstin Lillemor Andersen

The late Mrs Sybil Baer

Dave Beswick

The Estate of Prof. Janet Carr

The late Mrs Moya Crane

The late Colin Enderby

The late Neil Patrick Gillies

The late John Nigel Holman

The late Dr S W Jeffrey am

The Estate of Pauline Marie Johnston

The late Mr Geoff Lee am oam

The late Shirley Miller

The late Josephine Paech

The late Richard Ponder

The late Mr Geoffrey Francis Scharer

The Estate of Scott Spencer

Margaret & Ron Wright

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, Philanthropy Manager, on 02 8274 3835.

IBM

Mr Robert Albert ao & Mrs Libby Albert

Mr Guido Belgiorno-Nettis am

Mrs Barbara Blackman ao

Mrs Roxane Clayton

Mr David Constable am

Mr Martin Dickson am & Mrs Susie Dickson

Dr John Harvey ao

Mrs Alexandra Martin

Mrs Faye Parker

Mr John Taberner & Mr Grant Lang

Mr Peter Weiss ao

A C O L I F E P AT R O N S

A C O M E D I C I P R O G R A MIn 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

The late Amina Belgiorno-Nettis

PRINCIPAL CHAIRS

Richard Tognetti ao

Artistic Director & Lead Violin

The late Michael Ball ao & Daria Ball

Wendy Edwards

Prudence MacLeod

Andrew & Andrea Roberts

Helena Rathbone

Principal Violin

Kate & Daryl Dixon

Satu Vänskä

Principal Violin

Kay Bryan

Principal Viola

peckvonhartel architects

Timo-Veikko Valve

Principal Cello

Peter Weiss ao

Maxime Bibeau

Principal Double Bass

Darin Cooper Foundation

CORE CHAIRS

VIOLIN

Glenn Christensen

Terry Campbell ao & Christine Campbell

Aiko Goto

Anthony & Sharon Lee Foundation

Mark Ingwersen

Julie Steiner & Judyth Sachs

Ilya Isakovich

The Humanity Foundation

Liisa Pallandi

The Melbourne Medical Syndicate

Maja Savnik

Alenka Tindale

Ike See

Di Jameson

VIOLA

Alexandru-Mihai Bota

Philip Bacon am

Nicole Divall

Ian Lansdown

CELLO

Melissa Barnard

Martin Dickson am & Susie Dickson

Julian Thompson

The Grist & Stewart Families

ACO COLLECTIVE

Pekka Kuusisto

Artistic Director & Lead Violin

Horsey Jameson Bird

GUEST CHAIRS

Brian Nixon

Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICI

Mr R. Bruce Corlett am &

Mrs Annie Corlett am

40

A C O E X C E L L E N C E F U N D P AT R O N S

K Chisholm

Dr Jane Cook

Paul & Roslyn Espie

M Generowicz

Dr Roy & Gail Geronemus

The Hadfield Family

Paul & Gail Harris

Doug Hooley

Mike & Stephanie Hutchinson

Geoff & Denise Illing

Professor Anne Kelso ao

Macquarie Group Foundation

Kevin & Deidre McCannBaillieu Myer ac

Gina Olayiwola

Elisabeth & Doug Scott

David Shannon

J Skinner

Christina Scala & David Studdy

Dr Jason Wenderoth

Anonymous (5)

ACO Excellence Fund Patrons assist with the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

A C O C O N T I N U O C I R C L E

Steven Bardy

Ruth Bell

David Beswick

Sandra Cassell

Mrs Sandra Dent

Peter Evans

Carol Farlow

Suzanne Gleeson

Lachie Hill

David & Sue Hobbs

Penelope Hughes

Toni Kilsby & Mark McDonald

Mrs Judy Lee

Selwyn M Owen

Michael Ryan & Wendy Mead

Ian & Joan Scott

Cheri Stevenson

Leslie C Thiess

G.C. & R. Weir

Margaret & Ron Wright

Mark Young

Anonymous (13)

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, Philanthropy Manager, on 02 8274 3835 for more information. Every gift makes a difference.

A C O R E C O N C I L I AT I O N C I R C L EContributions 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 Jill Colvin, Philanthropy Manager Manager, on 02 8274 3835.

