the reef - d3o6fyjoj38fs0.cloudfront.net programs... · ﬁ tting that ibm presents the reef, ......

T H E R E E F

Now you’re fl ying

Proud Principal Partner of theAustralian Chamber Orchestra.

Today we are capturing more data about more things more quickly than ever before. The sheer facts of big data—2.5 quintillion bytes are created daily—present outsized challenges, and opportunities.

As our analytical prowess grows, we are using it to create a series of powerful, even disruptive transformations: of our organisations, our industries, even our individual roles.

SMART IS A VERB.

Across the world, a distinct group of leaders is emerging, who possess both a wealth of data and an acuity of analytical insight that their predecessors never had. So they feel freer to act—with a calculated boldness—to lead the big shifts that are reverberating through their organisations, their industries and beyond.

This may explain the sound you’ve been hearing so often lately: the crashing of one convention after another to the ground.

Until recently, marketers saw consumers only as vague demographic blots. So it’s no wonder so much marketing missed its audience, or bored it, or annoyed it. A generation of CMOs,

IBM, the IBM logo, smarter planet and Let’s build a smarter planet are trademarks of IBM Corp registered in many jurisdictions worldwide. Other product, company or service names may be trademarks or services marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade.shtml © Copyright IBM Australia Limited 2013 ABN 79 000 024 733 © Copyright IBM Corporation 2013 All Rights Reserved. IBMNCA0187/CONV/ACO/FPC

THE MORE WE KNOW,THE MORE WE WANT

TO CHANGEEVERYTHING.

Mayor Eduardo Paes of Rio de Janeiro has adopted a proactive approach to the safety of the city’s 6.3 million people. From a single integrated operations centre, city officials now monitor and coordinate information from 30 public agencies. During the annual rainy season, this has helped improve response times to f looded areas by 30%. More promising

City leaders used to be judged by how well they

responded to a crisis. Now they are judged by how well

they anticipate one.

still, officials have begun using predictive analytical models to pinpoint high-risk areas before f looding occurs—and to evacuate residents before rescue is too dangerous or too late.

however, is applying new analytical rigor to vast pools of transactional and social data. This allows them to develop deeper profiles of individuals, and to design marketing that is more relevant, more personal and, ultimately, more like a service than before.

LET’S CHANGE THE WAY THE WORLD WORKS.

IBM® works with leaders in Australia and around the world to put data and analytics at the heart of their organisations. We’ve observed that among these leaders a distinct group is emerging, whose talents are enabled by technology but go beyond it. They are making bold decisions and advancing them on the basis of rich evidence; they are anticipating events, not merely reacting to them; and they are toppling the conventions that stand in the way of thinking and working smarter. ibm.com/smarterplanet/au

Marketers used to see youas a “segment.”

Now they see you as you.

LET’S BUILD A SMARTER PLANET.®

AUSTRALIAN CHAMBER ORCHESTRA 1

NATIONALTOUR PARTNER At a time when digital technologies

inspire new ways to experience and contribute to the world, it is fi tting that IBM presents The Reef, a multi-media surf odyssey by the Australian Chamber Orchestra. The Reef’s synthesis of musical styles and cutting-edge digital video technologies refl ects IBM’s passion for fresh thinking and for changing the way we live and work. This collaboration of performers and fi lm makers reinforces IBM’s belief that Australia’s unique greatness is derived from the diversity and creativity of its people — one of our most important natural resources.

ANDREW STEVENS MANAGING DIRECTOR, IBM AUSTRALIA & NEW ZEALAND

NATIONAL TOUR AND FOUNDING PARTNER

2 AUSTRALIAN CHAMBER ORCHESTRA

Th e Reef follows on from 2008’s Musica Surfi ca and 2011’s Th e Glide. Its journeys are at once personal and universal.

Surfer and wanderer Derek Hynd possesses legendary gifts, including an uncanny ability to confront exploding exteriors (on a fi nless surfboard) and collapsing interiors. We are then dared to comprehend these elements and mould them into the wonder of art.

Th e personal odyssey of Th e Reef begins with Hynd’s own – traversing across our continent east to west, against the earth’s regular fl ow of storms, in a black, a coal-black beast of a vehicle.

Th e story fi nishes with, and encompasses, the universal, as we are left in wonder at the dizzyingly apparent proximity of the desert stars and beyond into the abyss.

But what of the music and why the need to project images?

Th rough the art of universal synchronisation, one is off ered the possibility of hearing more in images and seeing further into music.

Our musical universe ranges from our 42,000 year old Indigenous culture with the restorative music of Stephen Pigram and Mark Atkins and the cohesive force of Iain Grandage; through to remnants of a surf culture that was driven by grunge in the 90s; lurching forward to the sublimely gruesome Ramifi cations of Ligeti and transcending to the holy grail of J.S. Bach.

It also includes Orawa by composer Wojciech Kilar, best known for his music in Roman Polanski fi lms and a fi ne composer in his own right, Rameau’s Entr’acte, Suite des Vents, the un-worldliness of George Crumb, scurrying Brett Dean, Soviet Shostakovich, Russian Rachmaninov and Obama-inauguration performer (and 60s protest singer) Pete Seeger.

We conclude with Beethoven’s Cavatina written as tears fl ooded his score, and with ‘beklemmt’ (anguish) indicated in the score.

We invite you into our dreams, as this music sings to the elements of the natural environment and forms a sonic dialogue with the mysterious and wondrous dance-art that is surfi ng.

Th e Reef is dedicated to the memory of Jeremy ‘Wire’ Curtain.

ABOUT THE MUSIC

Richard Tognetti writes:

Within all of us is the capacity for wonder, in some it just lies dormant.

“Most serious matters are closed to the hard-boiled. Th ey are un-practised in introspection, and therefore badly equipped to deal with opponents whom they cannot shoot like big game or outdo in daring…the hard-boiled are compensated for their silence: they fl y planes or fi ght bulls or catch tarpon…”– from Saul Bellow’s narrator in the Dangling Man

…or surf.

And a surfer does require a certain hardboiled-ness; try staying in the water as a three-metre tiger shark saunters by in Western Australia! – Anyone who reads the news will appreciate the need for that stiff exclamation mark after those two words.

Art is one portal to notions existing beyond the material, and this project Th e Reef attempts, amongst other things, to bring a sense of existential awe and wonder to the hard-boiled – whilst trying to boil away perceptions that ‘classical music’ (whatever that may mean in 2013) is seemingly only for those boiled soft.

Th e dreams of many have come from out of the mighty realm of north western Australia, where the desert is unleashed into the sea. A fertile release of our imaginations has been sparked by our fl eeting encounter, in May 2012, with this land and ocean, and is transformed onto the screen by Jon Frank and Mick Sowry, in an account more representative of a painter than a storyteller. Jeremy ‘Wire’ Curtain

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Richard TognettiDirector, violin, composer, surfer and co-creator of The Reef


TOUR TWOTHE REEF

BRISBANEQPACFri 22 Feb 8pm

CANBERRALlewellyn HallSat 2 Mar 8pm

MELBOURNEArts CentreSun 24 Feb 2.30pm Mon 25 Feb 8pm

NEWCASTLECity HallTh u 28 Feb 7.30pm

SYDNEYOpera HouseMon 4 Mar 8pm

WOLLONGONGTown HallFri 1 Mar 7.30pm

Th e concert will last approximately one hour and forty minutes with no interval.

RICHARD TOGNETTIArtistic Director & Lead ViolinMICK SOWRY Director & ProducerJON FRANK Director of PhotographyDEREK HYND Director of SurfingIAIN GRANDAGE ComposerMARK ATKINS Didgeridoo

STEPHEN PIGRAM Voice, Guitar & UkuleleSATU VÄNSKÄ Violin & VoiceJULIAN THOMPSON CelloCRAIG JOHNSTON VoiceBRIAN RITCHIE Acoustic Bass Guitar

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

Th e Reef fi lm and inaugural performance tour were co-produced by Tura New Music.

Prologue:ATKINS Didgeridoo improvisation S. PIGRAM (arr. Grandage) BeingA. PIGRAM / S. PIGRAM / WASILIEV (arr. Grandage) Mimi

TOGNETTI (real. Grandage) Heart of the Black BeastTOGNETTI (arr. Grandage) BathymetryTOGNETTI / GRANDAGE BeyondRAMEAU Les Boréades: Entr’acte, Suite des Vents LIGETI Ramifi cations CRUMB Black Angels: Night of the Electric InsectsBACH (arr. Tognetti) Sonata No.1, BWV1001: Fugue in G minorGRANDAGE / ATKINS ImmutableKILAR Orawa ALICE IN CHAINS (arr. Tognetti) Them BonesCRUMB Black Angels: God-Music DEAN Electric Preludes: Peripeteia SHOSTAKOVICH (arr. Barshai) Chamber Symphony, Op.110a: Allegro molto RACHMANINOV VocaliseTOGNETTI Sea Drift, after SeegerTOGNETTI EvaporateALICE IN CHAINS (arr. Tognetti) Angry ChairTOGNETTI Lament ReverseBEETHOVEN String Quartet in B fl at Major, Op.130: Cavatina

BEETHOVEN PIANO CONCERTO NO.4

Pianist Dejan Lazic and the ACO recorded live.


