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The romance is back

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ONE GREAT PERFORMANCE DESERVES ANOTHER

ABOUT THE PROGRAM

One of the regular questions I am asked about the works on this program is, “Why are they called the Brandenburg Concertos?” A simple answer would include the fact that Bach presented these works as a gift to Christian Ludwig, a Margrave of Brandenburg. But technically, it was German musicologist and historian Phillip Spitta, who fi rst nicknamed them the ‘Brandenburg’ Concertos in his Bach biography published in the late-19th century.

Th is set of concertos is a compilation of works dedicated to Christian Ludwig, who was a member of the Prussian royal family and Berlin’s most prominent patron of music during the reign of King Fredrick William I. It is not clear whether Christian Ludwig ever took the next step and organised a performance of the concertos, nor is it clear if the Brandenburg Concertos were originally composed for this particular dedicated set. In fact, research suggests that these concertos were re-workings of earlier works, the manuscripts of which are of course, now lost. Nonetheless, Bach must have wanted to make quite an impression, as we hear in this collection of concertos an astonishingly inventive variety of instrumentation.

In these concerts by the ACO you will hear four of the Brandenburg Concertos. ACO Artistic Director Richard Tognetti has encouraged the wind players to perform on historical instruments, some of which you can read about in this program book.

Since their rediscovery in the mid-1800s, the Brandenburg Concertos have withstood the test of time. Th ey remain among the greatest examples of Baroque (and J.S. Bach’s) compositional rigour and craft, yet reveal the composer’s jovial, joyous spirit. Th ey also occupy a cherished place in the repertoire in that they have not only retained their capacity to speak to and move audiences over centuries, but they have also remained wildly popular. In fact, the fi nal work on the program, the Brandenburg Concerto No.3, has been performed by the ACO no less than 136 times!

ALAN J. BENSON ARTISTIC ADMINISTRATORAUSTRALIAN CHAMBER ORCHESTRA

TOUR ELEVENBRANDENBURGCONCERTOSRICHARD TOGNETTI Director & ViolinGENEVIEVE LACEY RecorderBENOÎT LAURENT OboeNEIL BROUGH Trumpet

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

Brisbane

J.S. BACHBrandenburg Concerto No.1 in F major, BWV1046Brandenburg Concerto No.2 in F major, BWV1047INTERVAL

Brandenburg Concerto No.4 in G major, BWV1049Brandenburg Concerto No.3 in G major, BWV1048

Approximate durations (minutes):20 – 13 – INTERVAL – 17 – 12

Melbourne & Sydney

J.S. BACHBrandenburg Concerto No.1 in F major, BWV1046Brandenburg Concerto No.6 in B fl at major, BWV1051INTERVAL

Brandenburg Concerto No.2 in F major, BWV1047Brandenburg Concerto No.3 in G major, BWV1048

Approximate durations (minutes):20 – 18 – INTERVAL –13 – 12

BRISBANEQPACTue 3 Dec 8pm

MELBOURNERecital CentreWed 4 Dec 8pm

SYDNEYOpera HouseSun 8 Dec 2pm

Th e concerts will last approximately one hour and forty minutes including a 20-minute interval.

2 AUSTRALIAN CHAMBER ORCHESTRA

Bach’s Brandenburg Concertos require an array of Baroque instruments and specialist musicians, and the Australian Chamber Orchestra is very proud to have assembled some of the fi nest Baroque musicians from Australia and around the world for these performances.

Th is series of Brandenburg Concerto performances is a prelude to the last program of the year – Bach’s Christmas Oratorio, with the Choir of London, which audiences in Canberra, Sydney and Melbourne will have the opportunity to hear in the week before Christmas. Th is festive collection of celebratory cantatas is a refreshing alternative to Handel’s Messiah and will off er the chance to hear an ensemble of some of the fi nest British consort singers, with impressive soloists all stepping forward from the Choir’s ranks.

While Richard Tognetti and most ACO core players were rehearsing the Brandenburg Concertos, Dale Barltrop, the superb Australian violinist who is also Concertmaster of the Vancouver Symphony Orchestra, was directing AcO2 in the Vasse Felix Music Festival in Western Australia’s Margaret River region. Th eir host was the unfailingly generous Janet Holmes à Court and the ensemble (comprising the top young string players in the country) thrilled audiences with the vitality and commitment of their music-making.

MESSAGE FROM THE GENERAL MANAGER

ACO.COM.AU

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ACO ON THE RADIO

ABC CLASSIC FM:

Brandenburg ConcertosWed 4 December, 8pm

Christmas OratorioThu 19 December, 6.30pm

UPCOMING TOUR

Christmas Oratorio15 — 19 December

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

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA 3

Th e Brandenburg ConcertosA week before his 36th birthday, Bach completed a handwritten copy of six of his concertos. To its 168 densely-notated pages of music, he fi nally added a dedication addressed, in courtly French, to the intended recipient:

Six Concertos With several Instruments Dedicated to His Royal Highness, Christian Ludwig, Margrave of Brandenburg…

Sire, Since I had the happiness, a couple of years ago, to play by command before Your Royal Highness, and observed at that time that you derived some pleasure from the small musical talent that Heaven has given me; and since, when taking leave of Your Royal Highness, you did the honour to request that I send you some of my compositions; I have therefore...taken the liberty of now tendering my most humble respects...with these concertos, arranged for several instruments…I am with matchless zeal, Sire, Your Royal Highness’s most humble and obedient servant.

Johann Sebastian Bach Köthen, 24 March 1721

Th e composer and the Margrave had met in Berlin early in 1719. Bach was there to take possession of a large new harpsichord that his employer, Prince Leopold of Köthen, had ordered. Christian Ludwig, a member of the Prussian royal family, had been Berlin’s most important royal patron of music ever since the accession of his nephew, Friedrich Wilhelm I to the Prussian throne in 1713. Th e military-minded king, unenthused by the arts, had disbanded the court orchestra that his father, Friedrich I, employed, and the former royal musicians sought work elsewhere in the region. Seven soon found new posts at Köthen (125 km SW) where then 19-year-old Prince Leopold was gradually building up his own court ensemble into a full-sized chamber orchestra.

Leopold himself was a keen amateur musician; contemporaries report that he had a pleasant bass voice, played the violin capably, and the harpsichord competently, and during his ‘grand tour’ to Italy in his late teens he had taken lessons there with the composer Johann David Heinichen. So when Bach arrived at Christmas 1717 as new director of Leopold’s band, he not only had a musically educated employer, but a team of 17 highly experienced professional court musicians at his beck and call. Th e six years Bach spent at Köthen were the only extended period in his life when he was not expected to compose or perform any

Johann Sebastian Bach(b. Eisenach, 1685 — d. Leipzig, 1750)

J.S. 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 fl amboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.


Further reading and listening

The best and fullest account of the many theories surrounding the genesis of these concertos is found in Malcolm Boyd’s Bach: The Brandenburg Concertos (Cambridge University Press, 1993), which you can preview at Google Books. Digital downloads of Bach’s original manuscripts, the fi rst printed editions, and some rather quirky performances of all six concertos will cost you nothing (apart from internet fees) at the Petrucci Music Library (imslp.org). While you’re there you might also like to listen to some Vivaldi that sparked Bach’s interest: try Vivaldi’s Concerto for two violins in A minor, RV 522.

elaborate sacred cantatas. Instead, he redirected his creative energy to secular music, composing there some of his most characteristic solo instrumental music, the fi rst book of Th e Well-Tempered Clavier, the French and English Suites, and the Suites for Unaccompanied Cello.