Colin & Debbie Golvan

Peter & Ruth McMullin

Sam Ricketson & Rosie Ayton

Clare Ainsworth Herschell

Lucinda Bradshaw

Justine Clarke

Este Darin-Cooper & Chris Burgess

Amy Denmeade

Catherine & Sean Denney

Jenni Deslandes & Hugh Morrow

Mandy Drury

Anthony Frith & Amanda Lucas-Frith

Alexandra Gill

Rebecca Gilsenan & Grant Marjoribanks

Adrian Giuffre & Monica Ion

John & Lara James

Aaron Levine & Daniela Gavshon

Royston Lim

Gabriel Lopata

Rachael McVean

Carina Martin

Barry Mowzsowski

Paris Neilson & Todd Buncombe

James Ostroburski

Nicole Pedler & Henry Durack

Michael Radovnikovic

Jessica Read

Louise & Andrew Sharpe

Emile & Caroline Sherman

Michael Southwell

Helen Telfer

Karen & Peter Tompkins

Joanna Walton

Nina Walton & Zeb Rice

Peter Wilson & James Emmett

John Winning Jr.

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.

MEMBERS

A C O N E X T

41

Peter Weiss ao

PATRON, ACO Instrument Fund

BOARD MEMBERS

Bill Best (Chairman)

Jessica Block

John Leece am

Andrew Stevens

John Taberner

PATRONS

VISIONARY $1m+

Peter Weiss ao

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,999

The late Amina Belgiorno-Nettis

Naomi Milgrom ao

OCTET $100,000 – $199,999

John Taberner

QUARTET $50,000 – $99,999

John Leece am & Anne Leece

Anonymous

SONATA $25,000 – $49,999

ENSEMBLE $10,000 – $24,999

Leslie & Ginny Green

Peter J Boxall ao & Karen Chester

Leslie C. Thiess

SOLO $5,000 – $9,999

PATRON $500 – $4,999

Michael Bennett & Patti Simpson

Leith & Darrel Conybeare

Dr Jane Cook

Geoff & Denise Illing

Luana & Kelvin King

Jane Kunstler

John Landers & Linda Sweeny

Genevieve Lansell

Bronwyn & Andrew Lumsden

Patricia McGregor

Trevor Parkin

Elizabeth Pender

Robyn Tamke

Anonymous (2)

INVESTORS

Stephen & Sophie Allen

John & Deborah Balderstone

Guido & Michelle Belgiorno-Nettis

Bill Best

Benjamin Brady

Sam Burshtein & Galina Kaseko

Carla Zampatti Foundation

Sally Collier

Michael Cowen & Sharon Nathani

Marco D’Orsogna

Dr William F Downey

Garry & Susan Farrell

Gammell Family

Edward Gilmartin

Tom & Julie Goudkamp

Philip Hartog

Brendan Hopkins

Angus & Sarah James

Daniel & Jacqueline Phillips

Ryan Cooper Family Foundation

Andrew & Philippa Stevens

Dr Lesley Treleaven

Ian Wallace & Kay Freedman

The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Maja Savnik. For more information, please call Yeehwan Yeoh, Investor Relations Manager on 02 8274 3878.

A C O I N S T R U M E N T F U N D

Holmes à Court Family Foundation The Ross Trust

A C O T R U S T S & F O U N D AT I O N S

42

A C O S P E C I A L P R O J E C T SSPECIAL COMMISSIONS PATRONS

Peter & Cathy Aird

Gerard Byrne & Donna O’Sullivan

Mirek Generowicz

Peter & Valerie Gerrand

G Graham

Anthony & Conny Harris

Rohan Haslam

John Griffiths & Beth Jackson

Lionel & Judy King

Bruce Lane

David & Sandy Libling

Tony Jones & Julian Liga

Robert & Nancy Pallin

Deborah Pearson

Alison Reeve

Dr Suzanne M Trist

Team Schmoopy

Rebecca Zoppetti Laubi

Anonymous (1)

INTERNATIONAL TOUR PATRONS

The ACO would like to pay tribute to

the following donors who support our

international touring activities:

