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The romance is back

Proud Principal Partner of the Australian Chamber Orchestra.

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The ACO is delighted to announce the latest acquisition by the ACO Instrument Fund, a rare 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, played by Rebecca Chan in

this concert. This beautiful violin joins the other magnificent instruments of the ACO family:

• The 1728/29 Stradivari violin, the first asset acquired by the ACO Instrument Fund, played by Principal Violin, Satu Vänskä.

• The famous 1743 ‘Carrodus’ Guarneri del Gesù violin, on loan from a private benefactor, played by Artistic Director, Richard Tognetti AO.

• A 1759 Guadagnini violin, on loan from the Commonwealth Bank of Australia, played by Principal Violin, Helena Rathbone.

• A 1610 Giovanni Paolo Maggini viola, on loan from private Australian benefactors, played by Principal Viola, Christopher Moore.

• A 1729 Guarneri filius Andreæ cello, on loan from Peter Weiss AO, played by Principal Cello, Timo-Veikko Valve.

• A late 16th-century Gasparo da Salò bass, on loan from private Australian benefactors, played by Principal Bass, Maxime Bibeau.

The ACO Instrument Fund is an unregistered Australian unit trust for wholesale investors only, which invites investors and patrons to participate in the ownership of a bank of fine instruments.

To find out more about the ACO Instrument Fund, please contact [email protected]

19526 - ACO Instrument Fund Ad.indd 1 4/06/2014 11:34 am

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AUSTRALIAN CHAMBER ORCHESTRA 1

On behalf of BNP Paribas, I am delighted to present you

with the Mahler 4 & Sibelius 6 tour by the Australian

Chamber Orchestra.

At BNP Paribas, we have a long history of supporting

culture and performing arts around the world and

encouraging those, such as the ACO, who embody our

core values of creativity, ambition and commitment.

BNP Paribas is a responsible bank, partnering with our

clients and their communities to help them ‘strive for

their success’.

We are proud to mark our 8th year of partnership with

the ACO, as a National Tour Partner, and are continually

amazed by their dynamic, bold and emotive repertoire.

Richard Tognetti, a critically acclaimed and award-

winning Australian violinist, conductor and composer

will direct and tackle the biggest symphonic

configuration in ACO history, pairing the radiant

Mahler Symphony No.4 with Sibelius’ serenely beautiful

Symphony No.6.

We trust that you will enjoy a world class performance

by the magnificent ACO as they share with us two of

history’s greatest composers of the symphonic form.

DIDIER MAHOUT CEO, BNP PARIBAS AUSTRALIA & NEW ZEALAND

NATIONAL TOUR PARTNER

NATIONAL TOUR PARTNER

2 AUSTRALIAN CHAMBER ORCHESTRA

ALAN J. BENSONArtistic Administrator

Spring Water and Blue SkyIn this program the ACO explores two significant and contrasting works of the symphonic repertoire from the early 20th century. ACO Artistic Director Richard Tognetti selected these works for the program not only for their inherent musical qualities, but also for the contrasting manner in which their creators approached the symphonic form.Mahler’s surprisingly innovative use of instruments stands in relief to Sibelius’ nearly stock standard use of instrumentation. While Mahler’s musical structure mostly adheres to the formal norms of the time, Sibelius’ symphony straddles the line between elements of a symphony and a tone poem.But why is a chamber orchestra performing symphonies by Sibelius and Mahler? Richard is cognisant of the interpretive questions the program raises in performance practice, in works which are usually the reserve of very large symphonic ensembles. This concert presents an orchestra of over 55 musicians at its grandest configuration in the Mahler symphony.‘I am absolutely convinced our forces are suited for these works. The Sibelius symphony is very much a strings-based work which is a good match for the ACO, being a string orchestra at our core. With Mahler, one might say this is his chamber-sized symphony, especially in comparison to his others. Whereas the ACO may not employ an earth-shattering sonic heft, we consider balance, clarity and texture with our exploration of larger orchestral works, and I think this is especially suited to Mahler’s intricate and delicate writing,’ says Richard.In 1907 Sibelius and Mahler met in Helsinki, and according to Sibelius, they discussed the symphony with ‘life and death’ intensity. Sibelius shared his enthusiasm for the form for ‘the profound logic that creates an inner connection between all its motives’. Whereas Mahler famously said the symphony should be ‘like the world; it should embrace everything’.As he was finalising his fourth symphony in 1900, Mahler pre-dated this sentiment when he wrote to his friend Natalie Bauer-Lechner: ‘Music is vastly superior to poetry; it can express everything…it can communicate directly and in universal terms what the other arts are forced to describe or circumscribe.’And what did the composers say of their works on this program?Sibelius offered this explanation in the 1930s: ‘Whereas most other modern composers are engaged in manufacturing gaudy cocktails of every hue and description, I offer the public pure spring water.’ He further expanded his metaphorical description of the work in a letter to a friend in 1943: ‘The sixth symphony always makes me remember the scent of the first snow.’Mahler shared this insight in 1900, again to his dear friend Natalie: ‘What I had in mind was extremely hard to achieve; imagine the uniform blue of the sky which is much more difficult to render than all its changing and contrasting hues.’

Mahler’s composing hut at Maiernigg, where he completed work on his Fourth Symphony.

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Grand music on a chamber orchestra scale: Performances of Mahler’s music with pared-back forces date from Mahler’s day: the composer himself mounted performances (in Vienna in 1902) of his orchestral songs with approximately 36 members of his Vienna Philharmonic.


MAHLER 4 & SIBELIUS 6RICHARD TOGNETTI Artistic Director and Leader

KIERA DUFFY Soprano

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

SIBELIUS Symphony No.6 in D minor, Op.104 Allegro molto moderato Allegretto moderato Poco vivace Allegro molto

INTERVAL

MAHLER Symphony No.4 in G Bedächtig, nicht eilen [Deliberately. Not rushed] In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste] Ruhevoll [Peacefully] Sehr behaglich [Very homely and comfortable]

Approximate durations (minutes): 30 – INTERVAL – 55The concert will last approximately two hours including a 20-minute interval.

ADELAIDEAdelaide Town Hall Tue 24 Jun, 8pm

BRISBANEQPAC Concert Hall Mon 16 Jun, 8pm

CANBERRALlewellyn Hall Sat 21 Jun, 8pm

MELBOURNEArts Centre Sun 22 Jun, 2.30pm Mon 23 Jun, 8pm

SYDNEYCity Recital Hall Angel Place Tue 17 Jun, 8pm Wed 18 Jun, 7pm Fri 27 Jun, 1.30pm Sat 28 Jun, 7pm

Opera House Sun 29 Jun, 2pm

Pre-concert talks by Alan J. Benson will take place 45 minutes before the start of every concert at the venue.

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ACO-143 Timeline Program_5.indd 46 9/05/14 9:07 AM

Sharing a love of moving

performances

Aurizon is a proud partner of the Australian Chamber Orchestra.

As we move more than 700,000 tonnes of our customers products across Australia each day, the Australian Chamber Orchestra moves its audiences with the same passion and dedication.

AUR0069

Sharing a love of moving

performances

Aurizon is a proud partner of the Australian Chamber Orchestra.

As we move more than 700,000 tonnes of our customer’s products across Australia each day, the Australian Chamber Orchestra moves it’s audiences with the same passion and dedication.

AUR0069

ACO-143 Timeline Program_5.indd 46 9/05/14 8:35 AMACO-143 Timeline Program_5.indd 46 9/05/14 9:12 AM


Since becoming Artistic Director of the ACO in 1990, Richard Tognetti has been fearless in his selection of larger scale repertoire, constantly challenging our inherited expectations of what a chamber orchestra can perform. In recent years, the scope of the ACO’s repertoire has broadened to include symphonies by Brahms, which have seen more than 50 musicians standing on stage and with this series of concerts Richard takes us two steps further, bringing symphonies by Mahler and Sibelius into the ACO’s repertoire for the first time. While the Adagietto from Mahler’s Fifth Symphony, scored only for strings and harp, has been featured occasionally in past ACO concerts, tackling an entire Mahler Symphony is quite a different challenge altogether. And for Mahler’s sublime Symphony No.4, we are delighted to introduce the American soprano Kiera Duffy in her Australian debut performances.