MESSAGE FROM THE GENERAL MANAGER

ACO.COM.AU

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PRE-CONCERT TALKSFree talks about the concert take place 45 minutes before the start of every concert at the venue.

One of the highlights of 2012 was the commissioning of a full-length fi lm which would become the heart of Th e Reef. Th is idea had been developing in Richard Tognetti’s mind for several years, and two pilot projects, Musica Surfi ca and Th e Glide, had demonstrated how powerful the combination of great music and overwhelming surf and oceanic imagery could be. When Th e Reef fi nally hit the big screen in July last year on a tour of remote northern WA, the results were engulfi ng.

It is a measure of the vision and breadth of IBM, our Founding Partner, that they would throw the full weight of their support behind this most creative and unusual project and enable us to bring it to the widest possible audience around the country. We salute IBM for their faith in the ACO over more than three decades and thank them for helping us bring this uniquely Australian work to the whole country.

Th e ACO must be the only orchestra in history to have the honour of winning the Surf Culture Award at the recent Australian Surfi ng Awards, in recognition of the unique achievement of Th e Reef.

Immediately following these performances of Th e Reef in Australia, Richard leads the ACO on an international tour which comprises two prestigious residencies – one at the Hong Kong Arts Festival and one for CalPerformances in Berkeley, California. Th e Hong Kong programs include performances of Th e Reef at the Hong Kong City Hall on Saturday 16 March.

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA


NOTES ON SELECTED MUSICAL WORKSJean-Philippe RAMEAU (b.1683–d.1764)Entr’acte, Suite des Vents from Les Boreades (composed 1763)

Composer and theorist Rameau was one of the legendary fi gures in French musical history. He was France’s foremost composer in the 18th century, and many of his dramatic compositions stand as the pinnacles of pre-Revolutionary French opera. In fact, he composed his fi rst opera at age 50.Les Boreades is Rameau’s fi nal opera, which was never performed in Rameau’s lifetime. Suite des Vents was conceived as an entr’acte, or a work performed between acts in the opera, and it masterfully depicts winds and nature.

György LIGETI (b.1923–d.2006)Ramifi cations (composed 1969)

György Ligeti’s haunting, futuristic music was used to great eff ect in Stanley Kubrick’s classic sci-fi movie 2001: A Space Odyssey. Th is Hungarian composer, for many years based in Hamburg, maintained a formidable reputation as a giant of the avant-garde for over four decades. A graduate of the Budapest Academy, Ligeti spent the 1950s – his late twenties and thirties – researching Romanian folk music and issuing compositions of a similarly folk-based nature. In the short string work Ramifi cations, strings are divided into two groups, and one of them is required to tune the strings to create a shimmering sonic blur with eerie, strangely beautiful cluster harmonies that became Ligeti’s hallmark in the 1960s. Ramifi cations will strike each listener in a totally diff erent way. Diff erent timbres and textures will be heard, and each imagination will conjure unique images.

George CRUMB (b.1929)

Black Angels – Th irteen Images from the Dark Land (composed 1970)Th renody I: Night of the Electric Insects and God-Music

American composer George Crumb is still best known today for works that he wrote in the early 1970s, including Black Angels, originally for electric string quartet. Black Angels is no conventional chamber work. Not only are the instruments wired for amplifi cation, but the players make use of an extended array of other sound sources, such as the bowed glasses heard in God-Music.Black Angels was written as a response to the events of the Vietnam War.

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Jean-Philippe Rameau, by Jacques André Joseph Aved, 1728


Johann Sebastian BACH (b.1685–d.1750) Fugue from Sonata No.1 in G minor, BWV1001 (composed 1720)Arranged by Richard Tognetti

Th is sonata, counted amongst Bach’s six sonatas and partitas for solo violin, stands as one of western music’s most glorious and monumental works by one of history’s greatest composers. Many violinists (not all of course) wish to fl esh out the chordal lines and underline the structures of Bach’s violin fugal writing.

Originally written for solo violin, it has been arranged here for violin with a supporting string trio.

Wojciech KILAR (b.1932)Orawa (composed 1986)

Polish composer Wojciech Kilar will be celebrating his 81st birthday this year, and he is perhaps best known for his scores for Francis Ford Coppola and Roman Polanski fi lms.

Orawa is a rigorous, lively work with themes drawn from folk music, and is inspired by the mountainous region that straddles the border of Slovakia and Poland. It is music of nature and the people of the Carpathian highlands, with broad phrases and medieval, almost primal rhythms.

ALICE IN CHAINS (formed 1987)Angry Chair and Th em Bones (from 1992 album Dirt)

Alice in Chains remains the defi nitive heavy metal band of the 1990s. In the period of their second album Dirt, their music straddled the worlds of hard rock/metal and the (then) upwardly mobile Seattle grunge sound.

Layne Staley and Jerry Cantrell, the two main creative forces behind this release, produced what was to be the group’s most commercially successful album and in many ways Staley’s most personal artistic statement. At the time, Staley was struggling with heroin addiction which a decade later would prove to be fatal.

In Th em Bones we hear Cantrell’s confrontation with mortality and in Angry Chair, solely written by Staley, bleak despair.

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JS Bach by Elias Gottlob Haussmann, 1746


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coli Brett DEAN (b.1961)

Electric Preludes(composed 2012)

III Peripeteia

Peripeteia (noun): a sudden or unexpected reversal of circumstances or situation.

Brisbane-born composer Brett Dean continues to enjoy a remarkable career as performer and composer, having begun his journey in Australia. After travelling to Germany on an Australia Council grant, he won a position in the viola section of the Berlin Philharmonic while in his twenties, and began composing in 1988. Now based in Berlin and Melbourne, his works are regularly performed around the world from London, Berlin, Los Angeles and New York, to Sydney.

Electric Preludes was commissioned for Richard Tognetti, ACO, and Festival Maribor by Jan Minchin.

Dmitri SHOSTAKOVICH (b.1906–d.1975)Chamber Symphony, Op. 110a(composed 1960)[adapted from String Quartet No.8]Arranged by Rudolf BarshaiII. Allegro molto

Shostakovich’s String Quartet No.8 was dedicated “To the memory of the victims of fascism and war,” with the composer describing the Quartet as “in a sense [my] musical autobiography” or “the densest mass of self-quotation I ever wrote.”

Th e Quartet was admired by musicians from its birth. Chamber groups begged to perform it and Shostakovich was also approached by several conductors and composers who could hear its potential as an orchestrated work. Rudolf Barshai fell into both these categories. A friend of the composer, his arrangement received Shostakovich’s blessing and is published as the Chamber Symphony with its own opus number, 110a.

Sergei RACHMANINOV (b.1873– d.1943)Vocalise, Op.34, No.14(published 1912)

A vocalise is a song without words, intended to be sung on one or more vowels. Rachmaninov made several transcriptions of this famous wordless melody. His compositional talent and skill is clearly evident in this work, with the hauntingly beautiful melody interplaying with a number of concurrent counter-melodies, all of which are combined together to ravishing eff ect.

Dmitri Shostakovich, 1942

Sergei Rachmaninov, early 1900s


Pete SEEGER (b.1919) Where Have All the Flowers Gone? (composed 1961)

American musician Pete Seeger is one of the most infl uential and instrumental fi gures in folk music, largely credited with the folk music revival of the 1950s and 1960s. He has been surrounded by controversy for much of his career, as he saw music as a means to promote and support political views. In April of 1961, the year this song was composed, Seeger was found guilty of contempt of US Congress and was sentenced to ten concurrent one-year terms in prison. He was acquitted in 1962, the year Where Have All the Flowers Gone? became a Top 40 hit.

Ludwig van BEETHOVEN (b.1770–d.1827)String Quartet in B fl at major, Op.130 (composed 1825)IV. Cavatina: Adagio molto espressivo

Op.130 was composed between August and November 1825, and the quartet in its fi nal form was only performed after the legendary composer’s death, on 22 April 1827.