Mr Robert Albert ao & Mrs Libby Albert

Linda & Graeme Beveridge

Kay Bryan

Stephen & Jenny Charles

Anthony & Sharon Lee Foundation

Ann Gamble Myer

Daniel & Helen Gauchat

Yvonne von Hartel am & Robert Peck am

peckvonhartel architects

Doug Hooley

Janet Holmes à Court

Bruce & Jenny Lane

Delysia Lawson

John Leece

Julianne Maxwell

Jim & Averill Minto

Alf Moufarrige

Angela Roberts

Friends of Jon & Caro Stewart

Mike Thompson

Peter Weiss ao

MOUNTAIN PRODUCERS’ SYNDICATE

Major Producers

Janet Holmes à Court

Warwick & Ann Johnson

Producers

Richard Caldwell

Warren & Linda Coli

Anna Dudek & Brad Banducci

Wendy Edwards

David Friedlander

Tony & Camilla Gill

John & Lisa Kench

Charlie & Olivia Lanchester

Rob & Nancy Pallin

Andrew & Andrea Roberts

Peter & Victoria Shorthouse

Alden Toevs & Judi Wolf

Supporters

The Penn Foundation

The Rossi Foundation

MELBOURNE HEBREW CONGREGATION PATRONS

LEAD PATRONS

Marc Besen ac & Eva Besen ao

SUPPORTER

Leo & Mina Fink Fund

EMANUEL SYNAGOGUE PATRONS

CORPORATE PARTNERS

Adina Apartment Hotels

Meriton Group

LEAD PATRON

The Narev Family

PATRONS

David Gonski ac

Leslie & Ginny Green

The Sherman Foundation

Justin Phillips & Louise Thurgood-Phillips

ACO COLLECTIVE QUEENSLAND REGIONAL TOUR

Lead Patrons

Dr Ian Frazer ac & Mrs Caroline Frazer

Urbane Restaurant Group

Patrons

Andrew Clouston

Cass George

Marie-Louise Theile

ACO UK SUPPORTERS

Ambassadors

Brendan & Bee Hopkins

Friends

John & Kate Corcoran

Hugo & Julia Heath

John Taberner

Patricia Thomas

Supporter

John Coles

43

PATRONS

Marc Besen ac & Eva Besen

Janet Holmes á Court ac

EMERGING ARTISTS & EDUCATION PATRONS $10,000+

Mr Robert Albert ao & Mrs Libby Albert

Geoff Alder

Australian Communities Foundation –

Ballandry Fund

Steven Bardy & Andrew Patterson

The Belalberi Foundation

Guido Belgiorno-Nettis am & Michelle

Belgiorno-Nettis

Anita & Luca Belgiorno-Nettis Foundation

Helen Breekveldt

Rod Cameron & Margaret Gibbs

Michael & Helen Carapiet

Stephen & Jenny Charles

Rowena Danziger am & Ken Coles am

Irina Kuzminsky & Mark Delaney

Mr Bruce Fink

Dr Ian Frazer ac & Mrs Caroline Frazer

Ann Gamble Myer

Daniel & Helen Gauchat

Kimberley Holden

Di Jameson

John & Lisa Kench

Miss Nancy Kimpton

Liz & Walter Lewin

Andrew Low

Anthony & Suzanne Maple-Brown

Jim & Averill Minto

John & Anne Murphy

Louise & Martyn Myer Foundation

Jennie & Ivor Orchard

Bruce & Joy Reid Trust

Andrew & Andrea Roberts

Mark & Anne Robertson

Margie Seale & David Hardy

Rosy Seaton & Seumas Dawes

Tony Shepherd ao

Anthony Strachan

John Taberner & Grant Lang

Leslie C. Thiess

David & Julia Turner

Libby & Nick Wright

E Xipell

Peter Yates am & Susan Yates

Peter Young AM & Susan Young

Anonymous (3)