Whenever the ACO has branched out into unknown territory, our National Tour Partner BNP Paribas has always been there to support us, whether we were putting on a Berlin cabaret show with Barry Humphries, bringing together the music of Carl Vine with the words of Patrick White or collaborating with cartoonist Michael Leunig. BNP Paribas enables the ACO to take risks, explore new directions and reach new audiences. We are immensely grateful to Didier Mahout and his brilliant colleagues for their foresight and their faith in the ACO as we head into the expansive world of the 20th-century symphony.

Soon after the last performance of this Sibelius and Mahler concert, Aiko Goto, Ike See, Nikki Divall and Julian Thompson will spend a week in Melbourne leading the ACO Academy. The ACO Academy started in 2012 in Sydney and brings together secondary school-aged string players from all over the country for a week of intensive music-making under the direction of Aiko and her ACO colleagues. This year, the Academy moves to Melbourne. Twenty students have all been selected through an audition process via YouTube and they will be working on an ACO-style program of music, culminating in a performance at the Melbourne Recital Centre on Saturday 12 July. If you’re in Melbourne on 12 July, please come along and hear how bright the future of music is.

MESSAGE FROM THE GENERAL MANAGER

TIMOTHY CALNINGENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

ACO.COM.AU

VISIT THE WEBSITE TO:

Prepare in advancePDF and e-reader versions of the program are available at aco.com.au one week before each tour begins, together with music clips and videos.

Have your sayLet us know what you thought about this concert at aco.com.au or email [email protected]

Be part of the ACO communityFor behind-the-scenes news and updates follow us on Facebook or Twitter @ a_c_o or visit acoblog.com.au

Receive the ACO eNewsletterSign up for the ACO eNewsletter at aco.com.au and receive links to new videos and concert programs, plus special offers including invitations to meet the musicians.

ACO ON THE RADIOABC CLASSIC FM:

Mahler 4 & Sibelius 6 23 Jun, 8pm

Piano Quintets

Thu 24 Jul, 8pm

UPCOMING TOURPiano Quintets10—23 Jul

FREE PROGRAMSTo save trees and money, we ask that you please share one program between two people where possible.

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


SIBELIUSSymphony No.6 in D minor, Op.104(Composed 1923)

Allegro molto moderato Allegretto moderato Poco vivace Allegro molto

‘Worked. Felt life’s richness today and art’s greatness,’ Sibelius wrote in his diary in September 1922 as he was finishing his Sixth Symphony. But only a few months before he had written in the same journal: ‘I must get a grip on myself. I am beginning to be afraid of fate. What will become of the family…Have thought how difficult it must be to be married to a Sibelius.’

He was, as so often throughout his life, in debt and writing what he considered to be trivial music to earn some money. But whatever the creative circumstances in which he found himself, the mood swings between high and low were always dramatic. ‘How terribly alone we all are!’ he wrote to Axel Carpelan in 1911. ‘Alone and misunderstood. And then afterwards what happens to us?’

Although Sibelius’ Sixth can be experienced (and is frequently discussed) as an exercise in reaching for homogeneity of form and purity of musical utterance, its emotional landscape is far from serene. In fact the work is enigmatic even for this composer, hardly known for making his meanings clear. Compared to the symphonies on either side of it, it could not be called popular.

The orchestration looks to be modest on paper, but it has striking colouristic features, specifically a propensity for divisi writing in the strings and particularly prominent parts for bass clarinet and harp. One point of colour is also one of musical content: there is very little slow music in this symphony. This seems to be integral to another feature of the instrumentation: the long pedal points that feature so prominently in Sibelius’ music are, on this occasion, given rarely to the doubles basses but more frequently to the woodwind, the lower brass or the timpani; the sparsity of slow music and lower sustained string sound gives the work a curiously weightless sound at times, as if the whole structure could loosen its moorings.

The work also has a deceptive shape. Allied to its modest-seeming orchestral forces are its Classical-seeming dimensions. The Sixth Symphony is about 30 minutes long

Jean SIBELIUS(b. Hämeenlinna, Finland, 1865 — d. Järvenpää, Finland, 1957)

Sibelius, one of the great composers of the 20th century, barely wrote any music during the last 30 years of his life. He is widely regarded as the father of the Finnish voice in music in the late 19th and early 20th centuries. His works include seven symphonies, a violin concerto, tone poems and several sets of incidental music.

divisi: Italian for ‘divided’. An indication, usually for strings, that players who normally have the same part should divide into two or more groups.


and contains a number of formal flourishes that seem to pay homage to past symphonic styles: the ‘slow’ introduction before the first movement proper begins (although written simply as longer note values in the movement’s main tempo), the ‘hunt’ atmosphere of the Poco vivace and the Haydn-esque cut of the phrase with which the finale begins. Sibelius’ music often has a modal flavour, but the air of modality is particularly strong in both melody and harmony here; allied to the work’s relatively lean texture, this gives much of this symphony its sense of clarity and restraint. The Sixth Symphony was, after all, the work which Sibelius referred to as ‘spring water’ in relation to the ‘gaudy cocktails’ being served by his contemporaries.

It must be confessed that knowing all this does not prevent the symphony from humbling even the most inquisitive listener. Why, for example, does the first movement traverse a musical landscape so varied in texture but emotionally, at best, allusory; and why, after a dramatic climax, does the movement end with four bars marked, almost as a non-sequitur, Poco tranquillo?

The Allegretto moderato movement is, likewise, not at all straightforward. It begins on flutes and bassoons almost like an other-worldly minuet, slowly, gracefully, indeterminately, before the emotions darken and the textures thicken. An extended, fleet-footed passage near the end (virtually a long crescendo) suggests the beating of giant wings, but just as it seems this music will come to a climax, it collapses. Once again, the final bars are a cessation rather than a conclusion.

Following the short ‘hunt’ movement, the finale is perhaps the richest and strangest movement of all. Having begun in a manner suggestive of Classical propriety, it launches itself, over long pedal points and restless instrumental textures, onto a musical journey suggesting a passionate quest; but about halfway through there is a grinding moment of collapse. Although the main musical ideas seem to recover, the governing sense of movement leads us down, not up, and the path to the work’s famously provisional ending seems, in retrospect, to be inevitable. If the Fourth Symphony ends with a shrug, this ends, with, at best, a willingness to accept loss or defeat without anguish or agony; it is well to remember that, in Sibelius’ universe, the fall of a leaf may be as significant as the death of a loved one.

PHILLIP SAMETZ © 2004

Poco vivace & Poco tranquillo: In Italian ‘poco’ literally means ‘little’. But in its use as a tempo modifier, it means ‘somewhat’ or ‘rather’. ‘Vivace’ means ‘lively’ or ‘brisk’. And ‘tranquillo’ means ‘tranquil’ or ‘calm’. However in both cases, Poco vivace and Poco tranquillo are closer to indications of character than tempo.

Further reading

Two recently published titles on the life, work and times of Sibelius:

Sibelius: A Composer’s Life and the Awakening of Finland by Glenda Dawn Goss (University of Chicago Press).

Jean Sibelius and His World, a collection of essays edited by Daniel M. Grimley (Princeton University Press).


Gustav MAHLER(b. Kalischt, Bohemia, 1860 — d. Vienna, Austria, 1911)

A complex composer and character, Mahler was better known in his lifetime as a conductor, but in the last 50 years his relatively small catalogue of works has earned him the position of a musical giant, an essential bridge between 19th-century Romanticism and 20th-century Modernism.

