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Transcript of ACO - Russian Visions
The romance is back
Proud Principal Partner of theAustralian Chamber Orchestra.
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SYDNEY 28 CASTLEREAGH STREET MELBOURNE 267 COLLINS STREET CHADSTONE SHOPPING CENTRE BRISBANE QUEENSPLAZA 226 QUEEN STREET PERTH 37 KING STREET
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FLOWERS . WEDDINGS . EVENTS . CORPORATE PoHo, 117 Macleay Street, Potts Point NSW | phone 02 9331 4333 | www.poho.com.au
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The rare and beautiful Guadagnini violin has been on tour with the ACO since 1996. It’s on loan from our art collection so that thousands can enjoy its remarkable sound.
Handcrafted in 1759. Rockin’ out in 2012.
VISIT
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FIND OUT MORE:
Things to know before you can: This advertisement has been prepared by Commonwealth Private Limited ABN 30 125 238 039 AFSL 314018 a wholly owned but non-guaranteed subsidiary of Commonwealth Bank of Australia ABN 48 123 123 124, AFSL and Australian Credit Licence 234945. The services described are provided by teams consisting of Private Bankers who are representatives of Commonwealth Bank of Australia, and Private Wealth Managers who are representatives of Commonwealth Private Ltd.
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Commonwealth Private is redefining private banking. We’ve combined the unmatched resources of Australia’s largest financial institution with truly unique insights, expert analysis and tailored advice to create opportunities that are expanding what’s possible. Together we’ll not only take you further, but further still.
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AUSTRALIAN CHAMBER ORCHESTRA 1
NATIONALTOUR PARTNER This year marks 24 years of partnership between
the Commonwealth Bank and the Australian Chamber Orchestra.
Our long and proud association has allowed us the privilege of watching the ACO grow into the innovative and world-leading organisation it is today.
Furthermore, we are honoured to have received a Commitment Award from the Australian Business Arts Foundation in October 2011, acknowledging our ongoing partnership.
One special way we support the ACO is through the loan of our rare 1759 Guadagnini violin. We are pleased to share this special instrument with Australian and international audiences, played by Helena Rathbone, the ACO’s Principal Violin.
On behalf of the Commonwealth Bank, I hope you enjoy this very special performance, Russian Visions, with pianist Steven Osborne.
IAN NAREVCHIEF EXECUTIVE OFFICERCOMMONWEALTH BANK GROUP
NATIONAL TOUR PARTNER
AUSTRALIAN CHAMBER ORCHESTRA 3
SPEED READ
Today’s all-Russian program opens with Sergei Prokofi ev’s Visions fugitives, written in 1917, before the composer emigrated to the United States immediately after the Russian Revolution. The ACO and Steven Osborne share the stage, interleaving the original piano version with arrangements by Rudolph Barshai in a performance plan conceived by Richard Tognetti.
Prokofi ev’s fellow Soviet composer Dmitri Shostakovich is featured on the program with two dazzling works: his Prelude and Scherzo, and his fi rst Piano Concerto. Written during 1924—25, the Prelude and Scherzo was originally composed for string octet. The composer himself cited the Scherzo as “the best thing I have written”. Composed in 1933, the whimsical First Piano Concerto emulates the style of Prokofi ev’s Visions fugitives. The concerto will feature Steven Osborne, as well as trumpeter David Elton, recently appointed Principal Trumpet of the Sydney Symphony.
Written, according to one account by the composer, “with the greatest enthusiasm and without the least exertion,” Tchaikovsky’s Souvenir de Florence takes its name from a tune he wrote while visiting the capital of Tuscany. Originally for string sextet, it was the last chamber work Tchaikovsky composed. This performance features a realisation for the full complement of ACO strings.
— Alan J. Benson Cover photo: Madeleine Boud © Jon Frank
TOUR SEVENRUSSIAN VISIONSRICHARD TOGNETTI Director & ViolinSTEVEN OSBORNE PianoDAVID ELTON Trumpet
Th e Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
Durations (minutes):20 – 21 – INTERVAL – 10 – 34Th e concert will last approximately two hours including a 20-minute interval.
PROKOFIEV arr. Barshai/Tognetti)Visions fugitives
SHOSTAKOVICHPiano Concerto No.1
I N T E R VA L
SHOSTAKOVICHOctet
TCHAIKOVSKYSouvenir de Florence
BRISBANEQPACMon 19 Nov, 8pm
CANBERRALlewellyn HallSat 10 Nov, 8pm
MELBOURNEArts CentreSun 11 Nov, 2.30pmMon 12 Nov, 8pm
NEWCASTLECity HallTh u 22 Nov, 7.30pm
PERTH Concert HallWed 14 Nov, 7.30pm
SYDNEYOpera HouseSun 25 Nov, 2pm
City Recital Hall Angel PlaceSat 17 Nov, 7pmTue 20 Nov, 8pmWed 21 Nov, 7pm
AUSTRALIAN CHAMBER ORCHESTRA 5
MESSAGE FROM THE GENERAL MANAGER
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ACO ON THE RADIOABC CLASSIC FMSat 17 Nov, 1pmRussian Visions
NEXT TOURTognetti’s Mozart2 – 16 Feb 2013
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.
Every year, one of the ACO’s National Tours is sponsored by the Commonwealth Bank and we always look forward to the opportunity of celebrating this long-standing partner of the Orchestra. Th e Commonwealth Bank has been with us for an impressive 24 years. Th roughout this period, the ACO has developed from a small chamber orchestra into a national institution and it has been a privilege for the Orchestra to build its national and international reputation bolstered by the faith which this iconic Australian company has in our vision.
With these concerts, Richard Tognetti and the ACO bring the 2012 subscription season to a stirring conclusion. But the Orchestra’s year is not quite over yet. Over the weekend of 7–9 December, Richard and the musicians take up residence in the idyllic setting of the Vasse Felix vineyard in the Margaret River region of WA for an exquisite music festival hosted by Janet Holmes à Court. Over a chilled glass of superb Heytesbury Chardonnay after the last concert on that Sunday evening, the ACO musicians can look back with a great sense of pride and satisfaction on an extraordinary year which has included such highlights as Th e Reef, Beethoven 9, Project Rameau with the Sydney Dance Company, triumphant concerts in New York, Chicago, Edinburgh and London and two acclaimed recordings on the BIS label.