Teeming, sub-melodic detail is entirely absent in the fourth movement Cavatina, where a smooth, singing line and organically integrated accompaniment create music of extraordinary repose and aff ecting tenderness. According to a famous account by the violinist Karl Holz, this movement ‘cost the composer tears in the writing and brought out the confession that nothing that he had written had so moved him.’ If the main melodic arch of this movement was unbearably moving for the composer, what of the brief central section, marked ‘beklemmt’ (anguish)? Heralded by hushed unison triplets in the lower voices, the violin utters forth a passage which is, all at once, full of wonder, hesitation and absolute terror. ‘Beklemmt’ can mean anxious, weighed down, restricted in some way. For Beethoven, are these few bars a terrifi c glimpse of God, of death, or both?

ADAPTED FROM NOTES BY MEURIG BOWEN, K.P. KEMP, GRAEME SKINNER, AND ALAN J. BENSON.

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Beethoven by Joseph Karl Stieler, 1820


ABOUT THE COMPOSITION: IMMUTABLEIain Grandage writes:

Immutable (adjective): unchanging over time or unable to be changed.

Th is co-composed work, written in collaboration with didgeridoo virtuoso Mark Atkins, grew out of improvisations during Th e Reef residency (run by ACO and Tura New Music) last year at Gnaraloo station in WA.

Th e title alludes to a certain immutable fact. Australian Indigenous musics speak utterly from and for the country and landscapes in which we live. Every gorge and mountain range has its own song – every coastline its own caretaker. Th is work for didgeridoo and string orchestra is a request to share one of those songs – the song and story which is carried by Mark Atkins and his didgeridoo.

Structurally, the work is built in a similar manner to some of Mark’s solo improvisations – namely – a slow introduction (both to warm the instrument and welcome the listener) followed by a rhythmic chapter around a particular groove. Th is is followed by a moment of stasis before the fi nale based around a second series of rhythmic ideas.

But the undoubtedly grounded-in-earth nature of a Mark Atkins solo is counterbalanced in Immutable by moments that allude to the ocean – namely two moments of quotation from early European sources. By way of context, not far from Gnaraloo (across the bay at Cape Inscription) is the spot where in 1616 Dirk Hartog left a plate – the fi rst known European visit to Australia. Many of the vessels that followed him were wrecked on the WA coast. Th ese shipwrecks have slowly decayed and morphed until they are unrecognisable from natural reefs – their story has become part of nature. Gradually, ever so slowly, their European story is becoming entwined in the Australian landscape – the very antithesis of being immutable. Th e two transformed quotations are from the Dutch composer Sweelinck, and a fragment of the John Banister setting of Shakespeare’s ‘Full Fathom Five’. Th e remainder of the work’s harmonic language is based around ever-expanding intervals separated by the semitone, as the strings slowly diverge from an initial unison with the didgeridoo in the introduction.

Th e irony inherent in the title is the fact that Mark is the embodiment of a considerate and adaptable collaborator, and I thank him deeply for allowing me to share another chapter of his remarkable story.

‘seascape and salt’

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ABOUT THE MEETING OF SURFING AND CLASSICAL MUSICJon Frank writes:

I suppose my main concern was, as always, to try not to be party to the destruction of any masterpieces of western civilization along the way. Advertising sharks have no shame in using Beethoven to sell chocolate or Carl Orff to sell beer but this isn’t about selling you anything.

How could anyone with a conscience project pictures of surfi ng to the music of Bach? His is the grand work of a musical genius. It is perfect. In fact it’s better than perfect, it’s biblical. God-like. Bach transcends mortality.

Surfi ng certainly takes centre stage in the lives of its devotees but its lines are drawn on such an ephemeral medium and generally so far out to sea, that to non-surfers it can be diffi cult to understand. For a non-surfer it must be easy to view surfi ng as frivolous and self obsessed or worse still as a ‘sport’, which is blasphemy to the purists of our culture. Yes surfi ng is a culture, or is it a kultcha? I’m out of touch.

What do you estimate the average age of a classical music concert audience to be? I’ve been to a few and I’d reckon it’s in the high 60s, kind of like Florida.

Look around you tonight as you read this, I’ll wager there are quite a few younger faces in the crowd. A few raucous ones too no doubt, with sunburned noses and salty mops. So while you can’t make better the work of Beethoven or Bach, what you can do is enable that work to be heard by a generation that has been reared on YouTube, punk, and hip hop at the speed of a broadband revolution internet connection.

Th at’s not to say that this is a better way, the music sure doesn’t need us. At the very least Th e Reef provides an opportunity for the youth who just don’t go to classical music concerts, to hear for themselves how massive, irreverent, exciting and damn touching this music can be.

Th is music transcends age, wealth, status and class. Th is music needs to be heard by us all. (Just not on TV selling Old Spice, please.)

Richard Tognetti surfi ng

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ABOUT THE FOOTAGE

Mick Sowry writes:

When I discovered I was to direct Th e Reef, after the surprise came the thinking.

How do you express a place you’ve known of for 40 years but never visited, with a palette of images without spoken word or recorded soundtrack, using a metaphoric visual and musical language built on a two week stay on the remote desert coast of north west Western Australia?

Respect for the original inhabitants of the land was in the front of my mind too, and it was there that the seeds for the idea came. Th is is a place of deep time, a glass hard land that pricks and cuts and glistens. It is, and persists, eternal.

Our days there, experiencing this extraordinary place, needed, it seemed to me, to be compressed into a Mythic Day, and that day was to become a metaphor for life.

Th at was the idea.

We come and go, sparks in time.

I approached the shoot armed with an open mind and a notebook full of ideas.

Some elements were long planned. Our opening of the day underwater, a birth. Th e harshness of the high sun, the ants, the scratching frenetic nature of our working lives.

Others, like the third movement of Crumb’s Black Angels was a reaction to the time the piece was written (during the Vietnam war) and the presence of Th e American Boy in the form of the virtuosic American surfer Ryan Burch.

Under a bad fall of the temporal dice he could have been standing in a paddy fi eld in Vietnam.

Th e Gnaraloo experience was a lot diff erent from gazing down from Google Earth. Adjusting to managing, with a lot of help, (particularly from my line producer Fran Derham) 20 or more people on a big stage, and taking a couple of days to get acquainted with the near-military operation of synchronising arrival at a specifi c break with the right crew and equipment in time for optimum swell and shooting conditions, proved a challenge.

We settled on the RED camera system as it gave us the ability to capture images of astonishing resolution and it also gave us the ability to stop time and allow us to see things that we might otherwise never see, or experience.

Th ese cameras take us, in the hands of Director of Photography Jon Frank (Musica Surfi ca, Th e Glide, Th e Crowd, Th e Nothing Project), to another world.

Dane Beevor

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Ryan Burch

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Relentless and courageous, he fi lmed with tiger sharks cruising the line up, throwing himself into the water whatever the conditions and whatever the time, for as long as it took.

His ability to remain underwater for what seemed like minutes at a time delivered wonders.

Ideas thrown up as potential fi lled lumps of coal turned into diamonds. He cruised the bush, alone with his camera, letting it wander with intent.

Returning to a small room in wintery Torquay, Jon and I edited for a very long month, with the help of Ed Saltau keeping us technically on track. Th e work fi nished, we entered an intense rehearsal period with Richard and the orchestra, followed by a 2012 tour of the Top End, tracking down the west coast to Perth, and on to the Sydney Opera House.

Now, this year’s east coast tour is giving the rest of Australia a chance to see Th e Reef, and the added time has given Richard, Jon and me the chance to revisit it, a bit like a painter returning to a canvas for some fi nal touches. Th is is a new, evolved Th e Reef.

It has been an adventure bringing it to you.

I would like to especially thank Simon Yeo for his vision, energy and good humour. Without him Th e Reef would not have happened.

From left: Jon Frank and Dane Beevor

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ABOUT THE SURF

Derek Hynd writes:

Welcome to Th e Reef.

Th e slight test of endurance, for my dedicated crew of fi ve, started well before the slated event commencement in a trusty old Land Cruiser, involving a double roll over in the dirt of the Buntine Highway in the Northern Territory, emergency medical care from Patrick Underwood at Inverway Station, the adoption of Buntine the dingo pup at Halls Creek, a 1000km stretch with a crushed roof and no windscreen until Broome, investigation and discovery of dinosaur footprints at the threatened eon old terrain of James Price Point at the invitation of local tribal elders, and eventual dusk arrival at one of the planet’s most pristine vistas.

We beheld an amazing land of wonderful souls and hidden majesties.