DIRETTORE $5,000 – $9,999

The Abercrombie Family Foundation

Jon & Cheyenne Adgemis

Geoff Ainsworth & Jo Featherstone

Peter Atkinson

David & Helen Baffsky

Will & Dorothy Bailey Charitable Gift

Veronika & Joseph Butta

Caroline & Robert Clemente

Darrel & Leith Conybeare

Mrs Janet Cooke

Suellen Enestrom

Bridget Faye AM

JoAnna Fisher & Geoff Weir

Kay Giorgetta

Louise Gourlay oam

Warren Green

Tony & Michelle Grist

Liz Harbison

Dr John Harvey ao & Mrs Yvonne

Harvey

Annie Hawker

Insurance Group Australia Limited

I Kallinikos

Key Foundation

Anthony & Sharon Lee Foundation

In memory of Dr Peter Lewin

Lorraine Logan

Macquarie Group Foundation

David Maloney & Erin Flaherty

P J Miller

James Ostroburski & Leo Ostroburski

QVB

John Rickard

Paul Schoff & Stephanie Smee

& Friends

Greg Shalit & Miriam Faine

Peter & Victoria Shorthouse

Sky News Australia

St George Foundation

Jon & Caro Stewart

Alenka Tindale

Alden Toevs & Judi Wolf

Ivan Wheen

Simon & Amanda Whiston

Shemara Wikramanayake

Cameron Williams

Hamilton Wilson

Anonymous (3)

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 jill.colvin@aco.com.au

Donor list current as at 7 February 2017.

A C O N AT I O N A L E D U C AT I O N P R O G R A M

44

MAESTRO $2,500 – $4,999

Jennifer Aaron

David & Rae Allen

Brad Banducci & Anna Dudek

DG & AR Battersby

Beeren Foundation

Mr & Mrs Daniel Besen

Neil & Jane Burley

The Hon Alex Chernov ac qc &

Mrs Elizabeth Chernov

Carol & Andrew Crawford

Heather Douglas

Anne & Tom Dowling

Ari & Lisa Droga

Maggie and Lachlan Drummond

Michele Duncan

Robert & Jennifer Gavshon

Cass George

John & Jenny Green

Nereda Hanlon & Michael Hanlon am

Peter & Helen Hearl

Erica Jacobson

Ros Johnson

Peter Lovell

Jennifer Senior & Jenny McGee

Jane Morley

Nola Nettheim

Jenny Nicol

OneVentures

Sandra & Michael Paul Endowment

Patricia H Reid Endowment Pty Ltd

Ralph & Ruth Renard

Mrs Tiffany Rensen

Fe and Don Ross

D N Sanders

Petrina Slaytor

Howard & Hilary Stack

John & Josephine Strutt

Nicky Tindill

Ralph Ward-Ambler am & Barbara

Ward-Ambler

Westpac Group

Richard & Suzie White

Dr Mark & Mrs Anna Yates

Professor Richard Yeo

William & Anna Yuille

Anonymous (4)