Year’s end also brings us some sadness as we bid a very fond farewell to our dear colleague Alice Evans, who leaves the Orchestra after 21 years. I very clearly remember the day Alice auditioned for the ACO back in 1990, so when I returned to the Orchestra in 2010, it was Alice’s beaming face which greeted me on my fi rst day. We all wish her the very best for the future.
We all thank you sincerely for your generous support, your applause and your warmth throughout this enormously demanding year, and look forward to bringing you another great year of music in 2013.
TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA
AUSTRALIAN CHAMBER ORCHESTRA 7
ACO performance history
ACO Artistic Director Richard Tognetti arranged Prokofi ev’s Visions fugitives for piano and strings for a 1998 ACO national tour. This is only the second time the ACO have performed this arrangement as part of a tour.
Sergei PROKOFIEV(b. Sontsovka 1891 — d. Moscow 1953)
Sergei Prokofi ev’s life and work can be read as a struggle between the strictures of Soviet cultural policies and the true feelings of the composer within. Like many Russian artists, Prokofi ev fl ed Russia after the October Revolution of 1917, returning nearly 20 years later, however, for reasons still unknown. Masterpieces across several genres have ensured his place in the pantheon of 20th-century composition.
PROKOFIEV (arr. Barshai/Tognetti)Visions fugitives, Op.22 Performed in a combination of the piano originals and arrangements for strings by Rudolf Barshai,realised by Richard Tognetti
(Composed 1915–17)
Lentamente Con vivacitaAndante Assai moderatoAllegretto Allegretto Animato FeroceMolto giocoso InquietoCon eleganza DolentePittoresca PoeticoCommodo Con una dolce lentezzaAllegretto tranquillo Lento irrealmenteRidicolosamente
With his mother Maria Grigorievna giving him piano and theory lessons from soon after toddlerhood, Prokofi ev’s compositional juvenalia had reached generous proportions by his teens. His fi rst piano piece, Indian Gallop, trotted in when he was just six, and there were dozens of other works, including six piano sonatas, before his offi cial First Piano Sonata, Op.1, appeared in 1909.
Th e 20 short piano pieces, Visions fugitives, were written during a particularly fertile period from 1915–17 (1917 was the year of the First Violin Concerto, Piano Sonatas Th ree and Four and the celebrated ‘Classical Symphony’), and followed on from the Second Sonata (1912) and Sarcasms (1912-14). Still only in his early twenties, the composer-pianist had already attracted much attention and controversy. After the premiere of his Second Piano Concerto in September 1913, a journalist wrote of the “astonished public” that: “some express their indignation out loud, some get up and fi nd salvation in retreat,” and at the end “most of the audience are whistling and shouting angrily.”
Such disapproval merely fi red Prokofi ev’s enthusiasm to compose – something which he was able to do through persistent avoidance of military service by enrolment in successive classes at the St Petersburg Conservatorium. Later he wrote of this dizzily active, politically oblivious time: “I would blacken about ten pages of manuscript a day. In the easy passages, I would cover as many as eighteen.”
Prokofi ev drew his title for this set of pieces from some lines of verse by Balmont:Tout ce qui est fugitif me fait voir des mondesQui dans leur jeu chatoyantOnt pour moi la valeur du transitoire.
8 AUSTRALIAN CHAMBER ORCHESTRA
Dmitri SHOSTAKOVICH(b. St Petersburg 1906 — d. Moscow 1975)
SHOSTAKOVICHPiano Concerto No.1 in C minor, Op.35For Piano, Trumpet and Strings(Composed 1933)
Allegro moderatoLentoModeratoAllegro con brio
Born just over a decade before the Bolshevik Revolution, Shostakovich’s youth coincided with the darkest and most horrifi c years of Soviet history. Peasant revolt, mass arrests and martial law under Lenin ran seamlessly into the foundation of the USSR and Stalin’s rise to power from the mid-1920s onwards. Climaxing in the Great Terror of the mid-1930s, this was a deadly period of institutionalised torture, purges, show-trials, collectivisation, and enormous hardship caused by chaotic fl uctuations in agricultural and industrial production. While Stalin exported grain for foreign currency, famine killed seven million in the Ukraine.
After an apparently blandly idyllic boyhood, the grim realities of post-Revolution Russia began to assert themselves on the young Shostakovich. Malnutrition,
All that is fl eeting makes me see worldsWhich have in their shimmering playTh e merit of transience.
Each of the Visions teems with a discrete, vibrant personality, and among the movements’ headings are some more colourful descriptions such as pittoresco (picturesque), ridicolosamente (ludricous), feroce (ferocious) and inquieto (restless). With a range of moods taking in sobriety and boisterousness, wit and violence, the composer’s phenomenal pianism is refl ected at every turn. Prokofi ev premiered these pieces on 15 April 1918 in the newly-named, post-Revolution Petrograd; and the next month he departed for the USA, apparently with the intention of staying only a few months, but in fact remaining there until 1922.
Th e arrangements for strings used in part for these performances were made by the Russian violist and conductor Rudolf Barshai. Born in 1924, a period of study at the Moscow Conservatorium was followed by periods in the Borodin and Tchaikovsky Quartets. In 1955 he became director of the Moscow Chamber Orchestra, for which group he subsequently arranged 15 of the 20 Visions.
© MEURIG BOWEN
AUSTRALIAN CHAMBER ORCHESTRA 9
ACO performance history
Shostakovich’s First Piano Concerto was performed in ACO tours in 1998 and 1992.
tuberculosis and a period of convalescence in a Crimean sanitorium were all aspects of his teenage student years at the Petrograd Conservatorium. But his remarkable talent, fused with a fi ghting spirit, brought him early success as a composer – both of fi lm scores and of more classical, “serious” works. Still only in his early twenties, Shostakovich had his Tchaikovsky-indebted First Symphony premiered by Bruno Walter in Berlin and Stokowski in New York.
Th e First Piano Concerto is a fascinatingly transitional work, coming as it does between two wildly shocking operas (Th e Nose and Lady Macbeth of the Mtensk District) and works which were intended to appease the increasingly anti-modernist Soviet authorities. After completing Lady Macbeth in December 1932, Shostakovich then worked on 24 Preludes for piano, as well as absorbing much music by Bach, Haydn and Beethoven. Th is served as a bridge between the lurid excesses of his operas and the purer guise of the Piano Concerto, written between March and July 1933. Th e infl uence of the German masters also accounts for the neo-classical gesturing in the work – triadic accompaniment fi gures, neatly defi ned motifs, starkly reproduced harmonic formulae, and the Bach Prelude-like opening of the brief third movement.