Th e Reef is the culmination of a series of fusion projects focusing on the sea. Musica Surfi ca (2008), Th e Glide (2010), and now Th e Reef, largely championing the progression of Free Friction surfi ng, a new surfi ng artform conducted without fi ns. Man of few peers in fi nned surfi ng, Dane Beevor, off ers structural perspective, whilst air mat rider Warren Pfeiff er – at 60 years of age – lays claim to being the fastest surfer on the planet.

Derek Hynd

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Th e indulgence of maestro Tognetti as a dedicated exponent of the discipline is of course noted. Without his devotion to speeding across the wave face as if on a magic carpet, none of these projects would have been undertaken. Great credit goes to the ACO Board and Administration in veering to the left bank of project fusion, and especially to Janet Holmes à Court whose core appreciation of Th e Reef has been something to behold.

Two rising tenets of the artform exist. Alaia surfi ng, popularly originated by Jacob Stuth and Tom Wegener in tribute to the ancient Polynesian pursuit; and Far Field Free Friction (FFFF) surfi ng, pioneered by Sydney’s Dale Egan 20 years ago and modifi ed by me 7 years ago with the removal of all fi ns.

FFFF is so named (2006) in deference to Simopekka Vänskä, brother of ACO Principal Violin Satu Vänskä, whose mathematical theorem ‘Direct and Inverse Scattering for Beltrami Fields’ – or ‘Th e Far Field Th eory’, depicts stability after chaos upon reaching the theoretical point of infi nity. Inconsequential by comparison, certainly, but it is the feeling of coming into sudden control after marked instability that keys free friction surfi ng. Or just call it plain old stoke.

It is the abandonment of ingrained control that most appeals. Patrick White noted before his passing the loss of intuition within society in the face of rising control. FFFF surfi ng places the variable as the control mechanism, evolving the artform into freeform jazz.

I’ve garnered much joy from watching Richard tackling waves at Noosa Heads, Bells Beach or Ningaloo Reef with a profi ciency that puts him at the forefront of research and development within the discipline. Credit also to Taylor Claire Miller, daughter of Waimea Bay great Rusty Miller, whose progression has been nothing shy of wild. Th e shock and awe on the faces of the pack at Th e Pass, Byron Bay, as she torques and rotates over them in the crowded line up has no parallels in women’s surfi ng. Sans fi ns, one can respectfully run another surfer over after all.

Ryan Burch is the beacon of next generation FFFF. Aside from the miraculous chunk of foam ridden during Th e Reef, his performances after borrowing a board or two from my quiver leaves little doubt that he can be as magnetic to watch as the king of fi ns, Kelly Slater.

What you are about to see is surfi ng, but not as you know or imagine it. Th ank you for the support.

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RICHARD TOGNETTI AOARTISTIC DIRECTORAUSTRALIAN CHAMBER ORCHESTRA

Select DiscographyAs soloist:

BACH Sonatas for Violin and KeyboardABC Classics 476 59422008 ARIA Award Winner

BACH Violin ConcertosABC Classics 476 56912007 ARIA Award Winner

BACH Solo Violin Sonatas and PartitasABC Classics 476 80512006 ARIA Award Winner

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

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

As director:

GRIEG Music for String OrchestraBIS SACD-1877

Pipe DreamsSharon Bezaly, FluteBIS CD-1789

All available from aco.com.au/shop.

Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.

As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Jonny Greenwood, Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank.

In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: Th e Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf fi lm Horrorscopes and, in 2008, co-created Th e Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary fi lm Musica Surfi ca, which has won best fi lm awards at surf fi lm festivals in the USA, Brazil, France and South Africa.

As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS.

Richard Tognetti was appointed an Offi cer 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.

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.”

THE DAILY TELEGRAPH (UK)

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Iain Grandage is both a musician and a composer for theatre, dance and the concert hall. He has been Composer-in-Residence with the Western Australian Symphony Orchestra, the Youth Orchestras of Australia and Black Swan Th eatre Company. He received the Ian Potter Emerging Composer Fellowship and is currently an Honorary Research Fellow at University of Western Australia.Iain won Helpmann and Green Room Awards for theatre scores, which include Th e Blue Room, Th e Book of Everything, Cloudstreet, In the Next Room, Little Match Girl, and Secret River. His scores for dance include the award-winning Lawn (Splinter Group) and Remember Me (DanceNorth).Iain’s concert works have been performed by the Brodsky String Quartet, Australian String Quartet, Australian Brass Quintet, Sara Macliver, Craig Ogden, and by choirs and orchestras around Australia. He has won APRA/AMC awards and has completed orchestral arrangements for Ben Folds, Gurrumul, Tim Minchin, Steve Pigram, Tim Rogers, Sinead O’Connor, Tiddas and Th e Whitlams.Iain plays cello as part of the chamber ensemble Overlander with William Barton, Claire Edwardes and Melanie Robinson, and has moonlighted with the Brodsky Quartet, Australian Art Orchestra and Topology. He regularly performs piano with cabaret überdiva MeowMeow, and was Music Director of Meow’s Wunderschön with ANAM. Iain has acted as musical supervisor and arranger for the Black Arm Band’s Hidden Republic, Dirtsong and Seven Songs presentations, and was music director and arranger for Eddie Perfect’s Songs from the Middle. He conducted all the Australian symphony orchestras as part of the 2012 Tim Minchin vs the Orchestra tour.

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IAIN GRANDAGECOMPOSER

Derek grew up in Newport Beach, Sydney, in an era of drug culture, motorcycle madness and plights of upward mobility…all of which he took no part in. Instead, upon graduating in political economy from Sydney University, he veered left to a life of world travel, incisive and often controversial writing as well as various groundbreaking surfi ng pursuits.Th is is his fourth decade at the forefront of performance, beginning with a top ten world ranking, a career in elite coaching and radical industry politics.His recent development of a revolutionary kind of surfi ng, Far Field Free Friction (FFFF), is nothing short of breathtaking invention. Th e fi n has been removed, leaving the edge of the rail and the speed of no constraint. Th ink magic carpet. Th is being Derek’s eighth year sans fi ns, he remains committed to research and development. Th e Ningaloo Reef has posed the biggest challenge thus far, after seven years ‘going right’ (facing the wave). Now, with his back to the wave in Th e Reef, the process has been a challenge to overcome.Th e Reef is Derek’s third venture with the ACO, cross-pollinating free friction surfi ng with fi ne music. In the past he was one of the main collaborators with Jon Frank in the highly regarded soul surfi ng fi lm Litmus. In this project, the Hynd/Tognetti/Frank fusion spawns fresh intoxication.By Taylor Claire Miller

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DEREK HYNDOUTRAGEOUS SURFER, THINKER, DOER


Mick Sowry writes:Normally a biography in a document like this would consist of a list of degrees, awards and reviews of a glittering history.Here I’m a little diff erent.My early life was one of searching for something I could hang on to as a career, but a curiosity about everything made it impossible for me to decide, and to fi nd a focus.I was thrown out of design school as I kept disappearing off to chase waves, but a base set of strong artistic skills help me settle into advertising as a creative in an industry that covered every base. I could draw and think and write and conjure up ideas for a stream of ever-changing challenges that kept me (often) fascinated when I wasn’t gazing out the window daydreaming of the sea.After almost 30 years the daydreams got the better of me. We sold the house, and, returning from a last real summer holiday, I sent a ‘wing and a prayer’ email to Richard Tognetti describing one particular fi lmic daydream, asking him if he’d be interested in doing the sound design. An hour later we were talking, never having met before, and two months later I was on King Island making a fi rst collaboration with the ACO in the form of Musica Surfi ca. It wasn’t the fi lmic daydream I’d approached Richard about, but it was a fork in the road I had to take.Th e premise behind that fi lm was the benefi ts of risk in creativity.I can say amen to that.Without that forced opportunity this new life would not have happened, and I would not have had the chance to work with such wonderful people sharing a diff erent view of the watery world we love to live in.