MAHLERSymphony No.4 in G(Composed 1899–1900)

Bedächtig, nicht eilen [Deliberately. Not rushed] In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste] Ruhevoll [Peacefully] Sehr behaglich [Very homely and comfortable]

The Fourth Symphony is arguably Mahler’s most uncomplicated and accessible orchestral work. While it is, at about 55 minutes long, a large piece by classical standards, it still falls easily enough into ‘standard’ symphonic form: a sonata-allegro opening movement; a scherzo and trio; an adagio; and then a rondo finale.

And yet, while it is not necessarily typical of some of the elaborately structured later symphonies, it is clearly a work of Mahler’s, not least because its final movement is a setting from Des Knaben Wunderhorn (The Youth’s Magic Horn). It was in fact the third time Mahler had used a text from this early-Romantic anthology of German folksongs and poetry within the body of a symphony. The work which he sets here – beginning with the line Wir geniessen die himmlischen Freuden (We taste the joys of Heaven) – was originally intended for the Third Symphony, before being held over and becoming the structural focus of the Fourth.

As with virtually all his other major compositions, Mahler worked on the Fourth Symphony as a summer project. His conducting duties prevented him from sketching large-scale works during the rest of the year. It was written during the summers of 1899 and 1900, but the final movement, to which all roads within the symphony lead, was actually composed much earlier, perhaps even as far back as 1892. (The entire symphony was to be revised many times following its premiere in 1901, Mahler declaring it at one point to be a ‘troubled step-child’.) In any case, the fact that the bulk of the symphony straddles the transition from the 19th to the 20th century is not without significance.

The turn of the century was a time of great innovation and considerable anxiety within the arts. The Expressionist movement in the visual arts and in drama was at its height, characterised by Edvard Munch’s lithograph The Scream (1896). Wedekind’s Lulu plays and Strindberg’s most extreme symbolist works also date from around this time. Elsewhere in the heady post-Romantic musical era the young Arnold


Schoenberg was beginning to push the boundaries of tonal harmony.

All this was in response to a world in which increasing mechanisation was seen as dehumanising – the whited-out faces in the visual arts and the theatre sought to dramatise this condition – and where the spreading decay of corrupt 19th-century ruling institutions was to result in the first Russian Revolution of 1905.

Dreams and the role of the unconscious became means of establishing a higher truth within the arts. As reality and the world of illusion collided (never more dramatically than in Wedekind’s Spring Awakening where a character appears carrying his head under his arm), nightmare visions became mixed up with nostalgic reminiscences of innocence. Death became the only philosophical certainty.

Owing to his personal circumstances, Mahler felt particularly keenly these psychological and spiritual crises of alienation and anxiety deriving from the prevailing zeitgeist. A Jew who had turned Catholic to secure his conducting post at the Vienna Court Opera, Mahler throughout his life was plagued by spiritual doubt and a fear of death – a fear that was amply

Munch translated The Scream into a lithograph in 1895.

Caricature drawings satirising the conducting style of Gustav Mahler when he was director of the Vienna Court Opera, 1897—1907.


justified by his declining health during his 40s and eventually his premature death at the age of 51.

Like so many of his scores, Mahler’s Fourth Symphony contains all the symptoms of his anxieties. Most notably we find the death-obsession and the paradoxical but understandable celebrations of life and the innocence of childhood. Specifically, in the Fourth Symphony these all come together in the final movement, where the text centres on a child’s vision of paradise after death. In its naivety it is almost embarrassing, in its musical setting it is touching, but in its philosophical implications it is horrifying.

Yet that was always Mahler’s gift and his curse – the ability to tinge even the simplest and sunniest musical experience with a kind of existential horror. This was specifically his aim in the opening movement of the Fourth Symphony where the jingling sleigh bells and flutes which open the movement in jaunty folk rhythms (and which are taken up again during the final movement) somehow, without setting out to do so, border on the hysterical. As Mahler himself said, the first movement is:

an uninterrupted blue sky…but occasionally it is obscured and becomes strangely terrifying; yet it is not the sky itself which darkens in this way. Rather it is we who suddenly shudder, as one is frequently seized with a fit of panic on the clearest day in a forest otherwise streaming with light.

Page 1 of Mahler’s autograph score for Symphony No.4.


To achieve this effect, Mahler employs a smaller orchestra than that used in his other symphonies, dispensing completely with trombones and tuba. After the sleigh bells establish the theme which is to reappear so dramatically in the final movement, the main subject of the first movement – a lilting, ‘Viennese’ melody – enters in the first violins, before being taken up by the horns, woodwind and lower strings. A secondary subject, announced by the cellos in unison, then gives way to a duet for oboe and bassoon, and the jingling and joyous mood continues through the development (some of which is in a radiant A major, as if to foreshadow the progressive tonality of subsequent Mahler symphonies).

But ultimately the movement reaches a climax in C major in which triumphant horn and trumpet fanfares without warning transform themselves into nightmarish visions. It is an unforgettable passage, but somehow, out of the squeals of Hades, the ‘happy’ mood inexplicably returns, as if oblivious to what has preceded it, and the movement continues on to its naive and blissfully indifferent conclusion.

These blithe descents from radiance into the macabre and back again continue in the scherzo, to which Mahler ascribed the note ‘Death takes the fiddle’. In fact Death’s fiddle is tuned a tone higher, to bring out a suitably eerie folk-fiddling sound, necessitating the concertmaster to have two violins on hand at different tunings. Mahler said that ‘The scherzo is so strange, almost sinister, that your hair may stand on end.’ Beginning in C minor in the horn and woodwinds, the movement is based on a ländler theme and as it develops it becomes a kind of contorted Dance of Death. The Trio in F major is more relaxed but it cannot hold ‘Death’s fiddle’ tune at bay for long.

Mahler once told Bruno Walter that the slow movement of the Fourth Symphony was inspired by the vision of a church sepulchre, complete with reclining stone figures of the dead, ‘their arms closed in eternal peace’. Certainly this beautiful adagio in G major presents a more peaceful vision of death than the movements which precede it.

Essentially a set of free variations on two poignant themes, the movement begins with a sublime melody in the strings over a pizzicato bass. As the development proceeds, the key leaps into E major with the French horns and trumpets leading the way in a premonition of the finale’s main theme, before the vision fades and the reestablishment of G major brings the movement to its quiet conclusion.

The main melody of the finale begins in the clarinet but is soon taken up by the soprano soloist. Singing a folk-like

Further reading

The eminent Henry-Louis de La Grange has authored four volumes of biographies on Gustav Mahler. Noted for their immaculate detail and scholarship, they are published by Oxford University Press.

De La Grange was also co-editor of Gustav Mahler: Letters to his Wife, which details the intimately complex relationship between Gustav and Alma Mahler (Cornell University Press).


Das himmlische Leben The Heavenly Life (aus Des Knaben Wunderhorn) (from Des Knaben Wunderhorn)

Wir geniessen die himmlischen We taste the joys of Heaven Freuden d’rum thun wir das Irdische leaving behind all that is meiden. earthly.Kein weltlich’Getümmel No worldly strifehört man nicht im Himmel! is heard in Heaven.Lebt Alles in sanftester Ruh’! We live here in sweetest peace!Wir führen ein englisches Leben! We live an angelic life,Sind dennoch ganz lustig yet we are merry as can be. daneben! Wir tanzen und springen We dance and springwir hüpfen und singen! and skip and singSanct Peter in Himmel sieht zu! while St Peter in heaven looks on.

Johannes das Lämmlein St John lets the lamb go auslasset, running,der Metzger Herodes drauf the butcher Herod is waiting passet! for it.Wir führen ein geduldig’s, We lead the patient,unschuldig’s, geduldig’s, meek, guiltlessein liebliches Lämmlein zu Tod! little Lambkin to death!Sanct Lucas den Ochsen thät St Luke is slaughtering the oxen schlachten ohn’einig’s Bedenken und Achten, without care or consideration,

(almost yodelling) tune in G, the soloist, assuming the persona of a child, proclaims that all is gentle and peaceful in heaven. The jaunty theme continues through the stanzas, but is brought to a halt at the end of each section by an unspeakably beautiful, chorale-like descending phrase. The occurrence of this phrase on the rather prosaic line ‘The angels, they bake the bread’ is a good example of how the music overwhelms the text at this point of sublime beauty.