But it is Shostakovich’s remarkable sense of parody, of whirligig debunkery, which gives this work its real personality. And even with a fair sprinkling of ironic references to Tchaikovsky and Rachmaninov, and more earnest imitation of “wrong-note” Stravinsky and Prokofi ev, Shostakovich’s emerging hallmarks are present too. Like the high, step-wise violin melody that opens the slow movement above a sombre accompaniment – this turned out to be a familiar Shostakovich-ism, the violins often joined in his symphonies by doubling a fl ute.
And as for all the slapstick convulsions and relentless activity surrounding this centrepiece of seriousness, we are constantly left wondering – as with much of Shostakovich’s output – just where we are on the scales of entertainment and satire, of jocularity and savage mockery. Th e trumpet’s role in all of this is crucial, adding both a tinge of circus-act or court jester, as well as one that is more sinister and militaristic. In view of the increasingly appalling acts of Stalin’s regime in 1933, perhaps the trumpet’s most telling commentary is not something like the fi nale’s obsessive fanfare conclusion, but the way the Lento concludes – a droopy re-appearance of the violin’s opening melody from a not-so-triumphant bugler, lame from a bloody battle.
© MEURIG BOWEN
The life and music of Dmitri Shostakovich are inextricably entwined with the Soviet era, and debate continues to rage over the extra-musical nature of his musical work: whether certain works stand as ironic statements on a subject or society or even contain political messages. His 15 symphonies and string quartets are among the major masterpieces of 20th-century music, refl ective of his society and time.
10 AUSTRALIAN CHAMBER ORCHESTRA
SHOSTAKOVICH Two Pieces for String Octet, Op.11(Composed 1924–25)
Prelude: AdagioScherzo: Allegro molto
Th ough Shostakovich’s legacy as a composer of chamber music rests largely on his 15 string quartets, which have enshrined him as one of the few great quartet composers of the 20th century, his fi rst work in the genre did not come until 1938, when he was 32 years old and already recognised as a major composer on the strength of several symphonies and various works for the stage.
But Shostakovich demonstrated an interest and facility in chamber music much earlier in his career, writing three pieces for small forces during the fi rst half of the 1920s while still in his student years at the Petrograd Conservatory: the Piano Trio No.1, Th ree Pieces for Cello and Piano (now lost), and the present Prelude and Scherzo, Op.11.
Op.11 owes its unusual form and format to the indecision of its composer and the halting nature of its composition. In December 1924, in the midst of working on his First Symphony, Shostakovich received word that his close friend Volodya Kurchavov had died of typhoid fever. In response, the teenaged composer set aside his symphony to write the Prelude, which he dedicated as a memorial to Kurchavov. Shostakovich also began a fugue that was to follow the Prelude as part of a fi ve-movement suite, but before getting any farther, he changed his focus back to the symphony. He fi nally returned to his chamber piece only after completing the First Symphony the following summer, and by this time the idea of a lengthy suite no longer appealed to him. He scrapped the fugue and paired the Prelude with a new Scherzo, allowing the two movements to stand on their own.
Th e Prelude and Scherzo, though brief, are highly energetic and emotionally intense, fi lled with incisive rhythms and sweeping gestures.
Th e Prelude, as befi ts its inspiration, is passionately mournful, moving quickly through a series of episodes divided into three sections. Tragic chords give way to descending melodies, eerie triplets, and hushed pizzicato, eventually ushering in the restless tossing and turning of the middle section. An earnest, despairing solo for violin begins the closing segment, reaching an emotional climax before the quietly dejected atmosphere of the
ACO performance history
Shostakovich’s Prelude and Scherzo for String Octet was performed in a tour during 2006.
AUSTRALIAN CHAMBER ORCHESTRA 11
Peter Ilyich TCHAIKOVSKY(b. Kamsko-Votkinsk 1840 — d. St Petersburg 1893)
Peter Ilyich Tchaikovsky was the fi rst Russian composer whose work not only demonstrated a professional mastery of Western symphonic tradition, but was also recognised on an international scale. His popular operas, ballets, and works for voice, and chamber and symphonic forces continue to be regarded as masterpieces of their respective genres. Tchaikovsky’s output is celebrated not only for its musical structure but also for its emotional and programmatic richness.
TCHAIKOVSKYSouvenir de Florence, Op.70(Composed 1890)
Realised for string orchestra
Allegro con spiritoAdagio cantabile e con motoAllegretto moderatoAllegro vivace
Th e string sextet Souvenir de Florence was Tchaikovsky’s last chamber work, and came a decade or more after his three String Quartets (1871, 1874 and 1878) and the much-loved Serenade for Strings (1880). An initial sketch was made between 13 and 30 June 1890, at the time that he was orchestrating his penultimate opera Th e Queen of Spades. A play-through in St Petersburg in November that year caused Tchaikovsky to rework the last two movements over the next two years – at his home near Klin, 80 kilometres west of Moscow, and in Paris. Th e fi rst “real” performance was in St Petersburg on 6 December 1892, a fortnight before the premiere of the ballet Th e Nutcracker in the same city.
In a letter to his patron and friend-by-correspondence Nadezhda von Meck, Tchaikovsky said of the sextet that he “wrote it with the greatest enthusiasm and without the least exertion” – light relief, apparently, from his eff orts on Th e Queen of Spades. Th is idea of a work idly dashed off is rather at odds with some comments to his brother Modest in a letter written on 15 June 1890, two days into the work’s composition. He was, apparently, “writing with diffi culty,
opening returns to conclude the movement. In contrast, the Scherzo is all swirling motion and sharp edges. Th is is the music of Shostakovich the deliberate modernist, packed with dissonance and unusual eff ects, but still with a fi rm sense of drama and organisation. Th e composer was very happy with the Scherzo, calling it shortly after its completion “the very best thing I have written.”
© JAY GOODWIN
12 AUSTRALIAN CHAMBER ORCHESTRA
ACO performance history
Tchaikovsky’s Souvenir de Florence was fi rst programmed in the ACO’s 1985 inaugural subscription series. It was subsequently played in 1991, 1999 and 2005.
handicapped by lack of ideas and the new form. One needs six independent but at the same time homogenous voices. Th is is frightfully diffi cult. Haydn never managed to conquer this problem and never wrote anything but quartets [for chamber music].”