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MICK SOWRYDIRECTOR, PRODUCER AND EDITOR

It was May 2012 and already winter on Victoria’s West coast. Th ick lumps of roaring forties swell surge shoreward like great humpback whales, rising and falling onto this remote beach; a steep bite of sand where each wave arrives dark with intent. Jon Frank wades through the fading light, ducking and diving through the treacherous shore break, swim fi ns propelling him towards the impact zone, heavy fi lm camera encased water-housing held just above water level. Th ere is a moment here, a split second, where a wave arches, bending towards the shallow sandbar, dimpled like a buckled sheet of steel illuminated by the fi nal rays of the day.As a surf photographer, Jon Frank is without peer. Widely regarded as the artist of the ocean image, Frank has spent the past two decades expressing his unique vision of surfi ng and ocean waves, winning a slew of photography and cinematography awards along the way. His ethereal images have adorned magazine covers, books and advertising campaigns, selling everything from soft drinks to surfboards. His cinematography has added an esoteric layer to an impressive catalogue of surf fi lms, documentaries and television programs. His work has been exhibited in Australia, USA, Slovenia and Portugal and he has collaborated with Richard Tognetti and the ACO to create a series of classical music concerts (Th e Glide, Th e Crowd and Nothing) featuring video projection behind live orchestra. Surf photography has been described as ‘starvation on the road to madness’ and Frank’s gaze has wandered far beyond the agitation of wind on water. But it is in these moments, as darkness kisses this chill and desolate coastline, that he lifts us beyond our imagination.By Brendan J McAloonwww.jonfrank.org

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JON FRANKPHOTOGRAPHIC IMAGES AND FOOTAGE, EDITOR


One of the world’s fi nest didgeridoo players, Australian Aboriginal musician Mark Atkins is internationally recognised for his collaborative projects with some of the world’s leading composers and musicians. A descendant of Western Australia’s Yamitji people, and of Irish/Australian heritage, Mark has incorporated the didgeridoo sound into some unlikely musical environments, adding its primal pulse to orchestral works, theatrical productions and dance performances. Th rough Mark’s lips the air blows as a natural desert sound, in old ethnic chants and in polyphonic melodies of astonishing rhythm.Mark is a performer, storyteller, songwriter, composer, percussionist, visual artist and instrument maker. He creates and paints didgeridoos from wood collected near his home in Tamworth, New South Wales and has exhibited his traditional and contemporary artwork in Japan, Europe and the United States.As performer and composer, Mark has worked with Led Zeppelin’s Robert Plant and Jimmy Page, the London Philharmonic Orchestra, Hothouse Flowers, Philip Glass, Sinead O’Connor, Peter Sculthorpe, Donald Lunney, Ornette Coleman, Gondwana Voices, Jenny Morris, John Williamson, James Morrison, Th e Blind Boys of Alabama and many more. He also won the Golden Didgeridoo at the Tamworth Country Music Festival.In 2001 Mark collaborated with composer Philip Glass and Wurundjeri elder Joy Murphy Wandin in Voices, a concert work for didgeridoo and organ performed in Australia, at the Lincoln Centre, New York, and in Amman, Jordan. He also performed in the Sydney Opera House season of Naqoyqatsi and toured Philip Glass’ Orion, which premiered in Greece and subsequently toured to Italy, France, UK, USA, Mexico and Australia. Mark’s solo work Grungada toured Australia, Hong Kong and France. Mark has also performed at festivals Womadelaide, Australia and WOMAD Seatle, USA.Mark is founding member of Black Arm Band, featuring Australian legends of indigenous contemporary music, which wrote and performed Murandak, Hidden Republic and Dirtsong.

MARK ATKINSDIDGERIDOO

From Australia’s far northwest Kimberley region, singer/songwriter/musician Stephen Pigram is probably best known for his work with his six musical brothers in Broome’s much loved Pigram Brothers band and the ‘saltwater country’ style of music they deliver. He was a member of the pioneering bands Kuckles and Scrap Metal, and was musical director for the original production of the fi rst Aboriginal musical Bran Nue Dae. He played a major role in the development and production of the recent Australian fi lm Mad Bastards as both producer and composer. In 2006, Stephen and brother Alan were inducted into the West Australian Music Industry Hall of Fame, the fi rst indigenous artists to receive this honour. 2013 sees the release of Stephen’s fi rst solo album, ‘Wanderer’.

Mimi‘Mimi’ in the Yawuru language is the word for ‘grandmother’ (mother’s mother)…her spirit never dies, she’s always watching over me…imajalajalan ngaiyu.

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STEPHEN PIGRIMVOICE AND GUITAR


AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN

ACO MUSICIANS

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Madeleine Boud Violin

Rebecca Chan Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.

Founded in 1975, this string orchestra comprises leading Australian and international musicians. Th e Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig.

Australian violinist Richard Tognetti has been at the helm as Artistic Director since 1989, expanding the Orchestra’s national program, spearheading vast and regular international tours, injecting unprecedented creativity and unique artistic style into the programming and transforming the group into the energetic standing (except for the cellists) ensemble for which it is now internationally recognised.

Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Principal Violin Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Principal Violin Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund and Principal Cello Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andraea cello on loan from Peter William Weiss AO.

Th e ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include three-time ARIA Award-winning Bach recordings, multi-award-winning documentary fi lm Musica Surfi ca and the complete set of Mozart Violin Concertos.

Th e ACO presents outstanding performances to over 9,000 regular subscribers and tens of thousands of ticket buyers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall.

In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.

aco.com.au

Th e Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Th e Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.


MUSICIANS ON STAGE Photos: Paul Henderson-Kelly, Helen White

§ Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor* Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund# Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andræ cello kindly on loan from the Australia Council

MADELEINE BOUDViolinChair sponsored by Terry Campbell AO & Christine Campbell

SATU VÄNSKÄ≈Principal ViolinChair sponsored by Robert & Kay Bryan

HELENA RATHBONE*Principal ViolinChair sponsored by Hunter Hall Investment Management Limited

RICHARD TOGNETTI AO§

Director & ViolinChair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

ViolaALEXANDRUMIHAI BOTACelloTIMOTHY NANKERVIS1

CelloSHARON DRAPER2

DidgeridooMARK ATKINSVoice, Guitar & UkuleleSTEPHEN PIGRAM Acoustic Bass GuitarBRIAN RITCHIE VoiceCRAIG JOHNSTON

1 Courtesy of Sydney Symphony2 Courtesy of Melbourne Symphony Orchestra

Players dressed by AKIRA ISOGAWA

NICOLE DIVALLViolaChair sponsored by Ian Lansdown

CHRISTOPHER MOOREPrincipal ViolaChair sponsored by Tony Shepherd

MAXIME BIBEAUPrincipal BassChair sponsored by John Taberner & Grant Lang

JULIAN THOMPSON#

Acting Principal Cello Chair sponsored by the Clayton Family

REBECCA CHANViolinChair sponsored by Ian Wallace & Kay Freedman

MARK INGWERSENViolin

ILYA ISAKOVICHViolinChair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

AIKO GOTOViolinChair sponsored by Andrew & Hiroko Gwinnett


AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Offi ce: 1800 444 444 Email: [email protected] Website: aco.com.au

ACO BEHIND THE SCENES

EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General Manager and Development ManagerMichelle KerrExecutive Assistant to Mr Calnin and Mr Tognetti AO

ARTISTIC & OPERATIONSLuke ShawHead of Operations and Artistic Planning Alan J. BensonArtistic AdministratorMegan RussellTour ManagerLisa MullineuxAssistant Tour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian/Music TechnologyAssistantBernard RofeAssistant Librarian

EDUCATIONVicki NortonEducation and Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCECathy Davey Chief Financial Offi cerSteve Davidson Corporate Services ManagerShyleja PaulAssistant Accountant

DEVELOPMENTAlexandra Cameron-FraserCorporate Relations andPublic Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveLillian ArmitagePhilanthropy ManagerAli BrosnanPatrons and FoundationsExecutiveStephanie IngsInvestor Relations ManagerJulia GlassDevelopment Coordinator

MARKETINGRosie RotheryMarketing ManagerAmy GoodhewMarketing CoordinatorClare MorganNational PublicistHazel SavagePublicity Coordinator and VideographerChris Griffi thBox Offi ce ManagerDean WatsonCustomer Relations ManagerDavid SheridanOffi ce Administrator and Marketing Assistant

INFORMATION SYSTEMSKen McSwainSystems and Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestJohn BorghettiLiz Cacciottolo

Chris FroggattJanet Holmes à Court ACHeather Ridout

Andrew StevensJohn TabernerPeter Yates AM

BOARDGuido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman

Richard Tognetti AOArtistic Director


FILM PRODUCTION CREDITSA collaboration by Richard Tognetti, Mick Sowry and Jon Frank

Richard Tognetti Mick Sowry Jon Frank Derek HyndArtistic Director Director and Producer Director of Photography Director of Surfi ng

Edited by Mick Sowry and Jon Frank

FEATURED SURFERS

Derek HyndDane BeevorRyan BurchRichard Tognetti Taylor Miller Warren Pfeiff erTully BeevorKarl Atkins

Tos Mahoney – Artistic Director TURA New MusicVicki Norton – Tour ManagerMichelle Kerr – Assistant to Richard Tognetti and Production AssistantSimon Yeo – Logistics ManagerFran Derham – Line ProducerWes Greene – Post production Manager, Camera Operator & Data Wrangler Ed Saltau – 2nd Unit Camera Operator, Post Production Coordinator, Assistant Editor and ColouristEd Sloane – 2nd Unit 2nd Camera and Stills PhotographyCraig Johnston – Sound RecordistLuke McNee – Additional FootageTully Beevor – Additional FootageJack McCoy – Additional FootageRory Mahoney – Post Production SupervisorTim Hayes – Safety Offi cer, Zero Risk InternationalSteve Shearer – Surf ForecasterFrederic Poguet, Mike Junghans and Sara Poguet – Catering