Leopold was an almost ideal employer, as Bach admitted: ‘a gracious Prince…who knew music well, and loved it’. Yet, once the Prince married in 1721, Bach wryly observed Leopold’s musical interests became ‘somewhat lukewarm’. Bach may well have hoped that the gift of the concertos might prompt the Margrave to consider him for a new post in Berlin. But, while the Margrave added Bach’s score to his music library, no individual instrumental parts, necessary for a performance, were ever copied. Probably, the Brandenburg manuscript is the earliest copy of any of Bach’s concertos that survives. Although Bach dated the score ‘24 March 1721’, the neatness of the manuscript is evidence that Bach was not actually composing the music as he wrote. Rather, for the most part, he probably simply copied each work from an original manuscript, now lost. As a result, it is impossible to say with absolute certainty when or why any of the concertos was fi rst composed. Nevertheless, a variety of other evidence has allowed Bach researchers to trace each concerto to a likely original context. Bach was also a committed recycler, and several movements from the Brandenburg set turn up again later, radically reworked with added voice parts as cantata movements.

Despite the loss of the original manuscripts, most of the concertos were probably composed either at Weimar, where Bach was employed for most of his twenties, or after 1717 at Köthen. Stylistic features attest to the importance of outside infl uences on the still young composer, notably of recent Italian music, which enjoyed a huge vogue in northern Europe during the 1710s. We can even identify precisely some of the music that fascinated Bach, thanks to arrangements he made of several dozen individual concertos, mainly by Vivaldi, but also Albinoni, and Telemann. Whereas Bach’s later manuscripts include his eight surviving complete orchestral concertos for single soloists (two for solo violin, and six for solo harpsichord), those in his 1721 manuscript are all, as his title indicates, ‘concertos with several instruments’ – concertos that feature multiple instruments in leading roles.

ACO performance history

Bach’s Brandenburg Concertos have only been performed by the ACO as a complete set in 1980 & 1987, both times under the auspices of Musica Viva.

However, the Orchestra did present three of the six concerti in two successive concerts during their Bach in Churches series.

The number of times ACO has performed each Brandenburg Concerto varies signifi cantly. This variation is largely due to the instrumentation required for each Concerto. The most frequently performed has been the Concerto No.3 (requiring only 10 strings). The ACO has performed this concerto a total of 136 times.


Concerto No.1 in F major, BWV1046for 2 hunting horns, 3 oboes, bassoon, violino piccolo solo, strings, and harpsichord I. [Allegro] II. Adagio III. Allegro IV. Menuetto – Trio I – Menuetto – Polacca – Menuetto – Trio II – Menuetto

Bach quite often employed an orchestra of hunting horns, oboes, bassoons, and strings in the sinfonias (‘symphonies’, or orchestral preludes) of his sacred and secular cantatas, and to accompany their rousing opening choruses. Circumstantial evidence suggests that Bach constructed this concerto by combining movements from two lost cantatas. In each case, later copies of the presumed originals still exist, all of them lacking only the concerto’s solo violino piccolo part. Bach’s most remarkable musical transformation was the opening chorus of a cantata into the concerto’s third movement. Bach reused the original orchestral accompaniment largely unaltered, but telescoped the music sung by the chorus into a single new part for the violino piccolo. He then also added a violino piccolo part to the other three movements, and, with a few other minor changes, the fi rst concerto was complete.

Each orchestral colour (horns, oboes, and strings) shares equally in the texture of the fi rst movement. However, the horns create a particularly exciting, almost jarring, eff ect in the orchestral introduction and its regular returns (ritornelli) playing genuine hunting calls in triplets (beat divided into three) against the duplets (beat divided into two) of the rest of the band.

According to the conventions of the era, the horns are silent in the slow, minor-key second movement. Th is leaves the strings and reeds as colours that variously combine or alternate, the fi rst oboe and violino piccolo not only leading their respective sections, and also as duetting soloists that add a more elaborate commentary. Toward the end, the hitherto mellifl uous texture fragments into isolated chords from oboes, violins and basses, leading to a pregnant half-close cadence.

Th e third movement comes close to being a solo concerto movement for violino piccolo. Bach could probably have written the whole concerto with an ordinary solo violin, had he not required it in this movement only to play so many two-, three- and four-part chords. Th ese are diffi cult if not impossible to play on the regular violin, but can be easily


The ACO has performed Brandenburg Concerto No.1 19 times.

Violino piccoloRichard Tognetti

Hunting hornsBostjan LipovsekBorut Pahic

OboesBenoît LaurentLidewei De SterckJulia Fankhauser

Bassoon Jane Gower

Harpsichord Anthony Romaniuk

Further listening:Recycled Bach

Bach later reused the music of the fi rst movement as the opening sinfonia of his Cantata BWV52. Meanwhile, you can still hear how different the music of the third movement’s violino piccolo solo sounded originally as sung by a choir, by listening to the opening chorus of Cantata BWV207.

Bach later reused the fi rst movement as the sinfonia to Cantata 174, where on second thoughts he ‘improved’ on the original by adding two horns and three oboes.


managed on the slightly smaller instrument, the violino piccolo, whose open strings are conveniently tuned a minor-third higher.

Most other Bach concertos end with a third movement. But, again attesting to its hybrid origin, this one continues on into a fourth movement. A self-contained set of dance pieces, it consists of a minuet that is then repeated between three contrasting companion dances, the fi rst trio for two oboes and bassoon, the Polacca (Polish dance) for orchestral strings, and the second trio for 2 horns and all the oboes.

Concerto No.2 in F major, BWV1047for trumpet, recorder, oboe, and violin solo, strings, and harpsichord

I. Allegro II. Andante III. Allegro assai

Concertos with four soloists are relatively rare, but Bach had a previous example to hand when he composed this, his only completely original example in the genre. Th at was Vivaldi’s Concerto in B minor for 4 violins, published in 1711, and which Bach himself later faithfully rearranged as a Concerto for 4 harpsichords (BWV1065). Bach often quite audibly emulated ideas from Vivaldi’s works, but he seldom borrowed without altering, instead enhancing, and personalising the result. Here he recasts the format of the concerto for four identical violins, by allocating each solo role to an instrument of markedly contrasting technique and colour.

In performances with modern instruments, juxtaposing trumpet and recorder can sound ridiculous. But when period instruments are used, their contrasting personalities balance remarkably eff ectively, the brilliant tone of the natural trumpet still light enough not to overpower the rich hum of the baroque recorder. Th e impression of equality is further enhanced in the fi rst movement by sharing the palette of short themes, woven together in eff ortless counterpoint. Th ough each of them is slight, together they make up the music of this entire movement, crowned by the frisson of the trumpet’s stratospheric top notes.

Th e slow minor-key second movement is scored without trumpet and most of the string band. Th ough the texture is reduced, it is by no means thin; and, as it continues, there is an almost hypnotic interweaving of the small melodic cells that make it up.

Violin Richard Tognetti

Trumpet Neil Brough

Recorder Genevieve Lacey

OboeBenoît Laurent

Harpsichord Anthony Romaniuk

The instrument on the right is a violino piccolo; an ordinary violin is on the left.