It is interesting that the composer isolates Haydn, and doesn’t mention the distinguished eff orts of others writing string chamber music for more than four players: the quintets of Mozart and Schubert, Mendelssohn’s Octet, the sextets of Brahms (1860 and 1865) and Dvořák (1878). And it is neat indeed that the same decade that began with Tchaikovsky’s sextet concluded with a very diff erent work for the same forces, Schoenberg’s dark masterpiece, Transfi gured Night.
Th e composer knew Florence well, having made three visits there in 1877, 1879 and 1890. During the last of these, an extended period, he worked on Th e Queen of Spades; and it was doubtless these recent experiences in the great Tuscan city that he wished to commemorate in his sextet. Th ere is little explicitly Italian in the work however, and the folk-like tunes in the last two movements have a markedly more Russian fl avour. But in spirit, the work has a freshness and charm that could easily conjure Florentine associations. Both the fi rst movement’s sweeping second subject, marked dolce, espressivo e cantabile (sweet, expressive and in a singing style) and the conversational melody for violin, viola and cello that dominates the Adagio have a serenade-like feel to them. Th e second of these, with its plucked accompaniment, is further suggestive of the serenader’s mandolin.
Th is Adagio’s lyrical repose is broken up by a brief but remarkable central passage. With the players instructed to play at the tip of the bow, a sequence of triplet semiquavers form successive, punctuated phrases. Tchaikovsky’s dynamic markings are highly specifi c and extreme – crescendo from ppp up to p and the like – creating a delicate texture of scuttling mysteriousness. A similar lightness of touch comes in the central section of the following movement and in much of the fi nal Allegro vivace: vigorous accents working against skipping staccato notes, a balletic fi nesse converging with the stomping energy of peasant dance. As if to rein in some of this energy, Tchaikovsky turns the main rollicking tune of this fi nale into a fugue subject – with a certain disciplined success, until he concludes his Florentine tribute by cranking up the tempo and the volume (to ff ff ), for the fi nal ecstatic bars.
© MEURIG BOWEN
14 AUSTRALIAN CHAMBER ORCHESTRA
STEVEN OSBORNEPIANO
Steven Osborne is one of Britain’s foremost musicians, renowned for his idiomatic approach to a wide variety of repertoire from the mainstream classical works of Mozart, Beethoven and Brahms to the rarefi ed worlds of Messiaen, Tippett and Britten. His numerous awards and prizes include the 2009 Gramophone Award for his recording of the Britten Piano Concerto, fi rst prize at the Naumburg International Piano Competition (New York) and the Clara Haskil Competition.
His concert career takes him to major venues worldwide including the Amsterdam Concertgebouw, Konzerthaus Berlin, Konzerthaus Vienna, Palais des Beaux Arts Brussels, Sydney Opera House, Suntory Hall Tokyo and Carnegie Hall. He is a regular visitor to the Wigmore Hall, where he returned this season to complete his four-part survey of the chamber music of Schubert which included performances of Schwanengesang with Dietrich Henschel, piano duets with Paul Lewis, piano trios with Alban Gerhardt and Alina Ibragimova and the last three piano sonatas. He has also made eight appearances at the Proms.
Concerto performances take Steven to orchestras all over the world including recent visits to the NHK Symphony, Berlin Symphony, Deutsches Sinfonieorchester Berlin, Munich Philharmonic, Finnish Radio Symphony, Bergen Philharmonic, Residentie Orkest, and the Dallas Symphony Orchestra. In the UK he works regularly with the major orchestras, especially with the Philharmonia, City of Birmingham Symphony and the BBC Philharmonic Orchestras.
Highlights of the 2012/13 season include performances of the Britten Concerto with the Oslo Philharmonic/Ilan Volkov, Frankfurt Museumsorchester/Brabbins, Orchestre National de Lille and City of Birmingham Symphony Orchestra alongside performances with the BBC Symphony/Vedernikov (Tippett) at the Barbican, RTVE Madrid (Beethoven), and Netherlands Chamber Orchestra (Mozart). He begins his Beethoven Piano Concerto cycle with the BBC Scottish Symphony in collaboration with Andrew Manze. On the recital circuit he tours Messiaen’s complete Vingt regards sur l’enfant which will include a performance as part of the South Bank’s major series “Th e Rest Is Noise”.
Th is Steven’s second national tour with the Australian Chamber Orchestra.
His extensive discography includes Rachmaninov’s Preludes, Tippett’s Piano Sonatas and Piano Concerto, Messiaen’s Vingt regards sur l’Enfant-Jesus, Debussy’s Preludes, solo works by Liszt, Alkan, Kapustin, Beethoven and most recently Ravel.
stevenosborne.com
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AUSTRALIAN CHAMBER ORCHESTRA 15
DAVID ELTONTRUMPET
David Elton is Principal Trumpet with the Sydney Symphony. Prior to this appointment, he held principal trumpet positions with the West Australian Symphony Orchestra (WASO) and the Adelaide Symphony Orchestra (ASO). He has performed as a guest principal with the Australian Chamber Orchestra, the Hong Kong Philharmonic, the Melbourne Symphony, the Queensland Orchestra, and the Singapore Symphony. As a chamber musician, David has toured Germany with WorldBrass and is a founding member of the Australian Brass Quintet.
David is sought after as a soloist and recitalist. Solo performances include Haydn’s Trumpet Concerto with both the ASO and the WASO, and the world premiere of James Ledger’s Trumpet Concerto, written especially for him, with the WASO. David had a solo role with the Absolute Ensemble in the Australian premiere of Mark-Anthony Turnage’s Blood on the Floor at the 2004 Adelaide Festival. He was a featured soloist at the 2010 International Trumpet Guild Conference as well as the Melbourne International Brass Festival. During 2011, David performed the Richard Mills Trumpet Concerto with the ASO with Gilbert Varga conducting, and the James Ledger Trumpet Concerto with the Australian National Academy of Music Orchestra under the baton of Sebastian Lang-Lessing.
Raised in Sydney, David studied with Paul Goodchild. He holds a Bachelor of Music from the Queensland Conservatorium, and a Master of Music from Northwestern University (USA) where he studied with Yoram Levy and Charles Geyer respectively. In 1998 David was awarded fi rst prize in the International Trumpet Guild’s Solo Competition held in Kentucky, USA. In 2000 and 2001, he was a fellow of the Pacifi c Music Festival in Sapporo Japan.