Cameras, Underwater Equipment, Technical Support and post production Facility supplied byNalu Productions

Sound Design by Soundfi rm


ACKNOWLEDGEMENTS

VENUE SUPPORT

We are also indebted to the following organisations for their support:

PO Box 7585Arts Centre MelbournePO Box 7585St Kilda Road, Melbourne VIC 8004Telephone: (03) 9281 8000Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMs Janet Whiting (President)Ms Deborah Beale, Ms Terry Bracks,Mr Julian Clarke, Ms Catherine McClements,Mr Graham Smorgon, Prof Leon van Schaik ao, Mr David Vigo

EXECUTIVE GROUP

Chief Executive Ms Judith IsherwoodCorporate Services Ms Jodie BennettPerforming Arts Mr Tim BrinkmanFacilities & Asset Management Mr Michael BurnsGeneral Manager – Development, Corporate Communications & Special Events Ms Louise GeorgesonCustomer Enterprises Mr Kyle Johnstone

Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

FOR YOUR INFORMATIONTh e management reserves the right to add, withdraw or substitute artists and to vary the program as necessary.Th e Trust reserves the right of refusing admission.Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue.In the interests of public health, Arts Centre Melbourne is a smoke-free area.

AEG OGDEN (PERTH) PTY LTD

PERTH CONCERT HALLGeneral Manager Andrew BoltDeputy General Manager Helen StewartTechnical Manager Peter RobinsEvent Coordinator Penelope Briff a

Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Th eatre Trust Venues.AEG OGDEN (PERTH) PTY LTDChief Executive Rodney M Phillips

THE PERTH THEATRE TRUSTChairman Dr Saliba Sassine

St George’s Terrace, PerthPO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

LLEWELLYN HALLSchool of MusicAustralian National UniversityWilliam Herbert Place (off Childers Street)Acton, Canberra

VENUE HIRE INFORMATIONPhone: +61 2 6125 2527 Fax: +61 2 6248 5288Email: [email protected]

GOVERNMENT SUPPORT


All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—132 — 16996 — 1/220213

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWINOVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2—E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

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

Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production—Classical Music Alan Ziegler

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

ACKNOWLEDGEMENTS

PO Box 3567, South Bank, Queensland 4101Tel: (07) 3840 7444Chair Henry Smerdon amDeputy Chair Rachel Hunter

TRUSTEESSimon Gallaher, Helene George, Bill Grant, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White

EXECUTIVE STAFFChief Executive John KotzasDirector – Marketing Leisa BaconDirector – Presenter Services Ross CunninghamDirector – Development Jacquelyn MaloufDirector – Corporate Services Kieron RoostDirector – Patron Services Tony Smith

ACKNOWLEDGMENTTh e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Rachel Nolan mpMinister for Finance, Natural Resouyrces and Th e ArtsDirector-General, Department of the Premier and CabinetJohn BradleyDeputy Director-General, Arts Queensland Leigh Tabrett PSM

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUSTMr Kim Williams am (Chair)Ms Catherine Brenner, Th e Hon Helen Coonan,Mr Wesley Enoch, Ms Renata Kaldor ao,Mr Robert Leece am rfd, Mr Peter Mason am,Dr Th omas Parry am, Mr Leo Schofi eld am,Mr John Symond am

EXECUTIVE MANAGEMENTChief Executive Offi cer Louise Herron Executive Producer SOH Presents Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia PucciChief Financial Offi cer Claire Spencer

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration: 02 9250 7111 Box Offi ce: 02 9250 7777Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

A City of Sydney VenueClover Moore Lord MayorManaged byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix FounderJack Frost General ManagerCITY RECITAL HALL ANGEL PLACE

2 –12 Angel Place, Sydney, AustraliaGPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000Box Offi ce 02 8256 2222 or 1300 797 118Facsimile 02 9233 6652 Website www.cityrecitalhall.com


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 PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti AOLead ViolinMichael Ball AM & Daria BallJoan ClemengerWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal Violin

Satu VänskäPrincipal ViolinRobert & Kay Bryan

Christopher MoorePrincipal ViolaTony Shepherd AO

Timo-Veikko ValvePrincipal CelloPeter William Weiss AO

Maxime BibeauPrincipal Double BassJohn Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAndrew & Hiroko Gwinnett

Mark Ingwersen Violin

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Madeleine Boud ViolinTerry Campbell AO & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Viola ChairPhilip Bacon AM

Melissa Barnard CelloTh e Bruce & Joy Reid Foundation

Julian Th ompson CelloTh e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICIBrian Nixon Mr R. Bruce Corlett AM &Principal Timpani Mrs Ann CorlettMr Robert Albert AO & Mrs Libby Albert


ACO INSTRUMENT FUNDTh e ACO has established its Instrument Fund to off er patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. Th e Fund’s fi rst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. Th e ACO pays tribute to its Founding Patrons of the Fund.

VISIONARY $1m+Peter William Weiss AO

LEADER $500,000–$999,999

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

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

QUARTET $50,000–$99,000John Leece OAM & Anne Leece

SONATA $25,000–$49,999

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

SOLO $5,000 $9,999Amanda Staff ord

PATRONS $500 $4,999June & Jim ArmitageJohn Landers & Linda SweenyAlison ReeveAngela RobertsAnonymous (1)

PETER WILLIAM WEISS AO, PATRON

FOUNDING PATRONS

Guido & Michelle Belgiorno-NettisBill BestBenjamin BradySteven DuchenBrendan HopkinsJohn TabernerIan Wallace & Kay Freedman

FOUNDING INVESTORS

Bill Best (Chairman)Jessica BlockJanet Holmes à Court ACJohn Leece OAMJohn Taberner

BOARD MEMBERS


ACO SPECIAL COMMISSIONSTh e ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2012 and 2013.

Jane AlbertSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinT Cavanagh & J GardnerAnne Coombs & Susan VargaAmy DenmeadeToni FreckerJohn Gaden AMCathy GraySusan Johnston & Pauline Garde

Brian KelleherAndrew LeeceScott Marinchek & David WynneKate Mills & Sally Breen Nicola PennMartin PortusJanne RyanBarbara Schmidt & Peter CudlippRichard SteeleStephen Wells & Mischa WayAnonymous (1)

THE REEFLEAD PATRONSTony & Michelle Grist

PATRONSWendy EdwardsEuroz Charitable FoundationDon & Marie ForrestTony & Rose PackerNick & Claire PollGavin & Kate RyanJon & Caro StewartSimon & Jenny Yeo

ELECTRIC PRELUDES by Brett DeanCommissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the 2013 ACO National Concert Season.

NEVER TRULY LOST by Brenton BroadstockCommissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.

SPECIAL COMMISSIONS PATRONSMirek GenerowiczPeter & Valerie GerrandV GrahamMargot Woods & Arn SprogisAnonymous (1)

Th e ACO would like to pay tribute to the following donors who support our international touring activities in 2013.

INTERNATIONAL TOUR PATRONS

International Tour PatronsCatherine Holmes à Court- Mather

International Tour SupportersJenny & Stephen CharlesJulia Ross

NISEKO SUPPORTERSA J AbercrombieWarwick AndersonBreeze FamilyTim BurkeSimone CarsonSuzy CrittendenCathryn Darbyshire & Andrew Darbyshire AMKerry Gardner & Andrew Myer

Phil & Rosie HarknessRyota HayashiLouise Hearman & Bill HensonSimon & Katrina Holmes à Court Family TrustHoward & Launa InmanRobert Johanson & Anne SwannRichard & Lizzie LederNaomi Milgrom

Clarke & Leanne MorganRichard & Amanda O’BrienJill Reichstein SchiavelloPeter ScottJohn & Nicky StokesDr Mark & Mrs Anna YatesOliver YatesAnonymous (2)

NISEKO SUPPORTERSTh e ACO would like to pay tribute to the following donors who are supporting our continued involvement with the Niseko Winter Music Festival.