Th e third movement is one of the most eff ervescent and easiest-to-follow fugues in all music. Th e theme is fi rst announced by the trumpet, high in its range, over what is called a ‘walking’ bass. Th e oboe then takes it, followed by the violin, and fi nally the recorder, each instrument continuing on to a counter-melody once it has dispensed the theme. Th e four soloists play in various duo, trio and quartet combinations, the comparatively unobtrusive string band adding sheen rather than density to the always transparent texture.

Concerto No.3 in G major, BWV1048for 3 violins, 3 violas, 3 cellos, double bass, and harpsichord

I. [Allegro] – Adagio – II. Allegro

Bach here makes no strict distinction between solo and orchestral groups. Instead he deploys nine independent string parts (three each of violins, violas, and cellos) in a dizzying succession of combinations, from solos for a single instrument, to dialogues between pairs to the interplay of trio groups, to all nine joining in tutti. All six of the violins and violas appear as featured soloists for short passages during the fi rst movement, culminating in a climactic episode in which a bar-long fi gure passes down the texture through each of the violins and violas, fi nally being taken over by the three cellos playing together. Instead of writing out a central slow movement, Bach inserted just two chords, marked Adagio, at the end of the fi rst movement. Th is was probably a signal for the leader to improvise a short cadenza ending in the two sustained chords played by the rest of the band.

Th e fi nal movement is a sophisticated rendering of the rustic dance form, the gigue (or ‘jig’). Played too slowly (as it often is by symphony orchestras), the jig rhythm is ironed out into a smooth but colourless succession of semiquavers. But performed suitably fast and lightly, the pulse rises to the surface again. Bach’s gigues are always in two sections, each played twice, giving the movement the basic layout AABB, each beginning as a fugue, the shorter A sections with the theme starting with the violins and working down to the cellos, the longer B sections with the theme fi rst in the cellos and working up. Th e audible climax of each section – almost a case of musical overload – occurs when rapid pattern-making overtakes the texture, before the jig pulse reasserts itself, and the music swirls to a vigorous, but elegant close.

Violins Richard Tognetti Helena RathboneSatu Vänskä

ViolasChristopher MooreAlexandru-Mihai BotaChristopher Cartlidge

Cellos Timo-Veikko ValveMelissa BarnardJulian Thompson

Double Bass Maxime Bibeau

HarpsichordAnthony Romaniuk






Concerto No.4 in G major, BWV1049for solo violin, 2 echo fl utes, strings, and harpsichord

I. [Allegro] II. Andante III. Presto

Th is is essentially a solo violin concerto with secondary roles for a pair of instruments which Bach called ‘echo fl utes’. Th ese are generally interpreted to be ordinary alto recorders, used in a sort of echo-dialogue with the solo violin and the string orchestra. Th e gently tumbling fi gures of these fl utes at the very opening of the fi rst movement continue to characterise the long, lilting introductory section. By contrast, the principal violin’s solo episodes become progressively more questing and virtuosic, leading away from the safety of the home key, and breaking eventually into whirling demisemiquaver roulades. But even when the violin carries the music to distant minor keys, the duetting fl utes provide a serene reminder of home in frequent reprises of snippets of the introductory music. To close, there is a literal repeat of the entire opening section.

Th e minor-key second movement contrasts the full band of soloists and strings (marked ‘forte’, loud) in an ‘echo’ dialogue with a trio of soloists playing alone (‘piano’, soft). Th e melodic impetus, often disguised in decorative quaver fi gures, consists mainly in gently falling chromatic phases, which give the music the air of a tender lament. A short written out cadenza for one of the fl utes leads to an expectant half close.

Th e third movement is a joyful fugue, beginning with the theme in the violas, passed through the violins, and crowned by the entry of the fl utes. Between the various ritornelli (returns) of the full band, are extended episodes for the three solo instruments. In the fi rst, Bach borrows one of Vivaldi’s favourite tactics, by presenting the trio alone without bass support, the treble-saturated sound lending an unusual weightlessness to the texture. Vivaldi, likewise, provided Bach with the model for the second solo episode in which the solo violin breaks into fantastic virtuoso passage work.

ViolinRichard Tognetti

RecordersGenevieve Lacey Hannah Coleman


PERFORMED IN BRISBANE ONLY




Brandenburg Concerto No.6 in B fl at major, (BWV1051)for 2 violas, 2 violas da gamba, cello, double bass, and harpsichord

I. [Allegro] II. Adagio ma non troppo III. Allegro

Two musicians at Köthen are known to have played the viola da gamba (leg viol), so called because it rests on the player’s calves. One was a salaried professional member of Bach’s band, the other was Prince Leopold himself, and it is fancifully – though quite reasonably – assumed that the sixth concerto was fi rst composed precisely so that Leopold could play one of the gamba parts. In Bach’s sacred music, gambas often play a prominent obligato role (famously in the aria Es ist vollbracht in the St John Passion). Here their role is mostly to provide a mellow-toned ensemble infi ll that does not attract too much attention away from the two violas da braccio (arm viols) as Bach calls them in his score. For the same reason, Bach dispenses with violins entirely, though probably not violinists – he and his assistant leader probably simply put down their violins, and picked up violas instead.

Th e introductory music of the fi rst movement and its regular returns are driven by a pulsing repeated quaver bass, over which the paired leaders, the violas, weave a counterpoint in strict canon. Th e pairs of violas and gambas continue in canon during the ensuing episodes, though none of these could be described as truly soloistic until the gambas fall silent leaving the violas and cello to venture briefl y into more familiar concerto territory.

Th e slow second movement has a trio sonata texture, the two violas and bass (cello, double bass and harpsichord) – the gambas meanwhile silent. When they return in the Allegro third movement, the gambas are accompanying instruments through and through. Meanwhile, the violas have what must be one of the earliest extended solo concerto movements written for that instrument.

GRAEME SKINNER © 2013

ViolasChristopher MooreAlexandru-Mihai Bota

Violas da gambaLaura MooreRuth Wilkinson

CelloTimo-Veikko Valve

Double Bass Maxime Bibeau



The ACO has performed Brandenburg Concerto No.6, 46 times.

PERFORMED IN SYDNEY & MELBOURNE


INSTRUMENTS FROM BACH’S TIME

Recorder — Genevieve Lacey

I have two beautiful treble recorders that I’ll use for the ACO’s Brandenburg Concertos. Th ey’re both copies of historical instruments, and they’re both Australian made. Sadly, unlike string instruments, wind instruments don’t improve with age. While we have a decent selection of historical instruments in museums and private collections, it’s rare to have the chance to play one, and many of the survivors have come through history scathed in various ways – the wood has warped, which changes the tuning, the timbre, and its ability to respond to articulation.

One of my instruments is made by the late Fred Morgan, considered by many to have been the greatest recorder maker since the 18th-century. Th e other is made by his only apprentice, now a revered maker in her own right, Jo Saunders. Th ey each have a distinctive voice and character – even though they’re both treble recorders, at 415 pitch, they’re very diff erent creatures.

As I write this program note, I’m playing the Brandenburg Concertos most days in my practice room. My decision as to which instrument I’ll play for which concerto will be made once we’re in rehearsal together: hearing my colleagues’ sounds, deciding on shapes, character and balance, will tell me which instrument fi ts best. My guess is that I’ll use the Morgan for Brandenburg Concerto No.4, and the Saunders for No.2, but experience tells me that decisions like this often change late in the piece.