As the music halts in this timeless zone, the first movement’s sleigh-bell theme returns with more vigour and agitation than before, as if the poignant stillness were being interrupted by some coarse and insistent memory of less innocent times. Three times this occurs, before the infernal sleigh-ride slows and passes into E major, where at last the heavens can proclaim ‘No music on earth can compare with ours’.

At the end of this most sublime masterpiece of symphonic composition, it is very difficult not to feel Mahler at least came close.

MARTIN BUZACOTT SYMPHONY AUSTRALIA © 1997

Title page of Des Knaben Wunderhorn: Alte deutsche Lieder, Volume 3, published in 1808.


der Wein kost kein Heller The wine is freeim himmlischen Keller, in the heavenly tavern,die Englein, die backen das and the angels, they bake the Brot. bread.

Gut’ Kräuter von allerhand Arten, Fine vegetables of every kinddie wachsen im himmlischen grow in the gardens of Heaven, Garten! Gut’ Spargel, Fisolen, good asparagus and beans,und was wir nur wollen! whatever they fancy!Ganze Schüsseln voll sind uns big bowls are prepared for us! bereit! Gut’ Äpfel, gut’ Birn’ und gut’ Good apples and pears and Trauben! grapes!die Gärtner, die Alles erlauben! The gardeners let us take all!Willst Rehbock, willst Hasen, Do you want a roebuck or hare?Auf offener Strassen Here in the open streetssie laufen herbei! they run about!

Sollt ein Fasttag etwa kommen And when there is a fast dayalle Fische gleich mit Freuden the fish come swarming in angeschwommen! merrily! Dort läuft schon Sanct Peter St Peter, he runsmit Netz und mit Köder with net and with baitzum himmlischen Weiher hinein. to fish in the heavenly pond.Sanct Martha die Köchin muss St Martha is the cook, who sein! else!

Kein Musik ist ja nicht auf Erden, No music on earthdie uns’rer verglichen kann can compare with ours. werden. Elftausend Jungfrauen Eleven thousand virginszu tanzen sich trauen! come forward to dance!Sanct Ursula selbst dazu lacht! Even St Ursula laughs to see that!Kein Musik ist ja nicht auf Erden, No music on earthdie uns’rer verglichen kann can compare with ours. werden. Cäcilia mit ihren Verwandten Cecilia and her relationssind trefflliche Hofmusikanten. are excellent court musicians!Die englischen Stimmen The angelic voicesermuntern die Sinnen! lift our spiritsdass Alles für Freuden erwacht! and all things awaken to joy!

(Translation by Hedwig Roediger)

Revised SIZE.indd 1 19/09/12 1:32 PM


RICHARD TOGNETTI aoARTISTIC DIRECTOR & LEADER AUSTRALIAN CHAMBER ORCHESTRA

Select DiscographyAs soloist:

BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679

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

BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner

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

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

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

As director:

GRIEG Music for String Orchestra BIS SACD-1877

Pipe Dreams Sharon Bezaly, Flute BIS CD-1789

All available from aco.com.au/shop

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 Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia and Creative Associate of Classical Music for Melbourne Festival. 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 Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig.In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The 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 film Horrorscopes and, in 2008, created The Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film 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.A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005.Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

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

THE DAILY TELEGRAPH (UK)

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KIERA DUFFYSOPRANO

American singer Kiera Duffy is recognised for both her gleaming high soprano and insightful musicianship in repertoire that encompasses Handel, Praetorius, Bach and Mozart to the modern sounds of Berg, Carter, Glass and Zorn.

In 2012–13, Duffy made her Metropolitan Opera debut as a Flower Maiden in the new production of Parsifal under Daniele Gatti and at the Lyric Opera of Chicago as Stella in A Streetcar Named Desire. On the concert stage, she returned to the Atlanta Symphony under Donald Runnicles in Debussy’s La Damoiselle élue and New World Symphony in Mahler’s 4th Symphony under Michael Tilson Thomas. She also made her debut with the Mitteldeutscher Rundfunk at the Gewandhaus in Leipzig in Carmina Burana under Kristjan Järvi and recorded the same work with Sony Records.

Duffy began her prolific concert career with her New York Philharmonic debut in Pierre Boulez’s Pli selon pli: Improvisation II sur Mallarmé conducted by Lorin Maazel, then returned as Venus in the critically acclaimed performances of György Ligeti’s Le Grand Macabre under Alan Gilbert. She went on to sing Ligeti’s seminal works, Aventures and Nouvelles Aventures, for her first performances with the Los Angeles Philharmonic and has since returned in Pierrot Lunaire and Unsuk Chin’s Cantatrix Sopranica.

Duffy has appeared with much success at the Tanglewood Festival with the Boston Symphony Orchestra. In addition to her varied work in modern music, Duffy excels in Baroque music and has worked extensively with Apollo’s Fire, most notably for performances and a recording of Handel’s music written for the British monarchy and in Michael Praetorius’s Christmas Vespers.

Duffy was a finalist in the 2007 Metropolitan Opera National Council Auditions and is featured in the film The Audition. On the operatic stage, Duffy has been seen as Queen Tye in Philip Glass’ Akhnaten and Despina in Mozart’s Così fan tutte at Atlanta Opera, Clorinda in Rossini’s La cenerentola and Elvira in the L’italiana in Algeri, as well as the Dew Fairy in Humperdinck’s Hänsel und Gretel with Opera Company of Philadelphia, Violet Beauregard in the European premiere of The Golden Ticket and Florestine in Corigliano’s The Ghosts of Versailles. She has also performed in New York City Opera’s VOX Showcase for John Zorn’s monodrama La Machine de l’être, the Spoleto Festival for Pascal Dusapin’s To God, and Arizona Opera as Fatmé in Grétry’s Zémire et Azor.

She has won numerous awards and recognition from the Metropolitan Opera National Council, the Philadelphia Orchestra Greenfield Competition, Opera Theatre of St. Louis and the Young Concert Artists International Competition.

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Select Discography

STRAUSS: THE COMPLETE SONGS VOL. 5 Hyperion CDA67746

CARL ORFF CARMINA BURANA Sony Classical 88725446212

DUDAMEL MAHLER 8 Deutsche Grammophon DVD 0440 073 4884 0

THE AUDITION The Metropolitan Opera DVD

All available from amazon.com (The Audition available from metoperashop.org)

Websitewww.kieraduffy.com

“Any concert with young American soprano Kiera Duffy as the centerpiece is always a major event…”

PASADENA STAR-NEWS


AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI, ARTISTIC DIRECTOR & LEADER

ACO Musicians

Richard Tognetti Artistic Director & Leader

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Rebecca Chan Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Ike See 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. The 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 and Rebecca Chan plays the 1714 ex Isolde Menges, both violins owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius 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.The 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 film Musica Surfica and the complete set of Mozart Violin Concertos.The 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

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

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


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

§ 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. ✿Rebecca Chan plays a 1714 Giuseppe Guarneri filius Andræ violin kindly on loan from the ACO Instrument Fund. v Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. # Julian Thompson plays a 1721 Giuseppe Guarneri filius Andræ 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.