David is committed to teaching and was formerly Head of Brass at the West Australian Academy of Performing Arts before returning to Sydney. He has served as guest faculty at the Yong Siew Toh Conservatory in Singapore, and is currently on the brass faculty at the Australian National Academy of Music. He was the trumpet tutor at the Australian Youth Orchestra’s National Music Camp in both 2008 and 2009, and returns to tutor in 2013.
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16 AUSTRALIAN CHAMBER ORCHESTRA
RICHARD TOGNETTI AOARTISTIC DIRECTORAUSTRALIAN CHAMBER ORCHESTRA
Select DiscographyAs soloist:
BACH Sonatas for Violin and KeyboardABC Classics 476 59422008 ARIA Award Winner
BACH Violin ConcertosABC Classics 476 56912007 ARIA Award Winner
BACH Solo Violin Sonatas and PartitasABC Classics 476 80512006 ARIA Award Winner
(All three releases available as a 5CD Box set: ABC Classics 476 6168)
Musica Surfi ca (DVD)Best Feature, New York Surf Film Festival
As director:
GRIEG Music for String OrchestraBIS SACD-1877
Pipe DreamsSharon Bezaly, FluteBIS CD-1789
All available from aco.com.au/shop.
Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.
Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.
As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.
Tognetti has collaborated with colleagues from across various art forms and artistic styles, including 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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AUSTRALIAN CHAMBER ORCHESTRA 17
AUSTRALIAN CHAMBER ORCHESTRA
ACO MUSICIANS
Richard Tognetti Artistic Director and Lead Violin
Helena Rathbone Principal Violin
Satu Vänskä Principal Violin
Madeleine Boud Violin
Rebecca Chan Violin
Alice Evans Violin
Aiko Goto Violin
Mark Ingwersen Violin
Ilya Isakovich Violin
Christopher Moore Principal Viola
Nicole Divall Viola
Timo-Veikko Valve Principal Cello
Melissa Barnard Cello
Julian Thompson Cello
Maxime Bibeau Principal Double Bass
Part-time Musicians
Zoë Black Violin
Veronique Serret Violin
Caroline Henbest Viola
Daniel Yeadon Cello
Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality unmatched by other ensembles.
Th e ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia. Th e ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-artform projects and a vigorous commissioning program.
Under Richard Tognetti’s inspiring leadership, the ACO has performed as a fl exible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience.
Several of the ACO’s principal musicians perform with spectacularly fi ne instruments. Tognetti plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri fi lius Andreæ cello, on loan from Peter Weiss AM. Principal Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Principal Violin Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments.
Over fi fty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein.
Th e ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI and Chandos and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop. Highlights include the three-time ARIA Award-winning Bach recordings and the complete set of Mozart Violin Concertos. Th e ACO appears in the television series Classical Destinations II and the multi award-winning fi lm Musica Surfi ca.
In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres.
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.
18 AUSTRALIAN CHAMBER ORCHESTRA
MUSICIANS ON STAGE Photos: Paul Henderson-Kelly, Helen White
RICHARD TOGNETTI AO§
Artistic Director
Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod
SATU VÄNSKÄ≈Principal Violin
Violin
Chair sponsored by Robert & Kay Bryan
HELENA RATHBONE*Principal Violin
Chair sponsored by Hunter Hall Investment Management Limited
MADELEINE BOUDViolin
Chair sponsored by Terry Campbell AO & Christine Campbell
ALICE EVANSViolin
Chair sponsored by Jan Bowen, Th e Davies & Th e Sandgropers
REBECCA CHANViolin
Chair sponsored by Ian Wallace & Kay Freedman
AIKO GOTOViolin
Chair sponsored by Andrew & Hiroko Gwinnett
ILYA ISAKOVICHViolin
Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund
MARK INGWERSENViolin
Chair sponsored by Runge
AUSTRALIAN CHAMBER ORCHESTRA 19
§ 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 Andræ cello kindly on loan from Peter Weiss AM# Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andræ cello kindly on loan from the Australia Council.
MUSICIANS ON STAGE Photos: Paul Henderson-Kelly, Helen White
MAXIME BIBEAUPrincipal Bass
Chair sponsored by John Taberner & Grant Lang
JULIAN THOMPSON#Cello
Chair sponsored by the Clayton Family
NICOLE DIVALLViola
Chair sponsored by Ian Lansdown
CHRISTOPHER MOOREPrincipal Viola
Chair sponsored by Tony Shepherd AO
TIMOVEIKKO VALVE+Principal Cello
Chair sponsored by Mr Peter Weiss AM
Players dressed by AKIRA ISOGAWA
Violin
LACHLAN O’DONNELL
Viola
CERIDWEN DAVIESAMANDA VERNER
Cello
EVE SILVER◊
◊ Courtesy of West Australian Symphony Orchestra
AUSTRALIAN CHAMBER ORCHESTRA 21
AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Offi ce: 1800 444 444 Email: [email protected] Website: aco.com.au
ACO BEHIND THE SCENES
EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General Manager and Development ManagerMichelle KerrExecutive Assistant to Mr Calnin and Mr Tognetti AO
ARTISTIC & OPERATIONSLuke ShawHead of Operations and Artistic Planning Alan J. BensonArtistic AdministratorErin McNamaraTour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian
EDUCATIONVicki NortonEducation and Emerging Artists ManagerSarah ConolanEducation Assistant
FINANCESteve Davidson Chief Financial Offi cerCathy Davey Senior AccountantShyleja PaulAssistant Accountant
DEVELOPMENTAlexandra Cameron-FraserCorporate Relations andPublic Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveLillian ArmitagePhilanthropy ManagerSally-Anne BigginsPatrons ManagerStephanie IngsInvestor Relations ManagerJulia GlassDevelopment Coordinator
MARKETINGRosie RotheryMarketing ManagerDavid SheridanActing Marketing CoordinatorClare MorganActing PublicistJoseph NizetiActing Marketing & Publicity AssistantChris Griffi thBox Offi ce ManagerDean WatsonCustomer Relations ManagerAli BrosnanBox Offi ce AssistantChristina HollandActing Offi ce Administrator
INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer
ARCHIVESJohn HarperArchivist
ADMINISTRATION STAFF
Bill BestLiz CacciottoloChris Froggatt
Janet Holmes à Court ACAndrew Stevens
John TabernerPeter Yates AM
BOARD
Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman
Richard Tognetti AOArtistic Director
22 AUSTRALIAN CHAMBER ORCHESTRA
ACKNOWLEDGEMENTSGOVERNMENT SUPPORT
VENUE SUPPORT
We are also indebted to the following organisations for their support:
PO Box 7585Arts Centre MelbournePO Box 7585St Kilda Road, Melbourne VIC 8004Telephone: (03) 9281 8000Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au
VICTORIAN ARTS CENTRE TRUSTMs Janet Whiting (President)Ms Deborah Beale, Ms Terry Bracks,Mr Julian Clarke, Ms Catherine McClements,Mr Graham Smorgon, Prof Leon van Schaik ao, Mr David Vigo
EXECUTIVE GROUP
Chief Executive Ms Judith IsherwoodCorporate Services Ms Jodie BennettPerforming Arts Mr Tim BrinkmanFacilities & Asset Management Mr Michael BurnsGeneral Manager – Development, Corporate Communications & Special Events Ms Louise GeorgesonCustomer Enterprises Mr Kyle Johnstone
Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.