If you see me playing a honey coloured instrument, that’s the Morgan. It’s made out of European boxwood, and is a copy of an instrument by Bressan. Peter Bressan (b. 1685 – d. 1731)


was born in France, as Pierre Jaillard, but spent most of his working life in London, where he made instruments that were greatly prized, and which engendered an English school of recorder making, continued by Stanesby (father and son), Bradbury and Schuchart. My Saunders recorder is a dark chocolate colour. It’s rosewood, and a copy of a Steenbergen instrument. Steenbergen (b. 1676 – d. c.1730) was Dutch, based in Amsterdam, and made fl utes and oboes as well as recorders. He was apparently infl uenced by the English makers Bressan and Stanseby senior. His instruments have double holes for the lower right hand fi ngers and are the only surviving Dutch instruments with this feature.

GENEVIEVE LACEY © 2013

Oboe — Benoît Laurent

For this concert I’m playing two oboes. Th e fi rst was made by M. and F. Ponseele, copied from an original instrument in boxwood built by Th omas Stanesby Jr. (b. London, 1692 – d. London, 1754), which is located in Edinburgh’s Music Instrument Museum; and a copy made by A. Bernardini from an original instrument in boxwood built by Johann Heinrich Eichentopf (b. Stollberg, 1686 – d. Leipzig, 1769) located in Brussel’s Music Instrument Museum.

When you look at the importance of the oboe in J.S. Bach’s music, it is plausible to assume he had very good oboe players at his disposal throughout his career. In 2/3 of his cantatas there are obligato arias for oboe, as well as signifi cant solo parts in his Oratorios. Much of the oboe music composed during his Leipzig period was probably written for Johann Caspar Gleditsch (b. 1684 – d. 1747) and he was likely also working with other instrument makers from Leipzig to develop and improve new instruments in the oboe family. He probably had contact with J.H. Eichentopf who developed a new instrument, the oboe da caccia, often used in Bach’s cantatas.

In Brandenburg Concerto No.1, Bach uses three oboes and for the Menuet and Trio he uses two with a bassoon. Th is refers to the French tradition of the trio d’anches (trio of reeds) which in the second part of the 17th-century may have been among the fi rst appearances of the oboe as a soloist.

In Brandenburg Concerto No.2 Bach associates the oboe with both the trumpet and the recorder which highlights its ability to play as loudly as the trumpet, or in the softer register of the recorder.

BENOÎT LAURENT © 2013


Oboe — Lidewei De Sterck

My Baroque oboe is by Marcel Ponseele, after Th omas Stanesby Junior, an oboe-maker from London.

Oboe-players usually play on copies as the few remaining original instruments are not in good condition. Wind instruments deteriorate from the humidity of the air that is blown into it. Th e rare original Baroque instruments in good condition are mostly kept in private collections and museums.

We use treatises and descriptions from eye-witnesses from Bach’s time to deduce how his works might have sounded. I believe it is important to build on that information, but also to add a personal touch.

LIDEWEI DE STERCK © 2013

Bassoon — Jane Gower

In a sense the bassoon I am using is ‘doubly historical’. It is a copy of an instrument from the Nuremberg workshop of J.C. Denner from the early 1700s. Built by the London maker Mathew Dart in 1991, it was on its way to an Australian musical institution who ultimately could not pay for it. Th us; desperate as I was for my fi rst Baroque bassoon, I stepped in and purchased it. Considering what poor examples of historical bassoons were fl oating around in those times, I was extraordinarily fortunate to have landed this one. It has served me faithfully throughout my career, despite my attempts to replace it with ‘better’ makes.

Denner’s bassoons are amongst the very earliest models known, and even coexisted with the dulcian, the bassoon’s predecessor. Th us they lack some of the volume, the bore refi nements, the chromatic keys and the high register of later 18th-century builds. As a basso continuo instrument I have found it unrivalled, with its agility, its many-hued tone, fl exibility of articulation and ability to blend with the string bass as well as voices. It is perhaps in playing the superlative continuo lines of a composer such as Bach that the diff erences between a Baroque and modern bassoon become most apparent. Th e modern instrument is built for homogeneity of attack, colour and control but is more laborious to play continuo basslines with the subtlety and fl exibility that is needed to shade them.

JANE GOWER © 2013


Viola da gamba — Laura Moore

‘If one were to judge musical instruments according to their ability to imitate the human voice, and if one were to esteem naturalness as the highest accomplishment, so I believe that one cannot deny the viola da gamba the fi rst prize, because it can imitate the human voice in all its modulations, even in its most intimate nuances: that of grief and joy.’ – Marin Mersenne, 1636

Th e viola da gamba, originating from Spain in the late-15th century, fl ourished in England throughout the 16th to 18th centuries. Described by many theorists at the time as the closest instrument to imitate the human voice, the viola da gamba was used in a variety of musical settings. Th e use of polyphony was very popular, and the viola da gamba was used in a vocal mode (madrigal, motet) as well as instrumental forms (fantasia, canzona, ricercare).

Th e viola da gamba comes in a variety of sizes (treble, tenor and bass, the most common in the aristocratic household). In comparison to the violin family, the viola da gamba is held between the legs and has six or seven strings. Th e instrument is fretted, like a guitar or lute, and is bowed ‘underhand’.

Both viola da gambas played in these concerts are seven string bass viola da gambas: copies of Barak Norman (17th-century) by John Hall, Sydney.

LAURA MOORE © 2013

Viola da gamba — Ruth Wilkinson

Th e viola da gambas I use in tonight’s program are copies of instruments made in England by Barak Normann (c.1700). Th ey represent the viola da gamba in its fully developed form with seven strings (tuned in fourths and a third) and frets, played in an under hand bowing style. Th e seventh string was said to have been added by the French viola da gamba player and composer St Colombe, a musician in the court of Louis XIV to add extra depth to the sound of the instrument. Each nation developed the instrument according to the favoured repertoire of the time. Th e Golden Age of the viola da gamba in pre-restoration England, was dominated by the Fantasia and families or consorts of instruments from the small treble viola da gamba to the bass viola da gamba were played by the aristocracy seeking to show their education, knowledge and skill as part of their desire to be valued as gentlemen.

In France the solo repertoire written for the basse de viol was considered a high point for the instrument. Th e suites of the


great Marin Marais reveal the poignancy and great beauty of this noble instrument, capable of moving the soul to great heights with its persuasive tone, ability to play chords like a lute and melodies like a singer.

J.S. Bach knew the instrument well, as the viola da gamba in 18th-century Germany was a popular solo instrument. Compositions for the instrument at this time reveal great virtuosity. Bach composed some of the viola da gamba’s most tender moments, including the alto aria Es ist vollbracht, which marks the moment of Christ’s death in St John Passion. Bach uses a pair of violas da gamba in the sixth Brandenburg Concerto as concertato instruments.

RUTH WILKINSON © 2013


RICHARD TOGNETTI aoARTISTIC DIRECTORAUSTRALIAN CHAMBER ORCHESTRA

Select DiscographyAs soloist:

BACH, BEETHOVEN & BRAHMSABC Classics 481 0679

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 Orchestra.