VERONIQUE SERRETViolin

IKE SEEViolin

ALEXANDRU-MIHAI BOTAViolaChair sponsored by Philip Bacon AM

CHRISTOPHER MOOREPrincipal ViolaChair sponsored by peckvonhartel architects

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

AIKO GOTOViolinChair sponsored by Anthony & Sharon Lee Foundation

REBECCA CHAN✿

ViolinChair sponsored by Ian Wallace & Kay Freedman

MARK INGWERSENViolin

RICHARD TOGNETTI AO§

Artistic Director & ViolinChair sponsored by Michael Ball AM & Daria Ball, Wendy Edwards, Prudence MacLeod Andrew & Andrea Roberts

HELENA RATHBONE*Principal ViolinChair sponsored by Kate & Daryl Dixon

ZOË BLACKViolin

SATU VÄNSKÄ≈

Principal ViolinChair sponsored by Kay Bryan


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

TIMO-VEIKKO VALVEv

Principal CelloChair sponsored by Peter Weiss ao

NICOLE DIVALLViolaChair sponsored by Ian Lansdown

CAROLINE HENBESTViola

MELISSA BARNARDCello

Violin

CAMERON HILLELIZABETH JONESGABRIELLE LESTERMALGORZATA LOBODALACHLAN O’DONNELLTHIBAUD PAVLOVIC-HOBBAKAREN SEGAL 1

Viola

JACQUELINE CRONINJAMES WANNAN

Cello

JOHANNES ROSTAMO 2

Double Bass

JOSEF BISITSHIROSHI IKEMATSU 3

Flute

SALLY WALKER 4JONATHAN HENDERSON 5LINA ANDONOVSKACATHERINE GREGORY

Players dressed by AKIRA ISOGAWA

DANIEL YEADONCello

JULIAN THOMPSON#CelloChair sponsored by The Clayton Family

MAXIME BIBEAU✦

Principal Bass

1 Courtesy of Amsterdam Sinfonetta

2 Courtesy of Royal Stockholm Philharmonic Orchestra

3 Courtesy of Tokyo Metropolitan Symphony Orchestra

4 Courtesy of University of Newcastle, Conservatorium of Music

5 Courtesy of Estonian National Opera

6 Courtesy of Swedish Radio Symphony Orchestra

7 Courtesy of Royal Scottish National Orchestra

8 Courtesy of The Orchestra of the Royal Opera House

9 Courtesy of Adelaide Symphony Orchestra

10 Courtesy of Orchestre Révolutionnaire et Romantique

11 Courtesy of Tapiola Sinfonietta

12 Courtesy of Tasmanian Symphony Orchestra

13 Courtesy of Camerata Salzburg

14 Courtesy of Macau Orchestra

15 Courtesy of Australian and Opera Ballet Orchestra

16 Courtesy of Sydney Conservatorium of Music, University of Sydney

17 Courtesy of Synergy Percussion

18 Courtesy of Taikoz

Oboe

EMMANUEL LAVILLE 6CARLOS DEL SER GUILLÉN ZOE KITSON 7

Clarinet

NICHOLAS RODWELL 8FERGUS MORRISON 8MITCHELL BERICK 9

Bassoon

JANE GOWER 10JAAKO LUOMA 11DAVID CHATTERTON

Horns

JONATHAN WILLIAMSBRENDAN PARRAVICINIHEATH PARKINSON 12RACHEL SHAW

Trumpet

KURT KÖRNER 13ROSIE TURNER 14CALLUM G’FROERER

Trombone

NIGEL CROCKERROSLYN JORGENSEN

Bass Trombone

BRETT PAGE 15

Timpani

BRIAN NIXONPrincipal

Percussion

DARYL PRATT 16JESS CIAMPAJOSHUA HILL 17KEVIN MAN 18

Harp

YI-YUN LOEI


EXECUTIVE OFFICETimothy Calnin General ManagerJessica Block Deputy General ManagerAlexandra Cameron-Fraser Strategic Development ManagerJoseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti AO

ARTISTIC & OPERATIONSLuke Shaw Head of Operations & Artistic Planning Alan J. Benson Artistic AdministratorMegan Russell Tour ManagerLisa Mullineux Assistant Tour ManagerElissa Seed Travel CoordinatorBernard Rofe LibrarianCyrus Meurant Assistant Librarian

EDUCATIONPhillippa Martin Emerging Artists ManagerVicki Norton Education ManagerSarah Conolan Education Coordinator

FINANCECathy Davey Chief Financial OfficerSteve Davidson Corporate Services ManagerYvonne Morton AccountantShyleja Paul Assistant Accountant

DEVELOPMENTRebecca Noonan Development ManagerTom Tansey Events ManagerTom Carrig Senior Development ExecutiveAli Brosnan Patrons & Foundations ExecutiveSally Crawford Development Coordinator

MARKETINGDerek Gilchrist Marketing ManagerAmy Goodhew Marketing CoordinatorMary Stielow National PublicistJack Saltmiras Digital Content & Publicity CoordinatorHilary Shrubb Publications EditorChris Griffith Box Office ManagerDean Watson Customer Relations ManagerDeyel Dalziel-Charlier Box Office & CRM Database AssistantChristina Holland Office Administrator

INFORMATION SYSTEMSKen McSwain Systems & Technology ManagerEmmanuel Espinas Network Infrastructure Engineer

ARCHIVESJohn Harper Archivist

ADMINISTRATION STAFF

Bill BestJohn Borghetti Liz CacciottoloChris Froggatt

John Grill aoHeather Ridout aoAndrew Stevens

John TabernerPeter Yates am

ACO BEHIND THE SCENESBOARDGuido 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 profit company registered in NSW.

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Office: 1800 444 444 Email: [email protected] Website: aco.com.au


ACKNOWLEDGEMENTS

VENUE SUPPORT

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

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

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

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

VICTORIAN ARTS CENTRE TRUSTMr Tom Harley (President)Ms Deborah BealeMr Sandy ClarkMr Julian ClarkeMr Jim Cousins aoMs Dana HlavacekMs Catherine McClementsMr Graham Smorgon amMr David Vigo

EXECUTIVE GROUPMr Ian Roberts Interim Chief ExecutiveMs Jodie Bennett Chief Operating OfficerMs Louise Georgeson Executive Development & StrategyMs Sarah Hunt Executive Marketing & ProgrammingMr Kyle Johnston Executive Sales & Customer ServicesMr Tony Murphy Acting Executive Facilities

DONOR ACKNOWLEDGMENTArts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure as many Victorians as possible can experience the joy of the performing arts here in Melbourne.

FOR YOUR INFORMATIONThe management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The 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.

AEG OGDEN (PERTH) PTY LTD

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

Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.

AEG OGDEN (PERTH) PTY LTDChief Executive Rodney M Phillips

THE PERTH THEATRE TRUSTChairman Dr Saliba Sassine

St George’s Terrace, Perth PO 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–144 — 17327 — 1/160614

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: PO Box 112187, Penrose, Auckland 1642; 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) (Proprietary) Limited, 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 — 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 4101 Telephone: 07 3840 7444 Website: qpac.com.au

Chair: Chris Freeman am Deputy Chair: Rhonda White

TRUSTEESSimon Gallaher Sophie Mitchell Mick Power am Maggi Sietsma am

EXECUTIVE STAFFChief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith

ACKNOWLEDGMENTThe Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentThe Honourable Ian Walker mp Minister for Science, Information Technology, Innovation and the ArtsDirector-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby

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

A City of Sydney Venue

CITY RECITAL HALL ANGEL PLACEGeneral Manager Anne-Marie Heath

City Recital Hall Angel Place is managed byPEGASUS VENUE MANAGEMENT (AP) PTY LTD

2–12 Angel Place, Sydney, AustraliaGPO Box 3339, Sydney, NSW 2001Telephone: 02 9231 9000Box Office: 02 8256 2222 Fax: 02 9233 6652Website: www.cityrecitalhall.com

SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001Administration: 02 9250 7111 Box Office: 02 9250 7777Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

SYDNEY OPERA HOUSE TRUSTMr John Symond am (Chair)Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

SYDNEY OPERA HOUSE EXECUTIVEChief Executive Officer Louise Herron amChief Operating Officer Claire Spencer Director, Programming Jonathan Bielski Director, Theatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, External Affairs Brook Turner Director, Marketing Anna Reid


ACO MEDICI PROGRAMIn the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.