FOR YOUR INFORMATIONTh e management reserves the right to add, withdraw or substitute artists and to vary the program as necessary.Th e Trust reserves the right of refusing admission.Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue.In the interests of public health, Arts Centre Melbourne is a smoke-free area.
AEG OGDEN (PERTH) PTY LTD
PERTH CONCERT HALLGeneral Manager Andrew BoltDeputy General Manager Helen StewartTechnical Manager Peter RobinsEvent Coordinator Penelope Briff a
Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Th eatre Trust Venues.AEG OGDEN (PERTH) PTY LTDChief Executive Rodney M Phillips
THE PERTH THEATRE TRUSTChairman Dr Saliba Sassine
St George’s Terrace, PerthPO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900
LLEWELLYN HALLSchool of MusicAustralian National UniversityWilliam Herbert Place (off Childers Street)Acton, Canberra
VENUE HIRE INFORMATIONPhone: +61 2 6125 2527 Fax: +61 2 6248 5288Email: [email protected]
AUSTRALIAN CHAMBER ORCHESTRA 23
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—127 — 16913 — 1/101112
OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWINOVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2—E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.
Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au
Chairman Brian Nebenzahl OAM RFD
Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production—Classical Music Alan Ziegler
This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064
This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.
ACKNOWLEDGEMENTS
PO Box 3567, South Bank, Queensland 4101Tel: (07) 3840 7444Chair Henry Smerdon amDeputy Chair Rachel Hunter
TRUSTEESSimon Gallaher, Helene George, Bill Grant, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White
EXECUTIVE STAFFChief Executive John KotzasDirector – Marketing Leisa BaconDirector – Presenter Services Ross CunninghamDirector – Development Jacquelyn MaloufDirector – Corporate Services Kieron RoostDirector – Patron Services Tony Smith
ACKNOWLEDGMENTTh e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Rachel Nolan mpMinister for Finance, Natural Resouyrces and Th e ArtsDirector-General, Department of the Premier and CabinetJohn BradleyDeputy Director-General, Arts Queensland Leigh Tabrett PSM
Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.
VENUE SUPPORT
SYDNEY OPERA HOUSE TRUSTMr Kim Williams am (Chair)Ms Catherine Brenner, Th e Hon Helen Coonan,Mr Wesley Enoch, Ms Renata Kaldor ao,Mr Robert Leece am rfd, Mr Peter Mason am,Dr Th omas Parry am, Mr Leo Schofi eld am,Mr John Symond am
EXECUTIVE MANAGEMENTChief Executive Offi cer Louise Herron Executive Producer SOH Presents Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia PucciChief Financial Offi cer Claire Spencer
SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration: 02 9250 7111 Box Offi ce: 02 9250 7777Facsimile: 02 9250 7666 Website: sydneyoperahouse.com
A City of Sydney VenueClover Moore Lord MayorManaged byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix FounderJack Frost General ManagerCITY RECITAL HALL ANGEL PLACE
2 –12 Angel Place, Sydney, AustraliaGPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000Box Offi ce 02 8256 2222 or 1300 797 118Facsimile 02 9233 6652 Website www.cityrecitalhall.com
TOKYO – NISEKO
Niseko Winter Music Festival
with Jessica Block
8–18 January 2013
For detailed information call 1300 727 095 or visit www.renaissancetours.com.au
The annual Niseko Winter Music Festival, the brainchild of Richard Tognetti, features Tognetti, members of the Australian Chamber Orchestra and invited
Japanese guest artists, over three evenings in January at the height of the winter ski season! On the way enjoy three nights in Tokyo to visit stunning temples, shrines
and Tokyo’s fish market and shop in the world’s largest electronics store before you head to the ski fields for a week of snow and music.
AUSTRALIAN CHAMBER ORCHESTRA 25
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 Violin
Michael Ball AM & Daria BallJoan ClemengerWendy EdwardsPrudence MacLeod
Helena RathbonePrincipal Violin
Satu VänskäPrincipal Violin
Robert & Kay Bryan
Christopher MoorePrincipal Viola
Tony Shepherd AO
Timo-Veikko ValvePrincipal Cello
Peter Weiss AM
Maxime BibeauPrincipal Double Bass
John Taberner & Grant Lang
CORE CHAIRS
Aiko Goto Violin
Andrew & Hiroko Gwinnett
Mark Ingwersen Violin
Alice Evans Violin
Jan BowenTh e DaviesTh e Sandgropers
Ilya Isakovich Violin
Australian Communities Foundation – Connie & Craig Kimberley Fund
Madeleine Boud Violin
Terry Campbell AO & Christine Campbell
Rebecca Chan Violin
Ian Wallace & Kay Freedman
Nicole Divall Viola
Ian Lansdown
Viola ChairPhilip Bacon AM
Melissa Barnard Cello
Th e Bruce & Joy Reid Foundation
Julian Th ompson Cello
Th e Clayton Family
GUEST CHAIRS FRIENDS OF MEDICIBrian Nixon Mr R. Bruce Corlett AM &Principal Timpani Mrs Ann CorlettMr Robert Albert AO & Mrs Libby Albert
26 AUSTRALIAN CHAMBER ORCHESTRA
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 AM
LEADER $500,000–$999,999
CONCERTO $200,000–$499,000Naomi Milgrom AO
OCTET $100,000–$199,000Amina Belgiorno-Nettis
QUARTET $50,000–$99,000John Leece OAM & Anne Leece
SONATA $25,000–$49,999
ENSEMBLE $10,000$24,999Leslie & Ginny Green
SOLO $5,000 $9,999Amanda Staff ord
PATRONS $500 $4,999June & Jim ArmitageJohn Landers & Linda SweenyAngela RobertsAnonymous (1)
PETER WEISS AM, PATRON
FOUNDING PATRONS
Guido & Michelle Belgiorno-NettisBill BestBenjamin BradySteven DuchenBrendan HopkinsJohn TabernerIan Wallace & Kay Freedman
FOUNDING INVESTORS
Bill Best (Chairman)Jessica BlockJanet Holmes à CourtJohn Leece OAMJohn Taberner
BOARD MEMBERS
AUSTRALIAN CHAMBER ORCHESTRA 27
Th e ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour.