NISEKO PATRONSAnn Gamble MyerAlf Moufarrige

Louise & Martyn Myer FoundationPeter Yates AM & Susan Yates


EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert AO & Mrs Libby AlbertDaria & Michael BallSteven BardyGuido & Michelle Belgiorno- NettisLiz Cacciottolo & Walter LewinCarapiet FoundationMark CarnegieDarin Cooper FamilyJohn B Fairfax AOChris & Tony FroggattBelinda Hutchinson AMAngus & Sarah JamesPJ Jopling QCMiss Nancy KimptonPaula KinnaneMr Bruce & Mrs Jennifer LanePrudence MacLeodAlf MoufarrigeAlex & Pam ReisnerMargie Seale & David HardyMr John Singleton AMBeverley SmithJohn Taberner & Grant LangAlden Toevs & Judi WolfTh e Hon Malcolm Turnbull MP & Ms Lucy Turnbull AOPeter William Weiss AOE XipellAnonymous (1)

DIRETTORE $5,000$9,999Th e Abercrombie Family FoundationGeoff AlderTh e Belalberi FoundationJenny & Stephen CharlesLeith & Darrel ConybearePeter & Tracey CooperBridget Faye AMIan & Caroline FrazerEdward C GrayMaurice Green AM & Christina GreenAnnie HawkerRosemary HoldenWarwick & Ann JohnsonJulie KantorKeith KerridgePhilip LevyLorraine LoganPeter LovellDavid Maloney & Erin FlahertyJulianne MaxwellLouise & Martyn Myer FoundationMarianna & Tony O’SullivanSandra & Michael Paul EndowmentJohn RickardTh e Roberts FamilyMark & Anne RobertsonPaul SalteriPaul Schoff

Seleco Foundation LtdKerry Stokes AC & Christine SimpsonIan Wallace & Kay FreedmanIan Wilcox & Mary KostakidisCameron WilliamsAnonymous (2)

MAESTRO $2,500$4,999Jane AllenTiff any AndrewsWill & Dorothy Bailey BequestDoug & Alison BattersbyBerg Family FoundationVirginia BergerBill & Marissa BestPatricia BlauDr David & Mrs Anne BolzonelloCam & Helen CarterJenny CharlesCaroline & Robert ClementeDr Peter CliftonJudy CrawfordJohn & Gloria DarrochKate DixonLeigh EmmettMichael FitzpatrickAnn Gamble MyerRhyll GardnerLiangrove FoundationWarren GreenNereda Hanlon & Michael Hanlon AM

ACO DONATIONS PROGRAM

PATRONS NATIONAL EDUCATION PROGRAMJanet Holmes à Court AC Marc Besen AO & Eva Besen AO

Th e ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. Th ese initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST

THE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS


Liz HarbisonAngela James & Phil McMasterVanessa JenkinsMacquarie Group FoundationTh e Marshall FamilyTh e Michael FamilyP J MillerPatricia H Reid Endowment Pty LtdRuth RitchieD N SandersCheryl SavageBrian SchwartzGreg Shalit & Miriam FaineMs Petrina SlaytorAmanda Staff ordPhilippa StoneDr & Mrs R TinningRalph Ward-Ambler AM & Barbara Ward-AmblerAnonymous (2)

VIRTUOSO $1,000$2,499Annette AdairMr L H & Mrs M C AinsworthAntoinette AlbertDavid & Rae AllenAndrew AndersonsDavid ArnottSibilla BaerTh e Beeren FoundationLinda & Graeme BeveridgeJessica BlockKathy BorrudBen & Debbie BradyVicki BrookeSally BuféNeil Burley & Jane MunroMichael CameronCannings CommunicationBella CarnegieSandra CassellJulia Champtaloup & Andrew RotheryGeorg & Monika ChmielAngela & John ComptonBernadette CooperAnne & David CraigJudy CrollMarie DalzielLindee & Hamish DalziellMrs June DanksMichael & Wendy DavisMartin DolanAnne & Th omas Dowling

Jennifer DowlingDr W DowneyProfessor Dexter Dunphy AMBronwyn EslickPeter EvansHelen Elizabeth FairfaxElizabeth FinneganStephen FitzgeraldLynne FlynnNancy & Graham FoxR FreemantleJane & Richard FreudensteinColonel Tim FrostAnne & Justin GardenerJaye GardnerDaniel & Helen GauchatPaul Gibson & Gabrielle CurtinColin Golvan SCRichard & Jay Griffi nLyndsey HawkinsPeter HearlReg Hobbs & Louise CarbinesMichael Horsburgh AM & Beverley HorsburghPenelope HughesWendy HughesPam & Bill HughesGraeme HuntGlen Hunter & Anthony NiardoneStephanie & Michael HutchinsonBrian JonesD & I KallinikosLen La FlammeGreg Lindsay AO & Jenny LindsaySydney & Airdrie LloydJudy LynchMartin Family in memory of Lloyd Martin AMKevin & Deidre McCannBrian & Helen McFadyenIan & Pam McGawJ A McKernanJane MorleyG & A NelsonNola NettheimAnne & Christopher PageRowland Patersonpeckvonhartel architectsDavid Penington ACAyesha PenmanTom PizzeyMark RenehanDr S M Richards AM & Mrs M R Richards

Warwick & Jeanette Richmond In Memory of Andrew RichmondDavid & Gillian RitchiePeter J RyanIn Memory of H. St. P. ScarlettJeff SchwartzIn memory of Elizabeth C SchweigPeter & Ofelia ScottJennifer SeniorTony ShepherdPaul SkamvougerasDiana Snape & Brian Snape AMMaria Sola & Malcolm DouglasEzekiel Solomon AMK W SpenceCisca SpencerRobert StephensGeoff rey StirtonMr Tom StoryDr Douglas Sturkey CVO AMDr Charles Su & Dr Emily LoPaul TobinAnne TonkinNgaire TurnerLoretta van MerwykKay VernonBill WatsonM W WellsJanie Wanless & Nev WitteySir Robert WoodsNick & Jo WormaldDon & Mary Ann YeatsWilliam YuilleAnonymous (15)

CONCERTINO $500$999Antoinette AckermannMrs Lenore Adamson in memory of Mr Ross AdamsonPeter & Catherine AirdElsa AtkinRuth BellMax BenyonBrian & Helen BlytheDr Anthony BookallilBrian BothwellDenise BraggettJulie CarriolKirsten CarriolFred & Jody ChaneyColleen & Michael ChestermanRichard & Elizabeth Chisholm

ACO DONATIONS PROGRAM


CONTRIBUTIONSIf you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at [email protected].

ACO DONATIONS PROGRAMStephen ChiversJohn ClaytonClearFresh WaterLaurence Cox AO & Julianne CoxSam Crawford ArchitectsProfessor John DaleyTed & Christine DauberMari DavisDr Christopher DibdenMike & Pamela DowneyIn Memory of Raymond DudleyAnna DunphyM T & R L ElfordSuellen EnestromBarbara FargherMichael FogartyPatricia GavaghanBrian GoddardProf Ian & Dr Ruth GoughPhilip GrahamKatrina GroshinskiDr Annette GrossMatthew HandburyMr Ken HawkingsDr Penny Herbert in memory of Dunstan HerbertJennifer HershonPeter & Ann HollingworthDr & Mrs Michael HunterDiane IpkendanzPhilip & Sheila JacobsonBarry Johnson & Davina Johnson OAMMrs Caroline JonesMrs Angela KarpinBruce & Natalie KellettDanièle KempRobert Leece AMMegan LoweJohn LuiBronwyn & Andrew LumsdenJames MacKeanRoderick & Leonie MathesonJanet MattonDr & Mrs Donald MaxwellPhilip Maxwell & Jane Th am

Dr Hamish & Mrs Rosemary McGlashanColin McKeithMrs Robyn McLayJoanna McNivenI MerrickJan MinchinJulie MosesHelen & Gerald MoylanHon Dr Kemeri Murray AOSusan NegrauJ NormanGraham NorthSelwyn M OwenJosephine PaechL ParsonageDeborah PearsonKevin PhillipsMiss F V Pidgeon AMMichael PowerLarry & Mickey RobertsonTeam SchmoopyManfred & Linda SalamonGreg & Elizabeth SandersonGarry Scarf & Morgie BlaxillKen & Lucille SealeMr Berek Segan OBE AM & Mrs Marysia SeganJohn Sydney SmithDr Fiona StewartProf Robert SutherlandIn memory of Dr Aubrey SweetMatthew TooheyDavid WalshG C & R WeirGordon & Christine WindeyerLee WrightMr Hugh WyndhamBrian ZulaikhaAnonymous (18)

CONTINUO CIRCLE BEQUEST PROGRAMTh e late Kerstin Lillemor Andersen Dave BeswickRuth Bell Sandra Cassell Th e late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett Th e late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes Th e late Pauline Marie JohnstonTh e late Mr Geoff Lee AM OAM Mrs Judy Lee Th e late Richard Ponder Ian & Joan ScottMargaret & Ron Wright Mark Young Anonymous (13)