MEDICI PATRON

MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti ao Lead ViolinMichael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts

Helena Rathbone Principal ViolinKate & Daryl Dixon

Satu Vänskä Principal ViolinKay Bryan

Christopher Moore Principal Violapeckvonhartel architects

Timo-Veikko Valve Principal CelloPeter Weiss ao

Maxime Bibeau Principal Double Bass

CORE CHAIRS

Aiko Goto ViolinAnthony & Sharon Lee Foundation

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 Bota ViolaPhilip Bacon am

Melissa Barnard Cello

Julian Thompson CelloThe Clayton Family

GUEST CHAIRS FRIENDS OF MEDICIBrian Nixon Mr R. Bruce Corlett am & Mrs Ann Corlett Principal Timpani Mr Robert Albert ao & Mrs Libby Albert


ACO INSTRUMENT FUNDThe ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. The 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 LeeceE Xipell

SONATA $25,000 – $49,999

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

SOLO $5,000 – $9,999Amanda Stafford

PATRON $500 – $4,999Elizabeth Pender

PATRONSJune & Jim Armitage Leith & Darrel ConybeareJohn Landers & Linda Sweeny Bronwyn & Andrew LumsdenIan & Pam McGawPatricia McGregorAlison ReeveAngela RobertsRobyn Tamke Anonymous (2)

PETER WEISS ao, PATRON

FOUNDING PATRONS

Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Steven Duchen Brendan Hopkins Angus & Sarah James John Taberner Ian Wallace & Kay Freedman

FOUNDING INVESTORS

Bill Best (Chairman) Jessica Block Chris Froggatt John Leece am John Taberner

BOARD MEMBERS


ACO RECORDING PROJECTS & SPECIAL COMMISSIONS

The ACO would like to pay tribute to the following donors who support our international touring activities in 2014.

INTERNATIONAL TOUR PATRONS

International Tour PatronsCatherine Holmes à Court-Mather

International Tour SupportersLinda & Graeme Beveridge Jan Bowen Jenny & Stephen Charles Suellen & Ron Enestrom

Delysia LawsonIan & Pam McGawJulia Ross

MELBOURNE HEBREW CONGREGATION PATRONSLead Patrons Patrons

Marc Besen ao & Eva Besen aoThe Eddie & Helen Kutner FamilyThe Graham & Minnie Smorgon Family

FOUR SEASONS RECORDING PROJECTPatronsMr Robert Albert ao & Mrs Libby AlbertAnthony & Sharon Lee FoundationStrauss Family

SPECIAL COMMISSIONSNEVER 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 PATRONSPeter & Cathy AirdDr Jane Cook & Ms Sara PoguetMirek GenerowiczPeter & Valerie GerrandV GrahamAnthony & Conny HarrisAndrew & Fiona Johnston

Lionel & Judy KingAlison ReeveDr Suzanne TristMargot Woods & Arn SprogisTeam SchmoopyAnonymous (1)

THE GREAT SYNAGOGUE PATRONSCorporate PartnersAdina Apartment HotelsMeriton Group

PatronsDavid & Helen Baffsky Greg & Kathy ShandLeslie & Ginny Green Peter Weiss aoThe Narev Family


ACO COMMITTEESSYDNEY DEVELOPMENT COMMITTEE

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

Debbie BradyStephen CharlesChristopher Menz

Paul Cochrane Investment Advisor Bell Potter SecuritiesColin Golvan qc

MELBOURNE DEVELOPMENT COUNCIL

DISABILITY ADVISORY COMMITTEEAmanda TinkIndependent Consultant Amanda Tink Consultancy

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

Heather Ridout ao (Chair) Director Reserve Bank of AustraliaGuido Belgiorno- Nettis am Chairman ACO & Executive Director Transfield Holdings

Bill BestLeigh Birtles Executive Director UBS Wealth ManagementIan Davis Managing Director Telstra TelevisionMaggie Drummond

Tony Gill Jennie OrchardTony O’SullivanMargie SealePeter Shorthouse Client Advisor UBS Wealth Management

Mark Stanbridge Partner Ashurst

EVENT COMMITTEESSydney Lillian ArmitageVanessa BarryMargie BlokLiz CacciottoloDee de BruynJudy Anne EdwardsSandra FermanElizabeth HarbisonBee HopkinsPrue MacLeod

Julianne MaxwellJulie McCourtElizabeth McDonaldSandra RoyleNicola SinclairJohn Taberner (Chair)Liz WilliamsJudi Wolf

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

Delysia LawsonIan & Pam McGawJulia Ross


ACO DONATIONS PROGRAM

EMERGING EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert ao &

Mrs Libby AlbertAustralian Communities

Foundation – Ballandry Fund

Daria & Michael BallSteven Bardy &

Andrew Patterson The Belalberi FoundationGuido & Michelle

Belgiorno-NettisLiz Cacciottolo &

Walter LewinJohn & Janet

Calvert-JonesMark CarnegieStephen & Jenny CharlesDarin Cooper FamilyDaryl & Kate Dixon Chris & Tony FroggattDaniel & Helen GauchatDr Edward C. GrayJohn Grill & Rosie

WilliamsCatherine

Holmes à Court-MatherAngus & Sarah JamesPJ Jopling qcMiss Nancy Kimpton

Bruce & Jenny LanePrudence MacLeodAlf MoufarrigeLouise & Martyn Myer

FoundationJennie & Ivor OrchardAlex & Pam ReisnerMark & Anne RobertsonMargie Seale &

David HardyTony Shepherd aoJohn Taberner &

Grant LangThe Hon Malcolm

Turnbull mp & Ms Lucy Turnbull ao

Westpac GroupE XipellPeter Young am &

Susan YoungAnonymous (3)

DIRETTORE $5,000 – $9,999Geoff AlderBill & Marissa BestMarjorie BullJoseph & Veronika ButtaSally ChandlerStephen & Jenny

CharlesElizabeth ChernovAndrew CloustonVictor & Chrissy Comino

Mr R. Bruce Corlett am & Mrs Ann Corlett

Ellis FamilyBridget Faye amMichael FirminIan & Caroline FrazerDavid FriedlanderMaurice Green am &

Christina GreenTony & Michelle GristAnnie HawkerKimberley HoldenKeith & Maureen

KerridgeLorraine LoganMacquarie Group

FoundationDavid Maloney &

Erin FlahertyThe Alexandra &

Lloyd Martin Family Foundation

David MathlinP J MillerJacqui & John MullenBruce NeillElizabeth PenderJohn RickardThe SandgropersPaul Schoff &

Stephanie SmeeJoyce Sproat & Janet CookeEmma StevensJon & Caro Stewart

Anthony StrachanTamas SzaboGeoff WeirShemara WikramanayakeCameron WilliamsPeter Yates am &

Susan YatesCarla Zampatti

FoundationAnonymous (2)

MAESTRO $2,500 – $4,999Atlas D’Aloisio

FoundationWill & Dorothy Bailey

Charitable GiftBrad BanducciDoug & Alison

BattersbyThe Beeren FoundationBerg Family FoundationAndrew BestPatricia BlauRosemary & Julian BlockGilbert BurtonTerry Campbell ao &

Christine CampbellArthur & Prue CharlesCaroline & Robert

ClementeRobert & Jeanette CorneyJudy CrawfordPeter Curry

PATRONS – NATIONAL EDUCATION PROGRAMJanet Holmes à Court ac Marc Besen ao & Eva Besen ao

The 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. These 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 PROGRAMRowena Danziger &

Ken ColesDee de BruynElizabeth Dibbs &

David TudehopeKate DixonLeigh EmmettSuellen & Ron EnestromColin Golvan scTom Goudkamp oamRoss GrantWarren GreenNereda Hanlon &