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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NEIL BROUGH TRUMPET

Neil Brough is Principal Trumpet with Sir John Eliot Gardiner’s English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. He has toured the world with them, as well as many of the UK’s top orchestras, often making CD recordings and radio and television broadcasts. He has played on numerous feature fi lms and television soundtracks including Black Swan, Monsters Vs. Aliens, Robin Hood and Judge John Deed.He has recorded Bach’s Cantata 51 with Natalie Dessay for Virgin Classics, and has featured as a soloist alongside great singers such as James Bowman, Emma Kirkby and John Tomlinson.His high note playing in Bach’s second Brandenburg Concerto has been described as ‘absolutely astonishing’ and ‘awe-inspiring’ by the national press. His CD recording with the EBS & Gardiner received much acclaim and he performed it live on radio and on TV at the Proms in 2010.Neil is Professor of Natural Trumpet at the Royal College of Music, UK.

GENEVIEVE LACEY RECORDER

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h Genevieve Lacey is a recorder virtuoso and serial collaborator. She has an international career as a soloist, and a substantial recording catalogue with ABC Classics. Passionate about contemporary music, Genevieve has commissioned, premiered and recorded scores of new works. She created en masse with London fi lmmaker Marc Silver, and the music for Namatjira, for Big hART. Genevieve’s collaborators are as diverse as the ACO, singer-songwriter Paul Kelly, fi lmmaker Sophie Raymond, medieval pipe and tabor player Poul Høxbro, writer/director Scott Rankin, and Th e Black Arm Band, who present music of the Australian Indigenous experience. Genevieve has won many awards including two ARIA Awards and a Helpmann, as well as Australia Council, Freedman and Churchill Fellowships. She holds academic and performance degrees (including a doctorate) in music and English literature from universities in Melbourne, Switzerland and Denmark. Between 2008-2012 Genevieve was Artistic Director for Four Winds Festival. In 2013, she gave the Peggy Glanville-Hicks Address, Australia’s only public lecture on music.genevievelacey.com

BENOÎT LAURENT OBOE

Benoît Laurent studied recorder, modern oboe and Baroque oboe in Belgium with Frédéric de Roos, Paul Dombrecht, Ann Vanlancker and Sylvain Cremers, then studied the Baroque oboe in Germany with Michael Niesemann. In 2008, he was awarded second prize at the prestigious competition for early music, Musica Antiqua, in Bruges, in the soloist category. In 2009, he was appointed Professor for Baroque Oboe at the Hochschule für Musik Frankfurt, and teaches Baroque oboe at the Conservatoire Royal de Bruxelles.Benoît has recorded various oboe solo repertoire including recordngs with his own ensemble Lingua Franca. He also plays orchestral and chamber music with some of the best period ensembles (Concerto Köln, B’rock, Orchestre des Champs Elysées, Collegium Vocale Gent, Amsterdam Baroque Orchestra). He has played as a soloist with Concerto Köln, Akademie für Alte Musik Berlin, La Stagione Frankfurt, Kammerorchester Basel, Zürcher Kammerorchester, Les Agremens and Les Muff atti.


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

Rebecca Chan Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Alexandru-Mihai Bota 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 by John Painter am, 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, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is 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; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello on loan from Peter Weiss ao and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor.Th e ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s 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 subscribers 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.


RICHARD TOGNETTI AO§

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

HELENA RATHBONE*Principal ViolinChair sponsored by Kate & Daryl Dixon

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.❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao.# Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andreæ cello kindly on loan from the Australia Council.✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from private Australian benefactors.

SATU VÄNSKÄ≈

Principal ViolinChair sponsored by Kay Bryan

REBECCA CHANViolinChair sponsored by Ian Wallace & Kay Freedman

MAXIME BIBEAU✩

Principal BassChair sponsored by John Taberner & Grant Lang

Players dressed by AKIRA ISOGAWA

Violin

LACHLAN O’DONNELLViola

CHRISTOPHER CARTLIDGE 1Viola da gamba

LAURA MOORERUTH WILKINSONRecorder

GENEVIEVE LACEY HANNAH COLEMAN

Oboe

BENOIT LAURENT 2LIDEWEI DE STERCKJULIA FANKHAUSER Bassoon

JANE GOWER 3Horn

BOSTJAN LIPOVSEK 4BORUT PAHIČ Trumpet

NEIL BROUGH 3Harpsichord

ANTHONY ROMANIUK

1 Courtesy of Melbourne Symphony Orchestra 2 Courtesy of Royal Conservatory of Brussels 3 Courtesy of Orchestre Révolutionnaire et Romantique 4 Courtesy of RTV Slovenian Symphony Orchestra

TIMOVEIKKO VALVE❖

Principal CelloChair sponsored by Peter Weiss ao

JULIAN THOMPSON#Cello Chair sponsored by Th e Clayton Family

MELISSA BARNARDCello Chair sponsored by Bruce & Joy Reid Foundation

ALEXANDRUMIHAI BOTAViola Chair sponsored by Philip Bacon AM

MARK INGWERSENViolin

AIKO GOTOViolinChair sponsored by Anthony & Sharon Lee

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

CHRISTOPHER MOOREPrincipal ViolaChair sponsored by peckvonhartel architects


EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General ManagerJoseph NizetiExecutive Assistant to Mr Calnin and Mr Tognetti AO

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

EDUCATIONPhillippa MartinActing Education & Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCECathy Davey Chief Financial Offi cerSteve Davidson Corporate Services ManagerRachel O’BrienAccountantShyleja PaulAssistant Accountant

DEVELOPMENTJill ColvinActing Development ManagerRebecca NoonanCorporate Relations ManagerAlexandra Cameron-FraserPublic Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveAlison CarterInvestment Relations ManagerAli BrosnanPatrons & FoundationsExecutiveSally CrawfordDevelopment Coordinator

MARKETINGRosie RotheryMarketing ManagerAmy GoodhewMarketing CoordinatorClare MorganNational PublicistJack SaltmirasDigital Content & Publicity CoordinatorChris Griffi thBox Offi ce ManagerDean WatsonCustomer Relations ManagerDeyel Dalziel-CharlierBox Offi ce & CRM DatabaseAssistantChristina HollandOffi ce Administrator

INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestJohn BorghettiLiz CacciottoloChris Froggatt

Janet Holmes à Court acJohn GrillHeather Ridout ao

Andrew StevensJohn TabernerPeter Yates am

ACO BEHIND THE SCENES BOARDGuido Belgiorno-Nettis am Chairman Angus James Deputy

Richard Tognetti ao Artistic Director

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


ACKNOWLEDGEMENTS

VENUE SUPPORT

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

PO Box 7585St Kilda Road Melbourne Victoria 8004Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMr Tom Harley (President)Ms Deborah Beale, Mr Sandy Clark,Mr Julian Clarke, Ms Catherine McClements,Mr Graham Smorgon am, Mr David Vigo

ARTS CENTRE MELBOURNE FOUNDATIONBOARD OF GOVERNORSMr Sandy Clark ChairmanMr John Haddad ao Emeritus ChairmanMiss Betty Amsden oam, Mrs Debbie Dadon, Mr John Denton, Mr Carrillo Gantner ao,Mr Tom Harley, Ms Dana Hlavacek,Mrs Mem Kirby oam, Mrs Jennifer Prescott