2011 EUROPEAN TOUR PATRONS
Graeme & Jing AaronsSamantha AllenJohn & Philippa Armfi eldSteven BardyIsla Baring Linda & Graeme BeveridgeBG GroupPaul BorrudBen & Debbie BradyKay BryanMassel GroupTerry Campbell AO & Christine CampbellJenny & Stephen CharlesTh e Clayton FamilyPenny Clive & Bruce NeillJohn ColesCommonwealth BankRobin D’Alessandro & Noel PhilpJennifer Dunstan Bridget Faye AMAnn Gamble Myer
Rhyll GardnerAlan & Joanna GemesTony GillGlobal Switch LimitedAndrew & Hiroko GwinnettPeter Henshaw & Fargana KarimovaPeter & Sandra HofbauerJanet L Holmes à Court ACCatherine Holmes à Court-Mather Brendan & Bee HopkinsP J Jopling QCLady KleinwortWayne KratzmannPrudence MacLeodBill Merrick P J MillerJan MinchinJustin Raoul Moffi ttAlf Moufarrige
Louise & Martyn Myer FoundationSir Douglas MyersMarianna & Tony O’Sullivanpeckvonhartel architectsDiana PolkinghorneRio Tinto LimitedGregory Stoloff & Sue LloydDavid StoneAndrew StraussTim & Sandie SummersJohn Taberner & Grant LangPatricia Th omas OBEBeverley TrivettLoretta van MerwykMalcolm WatkinsMichael WelchWesfarmers LimitedGillian WoodhouseMs Di YeldhamAnonymous (3)
NISEKO SUPPORTERSA J AbercrombieWarwick AndersonBreeze FamilyTim BurkeSimone CarsonSuzy CrittendenCathryn & Andrew Darbyshire AMPhil & Rosie HarknessLouise & Bill HensonSimon & Katrina Holmes à Court Family TrustLorna InmanRobert Johanson & Anne Swann
Linda KeyteRichard & Lizzie LederNaomi MilgromClarke & Leanne MorganAndrew Myer James & Catriona PettitJill Reichstein SchiavelloPeter ScottJohn & Nicky StokesDr Mark & Mrs Anna YatesOliver Yates
NISEKO SUPPORTERSTh e ACO would like to pay tribute to the following donors who are supporting our continued involvement with the Niseko Winter Music Festival.
NISEKO PATRONSAnn Gamble MyerLouise & Martyn Myer FoundationPeter Yates AM & Susan Yates
28 AUSTRALIAN CHAMBER ORCHESTRA
Edmund & Joanna CaponMr R. Bruce Corlett AM & Mrs Ann CorlettRowena Danziger & Ken ColesLeslie & Ginny Green
Katrina GroshinskiAngela IslesIan Lansdown in memory of Nina LansdownMr Anthony & Mrs Sharon Lee
Bernard & Barbara LeserEmily SimpsonRoss Steele AMVictoria TaylorEvan Williams
ACO RECORDINGS PROGRAM MENDELSSOHNTh e ACO pays tribute to our generous donors who have supported the ACO’s 2012 recording of glorious music by Mendelssohn – his Double Concerto for Violin, Piano and Orchestra featuring Richard Tognetti and renowned Russian pianist, Polina Leschenko; and his renowned Octet Op.20. Th e ACO’s recording program preserves the essence of the ACO as it is today and allows people to hear the ACO again and again, for many years to come.
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 2011 and 2012.
QINOTH by Paul StanhopeSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinAustin Bell & Andrew CarterT Cavanagh & J GardnerChin Moody FamilyAnne Coombs & Susan VargaGreg DicksonJohn Gaden AMCathy GrayBrian Kelleher
Penny Le CouteurScott Marinchek & David WynneKate Mills Janne RyanBarbara Schmidt & Peter CudlippJane SmithRichard SteelePeter Weiss AMCameron WilliamsAnonymous (1)
Jane AlbertSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinT Cavanagh & J GardnerAnne Coombs & Susan VargaAmy DenmeadeToni FreckerJohn Gaden AMCathy GraySusan Johnston & Pauline Garde
Brian KelleherAndrew LeeceScott Marinchek & David WynneKate Mills & Sally Breen Nicola PennMartin PortusJanne RyanBarbara Schmidt & Peter CudlippRichard SteeleStephen Wells & Mischa WayAnonymous (1)
THE REEFLEAD PATRONSTony & Michelle Grist
PATRONSWendy EdwardsEuroz Charitable Foundation
Don & Marie ForrestTony & Rose PackerNick & Claire Poll
Gavin & Kate RyanJon & Caro StewartSimon & Jenny Yeo
OTHER COMMISSIONSJan Minchin: Brett Dean’s Electric Preludes for Richard Tognetti and the 2012 Maribor Festival, and the 2013 National Concert Season.Robert & Nancy Pallin: Brenton Broadstock’s Never Truly Lost for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.