VIRTUOSO $1,000 – $2,499

Annette Adair

Barbara Allan

Jane Allen

Andrew Andersons

Jessica Block

Dr David and Mrs Anne Bolzonello

In memory of Peter Boros

Brian Bothwell

Vicki Brooke

Diana Brookes

Dr Catherine Brown-Watt psm &

Mr Derek Watt

Sally Bufé

Andrew & Cathy Cameron

Terry Campbell ao & Christine Campbell

Ray Carless & Jill Keyte

Ann Cebon-Glass

Patrick Charles

Dr Peter Clifton

Angela & John Compton

Brooke & Jim Copland

R & J Corney

John Curotta

Peter & Penny Curry

Ian Davis & Sandrine Barouh

Michael & Wendy Davis

Martin Dolan

Dr William F Downey

Daniel Droga

Pamela Duncan

Emeritus Professor Dexter Dunphy am

Wendy Edwards

Sharon Ellies

Dr Linda English

Peter Evans

Julie Ewington

Elizabeth Finnegan

Michael Fogarty

Don & Marie Forrest

Chris & Tony Froggatt

Justin & Anne Gardener

M Generowicz

Brian Goddard

Paul Hannan

Kerry Harmanis

Jennifer Hershon

Lachie Hill

Christian Holle

Christopher Holmes

Doug Hooley

Michael Horsburgh am & Beverley

Horsburgh

Merilyn & David Howorth

Penelope Hughes

Professor Andrea Hull ao

Sue Hunt

John Griffiths & Beth Jackson

Owen James

Anthony Jones & Julian Liga

Brian Jones

Bronwen L Jones

Mrs Angela Karpin

Josephine Key & Ian Breden

Julia Pincus & Ian Learmonth

Airdrie Lloyd

Gabriel Lopata

Colin Loveday

Robin Lumley

Diana Lungren

Garth Mansfield oam & Margaret

Mansfield oam

Mr & Mrs Greg & Jan Marsh

Jane Tham & Philip Maxwell

Karissa Mayo

Kevin & Deidre McCann

Nicholas McDonald

Ian & Pam McGaw

Colin McKeith

In memory of Rosario Razon Garcia

Bruce McWilliam

Helen & Phil Meddings

Michelle Mitchell

Anthony Niardone & Glen Hunter

Barry Novy & Susan Selwyn

Paul O’Donnell

L Parsonage

Prof David Penington AC

Dr S M Richards am & Mrs M R Richards

Em Prof A W Roberts am

Julia Champtaloup & Andrew Rothery

Richard & Sandra Royle

J Sanderson

In memory of H. St. P. Scarlett

Lucille Seale

45

Mr John Sheahan qc

Maria Sola

Dr Peter & Mrs Diana Southwell-Keely

Keith Spence

Jim & Alice Spigelman

Mark Stanbridge

Harley Wright & Alida Stanley

Ross Steele am

In memory of Dr Warwick Steele

Caroline Storch

Andrew Strauss

Charles Su & Emily Lo

David & Judy Taylor

Susan Thacore

Rob & Kyrenia Thomas

Ngaire Turner

Kay Vernon

Jason Wenderoth

M White

Don & Mary Ann Yeats

Rebecca Zoppetti Laubi

Anonymous (17)

CONCERTINO $500 – $999

Elsa Atkin am

Ms Rita Avdiev

A & M Barnes

In memory of Hatto Beck

Mrs Kathrine Becker

Robin Beech

Ruth Bell

Max and Lynne Booth

Debbie Brady

Denise Braggett

Mrs Pat Burke

Hugh Burton Taylor

Alberto Calderon-Zuleta

Connie Chaird

Angela & Fred Chaney

Colleen & Michael Chesterman

Richard & Elizabeth Chisholm

Stephen Chivers

ClearFresh Water

Sally Collier

Spire Capital

P Cornwell & Cecilia Rice

Annabel Crabb

John & Gay Cruikshank

Sharlene & Steve Dadd

Marie Dalziel

Mari Davis

Mrs Sandra Dent

In Memory of Raymond Dudley

M T & R L Elford

Leigh Emmett

Penelope & Susan Field

Jean Finnegan & Peter Kerr

Jessica Fletcher

Peter Fredricson

Steve Frisken

Sam Gazal

Paul Gibson & Gabrielle Curtin

Marilyn & Max Gosling

Jillian Gower

Paul Greenfield & Kerin Brown

Annette Gross

Kevin Gummer & Paul Cummins

Hamiltons Commercial Interiors

Lesley Harland

Sandra Haslam

Gaye Headlam

Kingsley Herbert

Dr Penny Herbert

in memory of Dunstan Herbert

Dr Marian Hill

Sue & David Hobbs

Chloe Hooper

Bee Hopkins

Dr & Mrs Michael Hunter

Margaret & Vernon Ireland

Robert & Margaret Jackson

Barry Johnson & Davina Johnson oam

Caroline Jones

Bruce & Natalie Kellett

Lionel & Judy King

Prof Kerry Landman

Genevieve Lansell

Kwong Lee Dow

Megan Lowe

Rob Mactier

Dr & Mrs Donald Maxwell

Kathleen McFarlane

H and R McGlashan

JA McKernan

Peter and Ruth McMullin

Louise Miller

Justine Munsie & Rick Kalowski

G & A Nelson

Robyn Nicol

Graham North

Robin Offler

John O’Sullivan

Willy & Mimi Packer

Anne & Christopher Page

Robin Pease

Elizabeth Pender

Kevin Phillips

Michael Power

John Prendiville

Beverly & Ian Pryer

Mandie & Andrew Purcell

Jennifer Rankin

John Riedl

Sally Rossi-Ford

Mrs J Royle

Christine Salter

Garry E Scarf & Morgie Blaxill

Carol Schwartz am & Alan Schwartz am

Rena Shein

The Sherman Foundation

Casimir Skillecorn

Fionna Stack

Georgina Summerhayes

In memory of Dr Aubrey Sweet

Gabrielle Tagg

Simon Thornton

TWF Slee & Lee Chartered Accountants

Dr Ed & Mrs Julie van Beem

Denise Wadley

Joy Wearne

GC & R Weir

Taryn Williams

Sally Willis

Sir Robert Woods cbe

Michael Zimmerman

Brian Zulaikha

Anonymous (35)