EXECUTIVE GROUPMs Judith Isherwood Chief ExecutiveMs Jodie Bennett Executive Corporate Services (CFO)Mr Tim Brinkman Executive Performing ArtsMs Louise Georgeson General Manager – Development,Corporate Communications & Special EventsMs Sarah Hunt General Manager, Marketing &Audience DevelopmentMr Kyle Johnston Executive Customer Enterprises

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. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

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]

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

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–1311 — 17201 — 1/031213

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ACKNOWLEDGEMENTS

PO Box 3567,South Bank, Queensland 4101Tel: (07) 3840 7444

Chair: Henry Smerdon amDeputy Chair: Rachel Hunter

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

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

ACKNOWLEDGMENT

Th e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Ian Walker mpMinister for Science, Information Technology, Innovation and the ArtsDirector-General, Department of Science, Information Technology, Innovation and the Arts: Andrew Garner

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 John Symond am (Chair)Mr Wayne Blair, Ms Catherine Brenner, Th e Hon Helen Coonan, Ms Renata Kaldor ao, Mr Chris Knoblanche, Mr Robert Leece am rfd, Mr Peter Mason am, Mr Leo Schofi eld am, Mr Robert Wannan

SYDNEY OPERA HOUSE EXECUTIVEChief Executive Offi cer Louise Herron amChief Operating Offi cer Claire Spencer Director, Programming Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, External Aff airs Brook Turner Director, Commercial David Watson

SYDNEY OPERA HOUSEBennelong PointGPO 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 FounderAnne-Marie Heath 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 6652Website www.cityrecitalhall.com

Providing a complete service in hospitality


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 BallWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Christopher MoorePrincipal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter Weiss ao

Maxime BibeauPrincipal Double BassJohn Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAnthony & Sharon Lee

Mark Ingwersen Violin

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Violin ChairTerry Campbell ao & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Alexandru-Mihai BotaViolaPhilip 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 & Mrs Ann CorlettPrincipal Timpani Mr 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 Weiss ao

LEADER $500,000–$999,999

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

OCTET $100,000–$199,999

QUARTET $50,000–$99,999John Leece am & 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 ArmitageLeith & Darrel ConybeareJohn Landers & Linda SweenyBronwyn & Andrew LumsdenPamela McGawPatricia McGregorAlison ReeveAngela RobertsRobyn TamkeAnonymous (2)

PETER WEISS ao, PATRON

FOUNDING PATRONS

Guido & Michelle Belgiorno-NettisBill BestBenjamin BradySteven DuchenBrendan HopkinsAngus & Sarah JamesJohn TabernerIan Wallace & Kay Freedman

FOUNDING INVESTORS

Bill Best (Chairman)Jessica BlockJanet Holmes à Court acJohn Leece amJohn 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

PATRONSGraham & Treffi na DowlandWendy EdwardsEuroz Charitable FoundationDon & Marie ForrestTony & Rose PackerNick & Claire PollGavin & Kate RyanJon & Caro StewartSimon & Jenny YeoAnonymous (1)

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 PATRONSDr Jane Cook & Ms Sara PoguetMirek GenerowiczPeter & Valerie GerrandV GrahamAnthony & Conny HarrisAndrew & Fiona JohnstonLionel & Judy KingDr Suzanne TristMargot Woods & Arn SprogisTeam SchmoopyAnonymous (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 SupportersJan BowenJenny & Stephen CharlesSuellen & Ron EnestromDelysia LawsonJulia Ross

NISEKO SUPPORTERS

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 Trust

Howard & Launa InmanRobert Johanson & Anne SwannRichard & Lizzie LederNaomi MilgromClarke & Leanne MorganRichard & Amanda O’BrienJill Reichstein SchiavelloPeter ScottJohn & Nicky StokesDr Mark & Mrs Anna YatesOliver YatesAnonymous (2)

Th e ACO would like to pay tribute to the following donors who have supported our involvement with the Niseko Winter Music Festival.

NISEKO PATRONSAnn Gamble MyerAlf MoufarrigeLouise & Martyn Myer FoundationPeter Yates AM & Susan Yates

MELBOURNE HEBREW CONGREGATION PATRONSLead Patron Patrons

Marc Besen AO and Eva Besen AOTh e Eddie and Helen Kutner FamilyTh e Graham and Minnie Smorgon Family


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 Orchard

Tony O’Sullivan Head of Investment Banking Lazard AustraliaHeather Ridout ao DirectorReserve Bank of AustraliaMargie Seale

Peter ShorthouseClient AdvisorUBS Wealth Management John Taberner Consultant Herbert SmithFreehills

Peter Yates am (Chairman)Chairman Royal Institution of Australia Director AIA Ltd

MELBOURNE DEVELOPMENT COUNCILDebbie BradyBen BradyStephen CharlesChristopher Menz

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

EVENT COMMITTEESBrisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

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

Sydney Lillian ArmitageMargie BlokAlison BradfordLiz Cacciottolo (Chair)Dee de BruynJudy Anne EdwardsJoAnna FisherChris FroggattElizabeth HarbisonBee HopkinsSarah JenkinsVanessa Jenkins

Somna KumarPrue MacLeodJulianne MaxwellJulie McCourtElizabeth McDonaldJulia PincusSandra RoyleNicola SinclairJohn TabernerJennifer TejadaJudi Wolf

DISABILITY ADVISORY COMMITTEEAmanda TinkTraining CoordinatorArts Activated National Conference ConvenorAccessible Arts

Morwenna CollettProgram Manager Arts Funding (Music)Australia Council for the Arts


ACO DONATIONS PROGRAM

EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert ao & Mrs Libby AlbertAustralian Communities Foundation – Ballandry FundDaria & Michael BallSteven Bardy & Andrew Patterson Th e Belalberi FoundationGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert- JonesCarapiet FoundationMark CarnegieStephen & Jenny CharlesDarin Cooper FamilyDaryl & Kate Dixon Geoff & Dawn DixonChris & Tony FroggattDaniel & Helen GauchatJohn Grill & Rosie WilliamsCatherine Holmes à Court-MatherBelinda Hutchinson amAngus & Sarah James

PJ Jopling qcMiss Nancy KimptonBruce & Jenny LanePrudence MacLeodAlf MoufarrigeLouise & Martyn Myer FoundationBruce NeillJennie & Ivor OrchardAlex & Pam ReisnerMr Mark Robertson oam & Mrs Anne RobertsonMargie Seale & David HardyTony Shepherd aoMr John Singleton amBeverley SmithJohn Taberner & Grant LangAlden Toevs & Judi WolfTh e Hon Malcolm Turnbull mp & Ms Lucy Turnbull aoJohn & Myriam WylieE XipellAnonymous (2)

DIRETTORE $5,000 $9,999Geoff AlderBrad BanducciBill & Marissa BestPatricia Blau

Marjorie BullJoseph & Veronika ButtaTerry Campbell ao & Christine CampbellTh e Clayton FamilyVictor & Chrissy CominoLeith & Darrel ConybearePeter & Tracey CooperMr R. Bruce Corlett am & Mrs Ann CorlettEllis FamilySuellen & Ron EnestromBridget Faye amMichael FirminIan & Caroline FrazerJan FreemantleMaurice Green ao & Christina GreenAnnie HawkerRosemary HoldenBee HopkinsWarwick & Ann JohnsonJulie KantorKeith & Maureen KerridgeLorraine LoganDavid Maloney & Erin FlahertyTh e Alexandra & Lloyd Martin Family Foundation