LIFE PATRONS IBMMr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter William Weiss AO


ACO COMMITTEES

Bill Best (Chairman)Guido Belgiorno-Nettis AMChairman ACO & Executive Director Transfield HoldingsLeigh BirtlesExecutive DirectorUBS Wealth ManagementAnna Bligh

SYDNEY DEVELOPMENT COMMITTEELiz Cacciottolo Senior Advisor UBS AustraliaIan Davis Managing Director Telstra TelevisionChris Froggatt Tony Gill

Jennie OrchardTony O’Sullivan Head of Investment Banking Lazard AustraliaHeather Ridout DirectorReserve Bank of Australia

Peter ShorthouseClient AdvisorUBS Wealth Management John Taberner Consultant Freehills

Peter Yates AM (Chairman)Chairman Royal Institution of Australia Director AIAA Ltd

MELBOURNE DEVELOPMENT COUNCILDebbie BradyBen BradyStephen Charles

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

EVENT COMMITTEESBowral Elsa AtkinMichael Ball AM (Chairman) Daria Ball Cam CarterLinda Hopkins Judy LynchKaren Mewes Keith Mewes Tony O’SullivanMarianna O’SullivanTh e Hon Michael Yabsley

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

Sydney Lillian ArmitageMargie BlokLiz Cacciottolo (Chair)Judy CrawfordDee de BruynJudy Anne EdwardsChris FroggattElizabeth HarbisonBee Hopkins

Sarah JenkinsVanessa JenkinsPrue MacLeodJulianne MaxwellJulie McCourtJulia PincusMandie PurcellSandra Royle


ACO PARTNERS2013 CHAIRMAN’S COUNCIL MEMBERSTh e Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis AMChairmanAustralian Chamber Orchestra &Executive DirectorTransfi eld Holdings

Aurizon Holdings Limited

Mr Philip Bacon AMDirectorPhilip Bacon Galleries

Mr David Baff sky AO

Mr Brad BanducciDirector Woolworths Liquor Group

Mr Jeff BondGeneral ManagerPeter Lehmann Wines

Mr John BorghettiChief Executive Offi cerVirgin Australia

Mr Hall CannonRegional Delegate, Australia, New Zealand & South Pacifi cRelais & Châteaux

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr Georg ChmielChief Executive Offi cerLJ Hooker

Mr & Mrs Robin Crawford

Rowena Danziger AM & Kenneth G. Coles AM

Dr Bob EveryChairmanWesfarmersMr Robert ScottManaging DirectorWesfarmers Insurance

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr Colin Golvan SC & Dr Deborah Golvan Mr John GrillChairmanWorleyParsons

Mrs Janet Holmes à Court AC

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited

Ms Catherine Livingstone AOChairmanTelstra

Mr Andrew LowChief Executive Offi cerRedBridge Grant Samuel

Mr Steven Lowy AMLowy Family Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr David MathlinSenior PrincipalSinclair Knight Merz

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Geoff McClellanPartnerFreehills

Mr Donald McGauchie AO ChairmanNufarm Limited

Ms Naomi Milgrom AO

Ms Jan Minchin DirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Alf Moufarrige Chief Executive Offi cerServcorp

Mr Scott PerkinsHead of Corporate FinanceDeutsche Bank Australia/New Zealand

Mr Mike Sangster Managing DirectorTotal E&P Australia

Ms Margie Seale and Mr David Hardy

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Tony Shepherd AOPresidentBusiness Council of Australia

Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Mr Paul SumnerDirectorMossgreen Pty Ltd

Mr Mitsuyuki (Mike) Takada Managing Director & CEOMitsubishi Australia Ltd

Mr Michael Triguboff Managing DirectorMIR InvestmentManagement Ltd

Th e Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO

Ms Vanessa WallaceDirectorMr Malcolm GarrowDirectorBooz & Company

Mr Kim Williams AMChief Executive Offi cerNews Limited

Mr Geoff WilsonChief Executive Offi cerKPMG Australia

Mr Peter Yates AMChairman, Royal Institution of AustraliaDirector, AIAA Ltd


ACO CORPORATE PARTNERS Th e ACO would like to thank its corporate partners for their generous support.

FOUNDING PARTNER NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

PRINCIPAL PARTNER

Daryl DixonPeter William Weiss AO

CONCERT AND SERIES PARTNERS

Warwick & Ann Johnson

ACO VIRTUAL ORCHESTRA FOUNDING PARTNER

EVENT PARTNERS

GPO SydneyNo. 1 Martin Place on george


newsACO NEWS • FEBRUARY/MARCH 2013

We’ve just returned from our fourth annual

Niseko Winter Music Festival in the stunning

snowfi elds of Japan. Our tour group consisted

of Richard Tognetti, Satu Vänskä, Nicole Divall,

Julian Thompson, Maxime Bibeau, Rebecca

Chan, a handful of our young Emerging Artists

and special guest Joseph Tawadros. The three-

day festival consisted of music by Mozart,

Vivaldi and Rameau, and songs by Pete Seeger

and R.E.M. and featured the wild, wonderful

sounds of Joseph Tawadros’ Oud and beautiful

strains of local classical guitarist Yasuji Ohagi.

Concert halls by night and the fabulous powder

snow every day was a fantastic, if exhausting,

start to the year. We were particularly excited

to share this experience with our young

Emerging Artists; Glenn Christensen (violin),

Benjamin Caddy (viola) and Sharon Draper

(cello).

The Festival would not have been possible

without the generous support of sponsors like

Hokkaido Tracks and all of our private patrons

led by Alf Moufarrige, Annie Myer, Martyn Myer

and Peter Yates. We are immensely grateful to

them all.

NISEKO WINTER MUSIC FESTIVAL12–14 January

© R

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Niseko Mountain

© R

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© R

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From left: Maxime Bibeau, Julian Thompson, Aiko Goto.

© G

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YOUR SAYFeedback about the Tognetti’s Mozart concert tour

“Wonderful concert to kick off 2013.

Pure genius in the programing, played to

perfection. Haydn and Mozart symphonies

were both wonderful but it was the Dean

and the Mozart concerto that really rocked

my socks. The former a total headspin

and so exciting. The latter so joyous and

beautiful beyond belief.”

Gail Chrisfi eld

“There was a really fresh lightness and

motion in both second movements in the

Mozart works. Transparent; you could

hear the DNA shining through, and what

was passed on to others like Paganini and

Schubert. Thanks again ACO!”

Charles Su

“Thankyou Richard & ACO for dragging

us into the 21st century with your

exploration of new musical frontiers

and experimentation with sound.

That performance on electric violin

of Brett Dean’s Electric Preludes was

transcendental.”

Emma Zen

Let us know what you thought about this concert at [email protected].

Our program at the Matraville Soldiers’

Settlement School is part of the music

program at the school run by the Australian

Children’s Music Foundation (ACMF), and

moves up a notch this year introducing four

more Year 3 and 4 students to the joys of

playing a string instrument.

Last year together with the ACMF we

inaugurated a string ensemble made up

of students aged 8 and 9 who had never

played a string instrument before. During our

biannual visits to the school, we joined these

enthusiastic students for group rehearsals

and an in-school concert for an audience of

students and teachers. As well as developing

their playing, these students have shown

improvement in their general reading skills and

overall attention in class.

EDUCATION NEWS

The Matraville Soldiers’ Settlement School String Ensemble and choir perform with us as part of our partnership

with the Australian Children’s Music Foundation’s Education Program.

Music educator Rachel Scott, who works with

the children in the ensemble on a weekly basis

says, “Kids throughout the school are talking

about violin and cello playing. Teachers want

to come to classical music concerts. And

families want to come too; families who would

have never done something like that before.”

We’re looking forward to seeing the progress

of the ensemble at our fi rst 2013 visit in early

April.

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TRADEMARKS: IBM, the IBM logos, ibm.com, Smarter Planet, Let’s build a smarter planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services of IBM or others. A current list of IBM trademarks is available on the Web at “Copyright and trademarks information” at www.ibm.com/legal/copytrade.shtml. © Copyright IBM Australia Limited 2012 ABN 79 000 024 733 © Copyright IBM corporation 2012 All Rights Reserved. These customer stories are based on information provided by the customers and illustrate how certain organisations use IBM products. Many factors have contributed to the results and benefi ts described. IBM does not guarantee comparable results elsewhere.* The IBM Business Value survey is available at: http://www.ibm.com/ibm/fi les/Y067208R89372O94/11The_worlds_4_trillion_dollar_challenge-Executive_Report_1_3MB.pdf. IBMNCA0626/SCOMMERCE/ACO

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