Michael Hanlon amMrs Yvonne Harvey &

Dr John Harvey aoPeter & Helen HearlWendy HughesGlen Hunter & Anthony

NiardoneI KallinikosCarolyn Kay & Simon

SwaneyJohn KenchJulia Pincus & Ian

LearmonthPeter LovellPeter Mason am &

Kate MasonJan MinchinJane MorleySandra & Michael Paul

Endowmentpeckvonhartel architectsJustin PunchPatricia H Reid

Endowment Pty LtdRalph & Ruth RenardChris RobertsSusan & Gary RothwellD N SandersChris & Ian SchlipaliusJennifer SeniorGreg Shalit &

Miriam FainePetrina SlaytorAndrew StraussDavid Thomas oamPeter TonaghRalph Ward-Ambler am

& Barbara Ward-AmblerDrs Victor & Karen

WayneThe WeirAnderson

FoundationIvan Wheen

Anonymous (5)

VIRTUOSO $1,000 – $2,499Annette AdairMrs Lenore Adamson

in memory of Mr Ross Adamson

Peter & Cathy AirdAntoinette AlbertMrs Jane AllenDavid & Rae AllenAndrew AndersonsAustralian Communities

Foundation – Clare Murphy Fund

Philip Bacon amSamantha BaillieuRuth BellJustice Annabelle

Bennett aoVirginia BergerIn memory of Peter BorosJan BowenVicki BrookeDiana BrookesKay BryanSally BuféRowan BunningRay Carless & Jill KeyteBella CarnegieJames CarnegieSandra CassellJulia Champtaloup &

Andrew RotheryElizabeth CheesemanAngela & John ComptonMartyn Cook AntiquesAlan Fraser CooperGeoff Cousins &

Darleen BungeyLaurence G Cox ao &

Julie Ann CoxAnne & David CraigJudy CrollJudith CromptonMrs June DanksMichael & Wendy DavisMartin DolanAnne & Thomas DowlingDr William F DowneyMichael DrewPeter EvansJulie EwingtonIan Fenwicke & Prof.

Neville Wills

Jane & Richard Freudenstein

Justin & Anne GardenerIn memory of Fiona

Gardiner-HillPaul Gibson &

Gabrielle CurtinKathryn Greiner aoGriffiths ArchitectsPeter HalsteadLiz HarbisonLesley HarlandJennifer HershonReg Hobbs & Louise

CarbinesMichael Horsburgh am &

Beverley HorsburghCarrie & Stanley HowardPenelope HughesStephanie & Michael

HutchinsonDee JohnsonBrian JonesBronwen L JonesMrs Judy LeeMr Michael LeeMr John Leece amMichael LinSydney & Airdrie LloydTrevor LoewensohnRobin & Peter LumleyMr & Mrs Greg & Jan

MarshMassel Australia Pty LtdJane Mathews aoJanet P MattonJulianne MaxwellKarissa MayoKevin & Deidre McCannPaul & Elizabeth

McClintockBrian & Helen McFadyenDonald & Elizabeth

McGauchieIan & Pam McGawJ A McKernanPeter & Ruth McMullinJillian & Robert MeyersGraeme L MorganJohn MorganRoslyn MorganSuzanne MorganMarie MortonNola NettheimElspeth & Brian NoxonPaul O’Donnell

Ilse O’ReillyOrigin Foundation Brendan OstwaldAnne & Christopher PageDavid Penington acMatthew PlayfairMark RenehanDr S M Richards am &

Mrs M R RichardsWarwick & Jeanette

Richmond In Memory of Andrew Richmond

Josephine RidgeEm. Prof.

A. W. Roberts amPeter J RyanJennifer SandersonIn memory of

H. St. P. ScarlettGideon ShawDiana & Brian Snape amMaria Sola & Malcolm

DouglasEzekiel Solomon amKeith SpenceCisca SpencerJohn & Josephine Strutt Sydney AirportDr Charles Su &

Dr Emily LoRobert & Kyrenia ThomasAnne TonkinNgaire TurnerVenture AdvisoryKay VernonDavid WalshMrs M W WellsBarbara WilbyEvan Williams amSir Robert Woods cbeLee WrightDon & Mary Ann YeatsWilliam YuilleBrian ZulaikhaAnonymous (18)

CONCERTINO $500 – $999A AckermannRobin BeechMax BenyonLeigh & Christina BirtlesDr David & Mrs Anne

BolzonelloBrian Bothwell


Dr Sue BoydDenise BraggettJasmine BrunnerArnaldo BuchTim & Jacqueline BurkeLynda CampbellHelen & Ian CarrigRoslyn CarterScott CharltonColleen & Michael

ChestermanRichard & Elizabeth

ChisholmStephen ChiversGeorg ChmielElizabeth ClaytonClearFresh WaterJilli CobcroftWarren ColiCarol & Andrew

CrawfordC Critchley & D SiddleJulie HopsonProfessor John Daley &

Dr Rebecca CoatesMarie DalzielLindee & Hamish DalziellMari DavisDefiance GalleryDavid DixThe Hon. Catherine

Branson & Dr Alan Down

In Memory of Raymond Dudley

Emeritus Professor Dexter Dunphy am

M T & R L ElfordCarol FarlowElizabeth FinneganJean Finnegan &

Peter KerrSheila Fitzpatrick

in memory of Michael Danos

Janet FitzwaterMichael FogartyNancy & Graham FoxBrian Goddard

Victoria GreeneKatrina Groshinski &

John LyonsAnnette GrossSusan HarteMarian HillSue & David HobbsGeoff HogbinHow to Impact Pty LtdPam & Bill HughesGeoff & Denise IllingMargaret & Vernon

IrelandOwen JamesCaroline JonesGeoff JoyceMrs Angela KarpinBruce & Natalie KellettProfessor Anne Kelso aoJosephine Key &

Ian BredenTFW See & Lee

Chartered AccountantsGreg Lindsay ao &

Jenny LindsayAndrew & Kate ListerMegan LoweJames MacKeanPeter MarshallIan & Linda MartinDr & Mrs Donald

MaxwellPhilip Maxwell &

Jane ThamH E McGlashanJeanne McMullinI MerrickLouise MillerJohn MitchellSimon Morris & Sonia

WechslerJulie MosesDr G NelsonJenny NicholJ NormanGraham NorthRichard & Amanda

O’BrienRobin Offler

Leslie ParsonageLisa PaulsenDeborah PearsonRobin & Guy PeaseKevin PhillipsRosie & Robert PilatThe Hon C W Pincus qcMichael PowerIan PryerDr Anoop RastogiRuth RedpathTeam SchmoopyManfred & Linda

SalamonGarry E ScarfLucille SealeAndrew & Rhonda

SheltonAnne ShiptonRoger & Ann

Smith-JohnstoneAlida Stanley & Harley

WrightProfessor Fiona StewartMrs Judy Ann StewartGeoffrey Stirton &

Patricia LoweIn memory of

Dr Aubrey SweetLeslie C ThiessMatthew TooheySarah Jane & David VauxNev & Janie WitteyG C & R WeirEd WittigSue Wooller & Ron

WoollerRebecca Zoppetti LaubiAnonymous (21)

CONTINUO CIRCLE BEQUEST PROGRAMThe late Charles Ross

AdamsonThe late Kerstin

Lillemor AndersenSteven BardyDave Beswick

Ruth BellSandra CassellThe late Mrs Moya

CraneMrs Sandra DentLeigh EmmettThe late Colin EnderbyPeter EvansCarol FarlowMs Charlene FranceSuzanne GleesonLachie HillThe late John Nigel

HolmanPenelope HughesEstate of Pauline Marie

JohnstonThe late

Mr Geoff Lee am oamMrs Judy LeeThe late Shirley MillerSelwyn M OwenThe late Richard PonderIan & Joan ScottLeslie C ThiessG.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 2 June 2014.