David MathlinJulianne MaxwellP J MillerJan MinchinMarianna & Tony O’SullivanJohn RickardTh e SandgropersPaul Schoff & Stephanie SmeeAnthony StrachanTamas SzaboCameron WilliamsKaren & Geoff WilsonPeter Yates am & Susan YatesCarla Zampatti FoundationAnonymous (1)

MAESTRO $2,500 $4,999Mrs Jane AllenWill & Dorothy Bailey Charitable GiftDoug & Alison BattersbyTh e Beeren FoundationBerg Family FoundationBill & Marissa BestMr Leigh BirtlesRosemary & Julian BlockDr David & Mrs Anne Bolzonello

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


ACO DONATIONS PROGRAMBen & Debbie BradyAndrew CloustonRobert & Jeanette CorneyJudy CrawfordKate DixonLeigh EmmettMichael FitzpatrickR FreemantleAnn Gamble MyerColin Golvan scWarren GreenNereda Hanlon & Michael Hanlon amLiz HarbisonMrs Yvonne Harvey & Dr John Harvey aoPeter & Helen HearlWendy HughesGraeme HuntGlen Hunter & Anthony NiardoneVanessa JenkinsI KallinikosPeter LovellMacquarie Group FoundationSandra & Michael Paul EndowmentElizabeth PenderPatricia H Reid Endowment Pty LtdRalph & Ruth RenardRuth RitchieSusan & Gary RothwellD N SandersCheryl SavageBrian SchwartzJennifer SeniorGreg Shalit & Miriam FainePetrina SlaytorPhilippa StoneTom Th awleyRalph Ward-Ambler am & Barbara Ward- AmblerDrs Victor & Karen WayneAnonymous (4)

VIRTUOSO $1,000 $2,499Annette AdairPeter & Cathy AirdAntoinette AlbertDavid & Rae Allen

Andrew AndersonsAustralian Communities Foundation – Clare Murphy FundVirginia BergerLinda & Graeme BeveridgeJessica BlockIn memory of Peter BorosVicki BrookeSally BuféRowan BunningNeil Burley & Jane MunroMassel Australia Pty LtdBella CarnegieSandra CassellJulia Champtaloup & Andrew RotheryElizabeth CheesemanElizabeth ChernovStephen ChiversCaroline & Robert ClementeAngela & John ComptonBernadette CooperLaurence G Cox ao & Julie Ann CoxAnne & David CraigJudy CrollLindee & Hamish DalziellMrs June DanksMichael & Wendy DavisMartin DolanAnne & Th omas DowlingDr William F DowneyMichael DrewEmeritus Professor Dexter Dunphy amPeter EvansJulie EwingtonElizabeth FinneganStephen FitzgeraldLynne FlynnJane & Richard FreudensteinJustin & Anne GardenerJaye GardnerPaul Gibson & Gabrielle CurtinGriffi ths ArchitectsPeter HalsteadLesley HarlandJennifer Hershon

Reg Hobbs & Louise CarbinesMichael Horsburgh am & Beverley HorsburghCarrie & Stanley HowardPenelope HughesStephanie & Michael HutchinsonBrian JonesBronwen L JonesCarolyn Kay & Simon SwaneyMrs Judy LeeMr Michael LeeMr John Leece amSydney & Airdrie LloydCharlotte & Adrian MackenzieJane Mathews aoJanet P MattonKevin & Deidre McCannPaul & Elizabeth McClintockBrian & Helen McFadyenDonald & Elizabeth McGauchieJenny McGeeJ A McKernanPeter & Ruth McMullinJillian & Robert MeyersGraeme L MorganJohn MorganSuzanne MorganJane MorleyMarie MortonNola NettheimGraham NorthElspeth & Brian NoxonOrigin Foundation Brendan OstwaldAnne & Christopher PageLeslie ParsonageRowland Patersonpeckvonhartel architectsDavid Penington acTom PizzeyMichael PowerMark RenehanDr S M Richards am & Mrs M R RichardsWarwick & Jeanette Richmond in memory of Andrew Richmond

Josephine RidgeEm. Prof. A. W. Roberts amJoan RogersPeter J RyanManfred & Linda SalamonJennifer SandersonGarry E ScarfIn memory of H. St. P. ScarlettPeter & Ofelia ScottGideon ShawDiana & Brian Snape amMaria Sola & Malcolm DouglasEzekiel Solomon amKeith SpenceCisca SpencerRobert StephensProfessor Fiona StewartAndrew StraussJohn & Josephine Strutt Dr Charles Su & Dr Emily LoKyrenia & Rob Th omasPaul TobinPeter TonaghNgaire TurnerVenture AdvisoryKay VernonDavid WalshJanie Wanless & Nev WitteyG C & R WeirMrs M W WellsRachel Wiseman & Simon MooreSir Robert Woods cbeLee WrightDon & Mary Ann YeatsWilliam YuilleAnonymous (18)

CONCERTINO $500 $999A AckermannMrs Lenore Adamson in Memory of Mr Ross AdamsonRuth BellMax BenyonTamara BestBrian BothwellDr Sue BoydDenise Braggett


Diana BrookesMrs Kay BryanArnaldo BuchTim & Jacqueline BurkeLynda CampbellHelen & Ian CarrigJulie CarriolKirsten CarriolColleen & Michael ChestermanRichard & Elizabeth ChisholmGeorg ChmielElizabeth ClaytonClearFresh WaterJilli CobcroftGeoff Cousins & Darleen BungeyCarol & Andrew CrawfordProfessor John Daley & Dr Rebecca CoatesMarie DalzielMari DavisDefi ance GalleryDavid DixIn Memory of Raymond DudleyAnna DunphyM T & R L ElfordCarol FarlowIan FenwickeJean Finnegan & Peter KerrJanet FitzwaterMichael FogartyNancy & Graham FoxBrian GoddardSteven GreggKatrina Groshinski & John LyonsAnnette GrossDr Penny Herbert in Memory of Dunstan HerbertMarian HillSue & David HobbsGeoff Hogbin

Julie HopsonHow to Impact Pty LtdPam & Bill HughesDr & Mrs Michael HunterGeoff & Denise IllingDiane IpkendanzMargaret & Vernon IrelandPhilip & Sheila JacobsonOwen JamesBarry Johnson & Davina Johnson oamCaroline JonesMrs Angela KarpinBruce & Natalie KellettProfessor Anne Kelso aoDanièle KempJosephine Key & Ian BredenTFW See & Lee Chartered AccountantsGreg Lindsay ao & Jenny LindsayAndrew & Kate ListerMegan LoweRobin & Peter LumleyBronwyn & Andrew LumsdenJames MacKeanDr & Mrs Donald MaxwellPhilip Maxwell & Jane Th amIan & Pam McGawH E McGlashanColin McKeithJeanne McMullinJoanna McNivenI MerrickJulie MosesDr G NelsonJenny NicholJ NormanRichard & Amanda O’BrienRobin Offl er