46

Mr Guido Belgiorno-Nettis am

Chairman,

Australian Chamber Orchestra

Mr Philip Bacon am

Director,

Philip Bacon Galleries

Mr David Baffsky ao

Mr Marc Besen ac &

Mrs Eva Besen ao

Mr John Borghetti

Chief Executive Officer,

Virgin Australia

Mr Craig Caesar

Mrs Nerida Caesar

CEO, Veda

Mr Michael &

Mrs Helen Carapiet

Mr John Casella

Managing Director,

Casella Family Brands

(Peter Lehmann Wines)

Mr Michael Chaney ao

Chairman,

Wesfarmers

Mr & Mrs Robin Crawford am

Rowena Danziger am

& Kenneth G. Coles am

Mr David Evans

Executive Chairman,

Evans & Partners

Mr Bruce Fink

Executive Chairman,

Executive Channel International

Mr Angelos Frangopoulos

Chief Executive Officer,

Australian News Channel

Ms Ann Gamble Myer

Mr Daniel Gauchat

Principal,

The Adelante Group

Mr James Gibson

Chief Executive Officer,

Australia & New Zealand

BNP Paribas

Mr John Grill ao

Chairman,

WorleyParsons

Mr Grant Harrod

Chief Executive Officer,

LJ Hooker

Mrs Janet Holmes à Court ac

Mr Simon &

Mrs Katrina Holmes à Court

Observant

Mr John Kench

Johnson Winter & Slattery

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom ao

Ms Jan Minchin

Director,

Tolarno Galleries

Mr Jim &

Mrs Averill Minto

Mr Alf Moufarrige ao

Chief Executive Officer,

Servcorp

Mr John P Mullen

Chairman, Telstra

Mr Ian Narev

Chief Executive Officer

Commonwealth Bank

Ms Gretel Packer

Mr Robert Peck am &

Ms Yvonne von Hartel am

peckvonhartel architects

Mr Mark Robertson oam &

Mrs Anne Robertson

Mrs Carol Schwartz am

Ms Margie Seale &

Mr David Hardy

Mr Glen Sealey

Chief Operating Officer,

Maserati Australasia & South Africa

Mr Tony Shepherd ao

Mr Peter Shorthouse

Senior Partner,

Crestone Wealth Management

Mr Noriyuki (Robert) Tsubonuma

Managing Director & CEO,

Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp

& Ms Lucy Turnbull ao

Mr David &

Mrs Julia Turner

Ms Vanessa Wallace &

Mr Alan Liddle

Mr Peter Yates am

Deputy Chairman,

Myer Family Investments Ltd

& Director, AIA Ltd

Mr Peter Young am &

Mrs Susan Young

A C O C H A I R M A N ’ S C O U N C I LThe 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.

47

THE ACO THANKS OUR GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT

A C O G O V E R N M E N T P A R T N E R S

The ACO is supported by the NSW Government through Arts NSW.

The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

A C O C O M M I T T E E SHeather Ridout ao (Chair) Director, Reserve Bank of Australia

Guido Belgiorno-Nettis am Chairman, ACO

Maggie Drummond

John Kench Johnson Winter & Slattery

Jason Li Chairman, Vantage Group Asia

Jennie Orchard

Peter Shorthouse Senior Partner, Crestone Wealth Management

Mark Stanbridge Partner, Ashurst

Paul Sumner Chief Executive Officer, Mossgreen

Alden Toevs Group Chief Risk Officer, CBA

Nina Walton

SYDNEY DEVELOPMENT COMMITTEE

Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd

Paul Cochrane Investment Advisor, Bell Potter Securities

Ann Gamble-Myer

Colin Golvan qc

Peter McMullin Chairman, McMullin Group

James Ostroburski

Paul Sumner Chief Executive Officer, Mossgreen

MELBOURNE DEVELOPMENT COUNCIL

Morwenna Collett CEO, Accessible Arts

Paul Nunnari Manager, Event Access & Inclusion NSW Government

Ebru Sumaktas Senior HR Officer, Department of Family and Community Services

Alexandra Cameron-Fraser Chief Operating Officer, ACO

Sally Crawford Patrons Manager, ACO

Vicki Norton Education Manager, ACO

Dean Watson Customer Relations & Access Manager, ACO

DISABILITY ADVISORY COMMITTEE

SYDNEY

Liz Lewin (Chair)Jane AdamsLillian ArmitageLucinda CowdroySandra FermanJoAnna FisherFay GeddesJulie Goudkamp