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 DirectorTransfield Holdings

Aurizon Holdings Limited

Mr Philip Bacon amDirectorPhilip Bacon Galleries

Mr David Baffsky ao

Mr Brad BanducciDirector Woolworths Liquor Group

Mr Marc Besen ao & Mrs Eva Besen ao

Mr Jeff BondChief Executive OfficerPeter Lehmann Wines

Mr John BorghettiChief Executive OfficerVirgin Australia

Mr Hall CannonRegional Delegate, Australia, New Zealand & South PacificRelais & Châteaux

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr Julian ClarkeChief Executive OfficerNews Limited

Mr & Mrs Robin Crawford

Rowena Danziger am & Kenneth G. Coles am

Dr Bob EveryChairmanWesfarmers

Mr Angelos FrangopoulosChief Executive OfficerAustralian News Channel

Mr Richard FreudensteinChief Executive OfficerFOXTEL

Ms Ann Gamble Myer

Mr Daniel GauchatPrincipal The Adelante Group

Mr Colin Golvan qc & Dr Deborah Golvan

Mr John Grill aoChairmanWorleyParsons

Mrs Janet Holmes à Court ac

Mr & Mrs Simon & Katrina Holmes à CourtObservant Pty Limited

Mr John KenchChairmanJohnson Winter & Slattery

Ms Catherine Livingstone aoChairmanTelstra

LJ Hooker

Mr Andrew LowChief Executive OfficerRedBridge Grant Samuel

Mr Steven Lowy amLowy Family Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Donald McGauchie aoChairmanNufarm Limited

Mr David Mendelson Managing DirectorTotal E&P Australia

Ms Naomi Milgrom ao

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Alf Moufarrige Chief Executive OfficerServcorp

Mr Robert Peck am & Ms Yvonne von Hartel ampeckvonhartel architects

Mr Neil Perry amRockpool

REA Group

Mr Mark Robertson oam & Mrs Anne Robertson

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Tony Shepherd ao

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Ms Anne Sullivan Chief Executive OfficerGeorg Jensen

Mr Paul SumnerDirectorMossgreen Pty Ltd

Mr Mitsuyuki (Mike) TakadaManaging Director & CEOMitsubishi Australia Ltd

Mr Michael TriguboffManaging DirectorMIR InvestmentManagement Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Mr David & Mrs Julia Turner

Ms Vanessa Wallace & Mr Alan Liddle

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

Mr Peter Young am & Mrs Susan Young

2014 CHAIRMAN’S COUNCIL MEMBERSThe 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.


YOUR SAY…Timeline‘Wow! Wow, wow, wow, wow, wow!’ — G. Chrisfield

‘Timeline. Still recovering from an overwhelming evening! What a mind blowing project, brilliantly conceived and played. The visuals were outstanding. CRH packed; have never seen such a focused audience. CONGRATULATIONS & MANY THANKS, Richard Tognetti, The Presets and Ingatius Jones’ — J. Crawford

‘Most sensational evening of amazing music… Thank you to Richard Tognetti, to the ACO, thank you to the The Presets and Ignatius Jones and thank you to the most amazing collection of choral and musical masters and masterpieces — we LOVED every absolute moment of this

unique but divine presentation of music through the ages… We felt so privileged to be in the audience on this night’ — S. Wall

‘THANK YOU ACO AND THE PRESETS. We’ve just arrived home from Timeline in Wollongong. Wonderful, magnificent, amazing. I would see it again and again if I could.’ — A. Moodie

‘A musical milestone of the decade. Brilliant!’ — D. Savige

‘Brilliant concept, fabulous musicians, the video was superb…not enough superlatives to describe what a wonderful experience this was. Thank you ACO!’ — R. Grounds

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

DONOR PROFILELeslie C Thiess“…Life is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.” — George Bernard Shaw

Leaving a bequest is an enduring gift, carrying on supporting what you love through time. Leaving a gift in your will to the ACO ensures the Orchestra continues to play on for future generations of music lovers. Melbourne Subscriber and Bequest Donor Leslie C Thiess has supported us since 1995 and says ‘the ACO have given me a great enjoyment of music…as well as varied programs over the past two decades. I wanted to acknowledge them in my will…[because] if you love it, share it’.

Leslie says of his gift, ‘Supporting the future of Australian music through donations and bequests ensures our talented young musicians receive mentoring, workshops and touring opportunities to develop their music careers as well as school children being given access to these outstanding members of the orchestra and their instruments’.

Some of Leslie’s favourite ACO concert moments have included performances that featured Richard Tognetti as soloist and our collaborations with cellists Steven Isserlis, Daniel Müller-Schott and Peter Wispelwey.

We would like to thank Leslie most warmly for his visionary contribution to the future of the ACO.

If you would like more information on leaving a bequest to the ACO, please contact Jessica Block, ACO Deputy General Manager, at [email protected] or PO Box R21, Royal Exchange, NSW 1225.

Leslie C Thiess


CONCERT AND SERIES PARTNERS

OFFICIAL PARTNERS

PERTH SERIES AND WA REGIONAL TOUR PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

EVENT PARTNERS

K A T E R I N G

FOUNDING PARTNER FOUNDING PARTNER: ACO VIRTUAL

®

ACO CORPORATE PARTNERSThe ACO would like to thank its corporate partners for their generous support.

NATIONAL TOUR PARTNERS


newsACO NEWS • JUNE 2014

2014 ACO EMERGING ARTISTSIn March, our 2014 Emerging Artists, Zoe Freisberg, Emily Sheppard, Katie Yap and Rebecca Proietto completed their inaugural ACO2 tour to Western Australia. The tour was led by ACO principal violinist and ACO2 Director, Helena Rathbone, who wowed the audiences with her stunning performances of a Bach Violin Concerto on her 1759 Guadagnini violin.

ACO2 performed concerts in Narrogin, Katanning, Bunbury, Mandurah, Albany, Margaret River and Perth and held string workshops in Albany, both for students of the Great Southern Grammar School and the Albany Youth Orchestra. We hosted schools’ performances in Narrogin and Katanning, plus a community concert for students and senior citizens at the

Bunbury Regional Entertainment Centre, in

addition to our evening performance there.

This poignant program featured works

thoughtfully selected to commemorate the

ANZAC Day centenary, which included music

by Australian composers Peter Sculthorpe and

Fredrick Septimus Kelly. Kelly’s touching Elegy

was written in 1915 in his tent at Gallipoli and

is a tribute to poet and fallen soldier Rupert

Brooke.

The ACO Emerging Artists took part in four

performances with ACO2 at the Canberra

International Music Festival in May, as well as

regional NSW performances in Bathurst and

Bellingen featuring Alice Giles, on harp.

ACO2 in Margaret RiverKatanning Senior High School concert

Albany Youth Orchestra string workshop


FOUR SEASONS AT THE CHURCHOn Saturday 17 May, Mark Carnegie once again

generously opened up his home for a very special

fundraising event, Four Seasons at The Church.

Richard led the orchestra in an extraordinary

performance of Vivaldi’s The Four Seasons, with

Piazzolla’s Oblivion as a sublime encore. Guests

continued their journey through the seasons

with a four-course feast by a quartet of the

finest Italian chefs, each taking a course and

a season: Andrew Cibej (Vini, Berta), Stefano

Manfredi (Manfredi at Bells, Balla), Armando

Percuoco (Buon Ricordo) and Donato Doce

(Gelato Messina). A big thank you must also go

to our wonderful partner Katering, who worked tirelessly with all of the chefs to produce this sensational feast.

Poho Flowers provided their usual creative flair to create the four different seasons and the table settings by Georg Jensen were the perfect accompaniment to the winter-themed dining room.

The evening was a great success, raising over $125,000 for our Education Program.

We’d like to thank Mark Carnegie for this generous hospitality and everyone who attended for their continued support.

Ph

oto

s: ©

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Above: Stefano Manfredi and Gabriele Taddeucci

Top left: Satu Vanska, Tony Shepherd ao, Richard Tognetti ao and Mark Carnegie

Top right: Peter and Julia Curry and Guido Belgiorno-Nettis am

Middle left: JoAnna Fisher, Peter Lumley, Anne-Marie Feyer, Grant Lang and Robin Lumley

Middle above: Lisa Kench, Robert Burton and Margie Blok

Left: Four Seasons at The Church

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