Josephine PaechLisa PaulsenDeborah PearsonRobin & Guy PeaseKevin PhillipsMiss F V Pidgeon amTh e Hon C W Pincus qcIan PryerRuth RedpathTeam SchmoopyLucille SealeMr Berek Segan obe am & Mrs Marysia SeganAndrew & Rhonda SheltonAnne ShiptonRoger & Ann Smith- JohnstoneAlida Stanley & Harley WrightMrs Judy Ann StewartGeoff rey Stirton & Patricia LoweIn Memory of Dr Aubrey SweetLeslie C Th iessMatthew TooheySarah Jane & David VauxEvan Williams amSue Wooller & Ron WoollerRebecca Zoppetti LaubiBrian ZulaikhaAnonymous (19)

CONTINUO CIRCLE BEQUEST PROGRAMTh e late Charles Ross AdamsonTh e late Kerstin Lillemor AndersenSteven BardyDave BeswickRuth Bell

Sandra CassellTh e late Mrs Moya CraneMrs Sandra DentLeigh EmmettTh e late Colin EnderbyPeter EvansCarol FarlowMs Charlene FranceSuzanne GleesonLachie HillTh e late John Nigel HolmanPenelope HughesEstate of Pauline Marie JohnstonTh e late Mr Geoff Lee am oamMrs Judy LeeTh e late Shirley MillerSelwyn M OwenTh e late Richard PonderIan & Joan ScottG.C. & R WeirMargaret & Ron WrightMark YoungAnonymous (11)

LIFE PATRONSIBMMr Robert Albert ao & Mrs Libby AlbertMr Guido Belgiorno- Nettis amMrs Barbara BlackmanMrs Roxane ClaytonMr David Constable amMr Martin Dickson am & Mrs Susie DicksonDr John Harvey aoMrs Alexandra MartinMrs Faye ParkerMr John Taberner & Mr Grant LangMr Peter Weiss ao

ACO DONATIONS PROGRAM

Patrons list is current as of 10 October 2013.

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 Ali Brosnan on 02 8274 3830 or at [email protected].


ACO PARTNERS

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 BondChief Executive Offi cerPeter 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 Julian ClarkeChief Executive Offi cerNews Limited

Mr & Mrs Robin Crawford

Rowena Danziger am &Kenneth G. Coles am

Mr Greg EllisChief Executive Offi cerREA Group

Dr Bob EveryChairmanWesfarmers

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr Colin Golvan SC & Dr Deborah Golvan

Mr John GrillChairmanWorleyParsons

Mr Andrew & Mrs Hiroko Gwinnett

Mrs Janet Holmes à Court ac

Mr & Mrs Simon & Katrina Holmes à CourtObservant Pty Limited

Ms Catherine Livingstone aoChairmanTelstra

Mr Tim Longstaff Managing Director, Corporate Finance, Deutsche Bank, Australia/New Zealand

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 McClellanPartnerHerbert Smith Freehills

Mr Donald McGauchie aoChairmanNufarm Limited

Ms Naomi Milgrom ao

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Alf MoufarrigeChief Executive Offi cerServcorp

Mr Robert Peck am &Ms Yvonne von Hartel ampeckvonhartel architects

Mr Neil Perry amRockpool

Mr Mike Sangster Managing DirectorTotal E&P Australia

Ms Margie Seale & 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) TakadaManaging Director & CEOMitsubishi Australia Ltd

Mr Michael Triguboff Managing DirectorMIR Investment Management Ltd

Th e Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa WallaceDirectorMr Malcolm GarrowDirectorBooz & Company

Mr Peter Yates amChairman, Royal Institution of AustraliaDirector, AIA Ltd

2013 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.


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

PRINCIPAL PARTNER

FOUNDING PARTNER NATIONAL TOUR PARTNERS FOUNDING PARTNER:

ACO VIRTUAL

REGIONAL TOURING PARTNER

CONCERT AND SERIES PARTNERS

Daryl DixonPeter Weiss AO Warwick & Ann Johnson

OFFICIAL PARTNERS

PERTH SERIES PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

EVENT PARTNERS

on george


newsACO NEWS • DECEMBER 2013

EDUCATION NEWSOur week at Picton Public SchoolLast month, American violinist and music educator, Sharon Roffman, fl ew to Australia from New York to spend a week with primary school students at Picton Public School as part of our Music & Art Program. Throughout this year Sharon has been teaching these students music, via Skype, so the students, who had only seen her through a computer screen,

Artwork created by students.

were thrilled to meet her and be taught in

person. Sharon, who has become somewhat

of a celebrity at the school, formed an ACO

string quartet in their classroom, teaching the

students about dynamics, emotion in music,

rhythm and composition. The week culminated

in Sharon and the ACO quartet’s in-school

performance featuring the students’ original

compositions. The concert played to an

enthusiastic and packed school hall.

Running concurrently with Sharon’s

music lessons, local visual artist Melissa

Wheeler runs in-school art classes in which

students produce artwork depicting visual

interpretations of their compositions.

“Thank you for coming to Picton Public

School… Not every class gets special people

like you to come into their class.” Ava (aged 8)

“We will be very sad when you go because we

will not be able to listen to the beautiful music

that you make!” Leilani (aged 8)

The fi nal performance at the end of our week at Picton Public School.

Veronique Serret, Sharon Roffman, Caroline Henbest and Daniel Yeadon with a class of students from Picton Public School.


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SYDNEY FUNDRAISING GALABeaux & BellesOur annual Sydney Fundraising Gala, Beaux & Belles, presented by Maserati, took place on Wed 30 Oct at the University of Sydney. On arrival, guests enjoyed drinks under the fl owering jacaranda in the Quad before moving upstairs to the beautiful MacLaurin Hall for a feast designed and prepared by celebrated chef, Luke Mangan.

The Chaser’s Julian Morrow and Craig Reucassel, our hilarious MCs, were very able assistants to fabulous auctioneer Justin Miller. A highlight of the evening was being joined on stage by young players from the Picton Strings ensemble, who we have been working with intensively for the last three years. Together we performed Holst’s St Paul’s Suite, with the students (some aged as young as 13) impressing guests with their musicality.

The evening was a great success, raising just over $500,000 for our Education Program, a record result! In the words of guest speaker Linda Dalton, ‘music is a great gift and you have helped us to make that gift a reality for children across Australia.’

Thank you to Liz Cacciottolo and the Sydney Event Committee for their amazing support.

Craig Reucassel and Satu Vä nskä draw the Tiffany & Co. Raffl e.

Emma Stevens, Mandie Purcell, Liz Cacciottolo

Jeanne-Claude Strong, John Borghetti

John Taberner, Bee Hopkins Justin Miller, Carla Zampatti AC


YOUR SAY…Mozart Clarinet Concerto“Cracker end to your 2013 Melbourne

subscription series! Fröst playing Fröst

— exciting, Mozart marvellous as always,

Rautavaara gripping, Denisov delightful

but that Broadstock? Wow! Exquisite!

Please, please, please record it! And bring

on 2014!” — G. Chrisfi eld

“What a fantastic concert we had tonight.

Thank you Martin and ACO.” — M. Sansom

“Absolutely spectacular tonight.”

— J. Barlow

“Very generous and electric and the

introductory comments by Satu were fun.

I loved Never Truly Lost, thanks to the

Pallin family for adding this new piece by

Brenton Broadstock. It was redolent of

the bush I have experienced.”

— S. Hall Ross-Gowan Aslin

“Truly wonderful. Thank you ACO.”

— M. Perry

“Absolutely brilliant!” — J. Sweetman

Let us know what you thought about today’s concert on Facebook, Twitter or email [email protected]

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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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