Deb HopperLisa Kench Jules MaxwellKarissa MayoRany MoranNicole SheffieldJohn TabernerLynne Testoni

BRISBANE

Philip BaconKay BryanAndrew CloustonDr Ian Frazer ac & Mrs Caroline FrazerCass George

Wayne Kratzmann Shay O’Hara-SmithMarie-Louise TheileBeverley Trivett

EVENT COMMITTEES

P E E R R E V I E W P A N E L SZoe ArthurJohn Benson

Helen ChampionJane Davidson

Jared FurtadoTheo Kotzas

Lyn Williams oam

Yarmila AlfonzettiElaine ArmstrongToby ChaddJane Davidson

Alan DodgeJim KoehneSiobhan Lenihan

Marshall McGuireKatie NoonanJohn Painter

Anthony PelusoMary Vallentine ao

Lyn Williams oam

EDUCATION PEER REVIEW PANEL

ARTISTIC PEER REVIEW PANEL

48

A C O P A R T N E R SWE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

CONCERT AND SERIES PARTNERS

MEDIA PARTNERS EVENT PARTNERS

A C O P A R T N E R S WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT

YEARS OF PRACTICE. REWARDED.

Best Professional Services Firm ($50M - $200M)

Best Law Firm ($50M - $200M)

Best Value Firm

*Conditions apply. Price is based on per person twin share in AUD is strictly limited and subject to availability. Early payment discount applied, full cruise payment due by 31 May 2017. Flights are economy class exBNE/SYD/MEL/PER/ADL, subject to availability. For new bookings only. Pricing based on STC071118.1, in a category E suite. Pricing correct as of 2 March 2017. For full terms and conditions refer to brochure orscenic.com.au. Scenic ABN 85 002 715 602. SNMA194

On our iconic 15 Day Jewels of Europe river cruise travel through the Europe of your imagination from Amsterdam to Budapest. Created exclusively for Scenic as part of our Enrich program, enjoy the opulence and luxury of Palais Liechtenstein at a private evening concert, and be transported to another time and place with the ‘Best of the Sound of Music and Salzburg Show’. Experience the medieval ambience of Marksburg Castle – which has remained virtually unchanged since the Middle Ages.

138 128 SCENIC.COM.AUVisit scenic.com.au/agents for your nearest Scenic Agent

From only $6,995*pp including return fl ights to Europe Or upgrade to Business Class from $4,995*

2018 AT 2017 PRICES – LIMITED TIME OFFER

Exclusive to Scenic, a once in a lifetime classical music concert in Vienna’s Palais Liechtenstein, which is also home to the second largest private art collection in the world.

2018 EUROPE RIVER CRUISESPRE-RELEASE

SNMA194 ACO_BachViolinConcertos_ERC STC_FC.indd 1 7/03/2017 12:35 pm

BACH THE ART OF FUGUEBEETHOVEN STRING QUARTET OP.130 | GROSSE FUGE

Available from all good record stores,

and for digital download and streaming

ALSO AVAILABLE

THE TRIPLE-ARIA-WINNING BACH ALBUMS

ALBUM RELEASED APRIL 2017

ACO Program Ad.indd 1 22/03/2017 1:28 pm

The ACO and Voyages Ayers Rock Resort are delighted to once again present three sublime concerts over one sensational weekend at the ACO Uluru Festival, 2-4 June 2017.

Led by Richard Tognetti, these three transcendental concerts will be complemented by memorable, unique dining events and tailored cultural tours to immerse yourself in the spiritual heart of Australia.

EVENT PARTNER

TICKETS SELLING FAST. BOOK NOW TO AVOID DISAPPOINTMENT. Visit www.ayersrockresort.com.au/acoulurufestival or call 1300 134 044

FEATURING SOPRANO GRETA BRADMAN & MEMBERS OF THE GONDWANA INDIGENOUS CHILDREN'S CHOIR