SPECIAL COMMISSIONS PATRONSPeter & Valerie Gerrand Margot Woods & Arn Sprogis V Graham Anonymous (1)
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO DONATIONS PROGRAM
EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert AO & Mrs Libby AlbertDaria & Michael BallSteven BardyGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert-JonesMark CarnegieDarin Cooper FamilyJohn B Fairfax AOChris & Tony FroggattPJ Jopling QCMiss Nancy KimptonPaula KinnaneAlf MoufarrigeAlex & Pam ReisnerMr John Singleton AMJohn Taberner & Grant LangAlden Toevs & Judi WolfTh e Hon Malcolm Turnbull MP & Ms Lucy Turnbull AOPeter Weiss AME XipellAnonymous (1)
DIRETTORE $5,000$9,999Th e Abercrombie Family FoundationGeoff AlderTh e Belalberi FoundationJenny & Stephen CharlesRoss & Rona ClarkeLeith & Darrel ConybeareBridget Faye AMIan & Caroline Frazer
Edward C GrayAnnie HawkerRosemary HoldenKeith KerridgeLorraine LoganPeter LovellDavid Maloney & Erin FlahertyLouise & Martyn Myer FoundationMarianna & Tony O’SullivanSandra & Michael Paul EndowmentJohn RickardTh e Roberts FamilyA J RogersPaul SalteriPaul Schoff Kerry Stokes AC & Christine SimpsonIan Wallace & Kay FreedmanIan Wilcox & Mary KostakidisCameron WilliamsAnonymous
MAESTRO $2,500$4,999Jane AllenTiff any AndrewsWill & Dorothy Bailey BequestDoug & Alison BattersbyVirginia BergerPatricia BlauCam & Helen CarterCaroline & Robert ClementeM CrittendenJohn & Gloria DarrochKate DixonLeigh EmmettLiangrove FoundationGoode FamilyMaurice & Tina GreenWarren Green
Nereda Hanlon & Michael Hanlon AMLiz HarbisonAngela James & Phil McMasterAlastair Lucas AMTh e Marshall FamilyTh e Michael FamilyP J MillerDonald & Jane MorleyJennie & Ivor OrchardPatricia H Reid Endowment Pty LtdRalph & Ruth RenardD N SandersGreg Shalit & Miriam FaineMs Petrina SlaytorAmanda Staff ordDr & Mrs R TinningRalph Ward-Ambler AM & Barbara Ward-AmblerAnonymous (2)
VIRTUOSO $1,000$2,499Annette AdairAntoinette AlbertDavid & Rae AllenAndrew AndersonsDavid ArnottSibilla BaerTh e Beeren FoundationKathy BorrudBen & Debbie BradyVicki BrookeJasmine BrunnerSally BuféElizabeth & Nicholas CallinanMichael CameronCannings CommunicationSandra CassellJulia Champtaloup & Andrew Rothery
Georg & Monika ChmielAngela & John ComptonAlan Fraser CooperJudy CrollMarie DalzielLindee & Hamish DalziellMrs June DanksMichael & Wendy DavisMartin DolanAnne & Th omas DowlingJennifer DowlingProfessor Dexter Dunphy AMBronwyn EslickPeter EvansHelen Elizabeth FairfaxElizabeth FinneganNancy & Graham FoxColonel Tim FrostAnne & Justin GardenerDaniel & Helen GauchatColin Golvan SCRichard & Jay Griffi nPaul HarrisLyndsey HawkinsPeter HearlReg Hobbs & Louise CarbinesMichael Horsburgh AM & Beverley HorsburghPenelope HughesWendy HughesPam & Bill HughesGlen Hunter & Anthony NiardoneRoger Massy-Greene & Belinda Hutchinson AMStephanie & Michael HutchinsonPhillip Isaacs OAMBrian JonesD & I KallinikosLen La FlammeJohn Landers & Linda Sweeny
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 TRUSTTHE NEILSON FOUNDATION
TRUSTS AND FOUNDATIONS
30 AUSTRALIAN CHAMBER ORCHESTRA
Mrs Judy LeeGreg Lindsay AO & Jenny LindsayJudy LynchJennifer MarshallMartin Family in memory of Lloyd Martin AMRoderick & Leonie MathesonJane Mathews AOKevin & Deidre McCannBrian & Helen McFadyenIan & Pam McGawJ A McKernanG & A NelsonNola NettheimAnne & Christopher PageDavid Penington ACAyesha PenmanMark RenehanDr S M Richards AM & Mrs M R RichardsWarwick & Jeanette Richmond In memory of Andrew RichmondDavid & Gillian RitchiePeter J. RyanIn Memory of H. St. P. ScarlettJeff SchwartzIn memory of Elizabeth C SchweigPaul SkamvougerasDiana Snape & Brian Snape AMMaria Sola & Malcolm DouglasEzekiel Solomon AMK W SpenceCisca SpencerGeoff rey StirtonMr Tom StoryJohn & Jo StruttDr Douglas Sturkey CVO AMDr Charles Su & Dr Emily LoRob Th omasAnne TonkinNgaire TurnerLoretta van MerwykKay VernonBill WatsonM W WellsJanie & Nev WitteySir Robert WoodsNick & Jo WormaldDon & Mary Ann YeatsMark YoungWilliam YuilleAnonymous (15)
CONCERTINO $500$999Antoinette AckermannMrs Lenore Adamson in memory of Mr Ross AdamsonPeter & Catherine AirdJoy Anderson & Neil Th omasElsa AtkinRuth BellMax BenyonBaiba BerzinsDr Anthony BookallilBrian BothwellDenise BraggettMorena Buff on & Santo CilauroDarcey BussellFred & Jody ChaneyColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversJohn ClaytonClearFresh WaterJoan ClemengerSam Crawford ArchitectsProfessor John DaleyTed & Christine DauberMari DavisDr Christopher DibdenMike & Pamela DowneyIn Memory of Raymond DudleyProfessor Peter Ebeling & Mr Gary PloverM T & R L ElfordSuellen EnestromBarbara FargherMichael FogartyPatricia GavaghanMirek GenerowiczPeter & Valerie GerrandPaul Gibson & Gabrielle CurtinBrian GoddardProf Ian & Dr Ruth GoughPhilip GrahamKatrina GroshinskiDr Annette GrossMatthew HandburyLesley HarlandMr Ken HawkingsVirginia HenryDr Penny Herbert in memory of Dunstan Herbert
Jennifer HershonM John Higgins & Jodie MaunderPeter & Ann HollingworthDr & Mrs Michael HunterJohn & Pamela HutchinsonPhilip & Sheila JacobsonBarry & Davina Johnson OAMMrs Caroline JonesMrs Angela KarpinBruce & Natalie KellettTony Kynaston & Jenny FaggRobert Leece AMMegan LoweJohn LuiBronwyn & Andrew LumsdenJames MacKeanDr & Mrs Donald MaxwellPhilip Maxwell & Jane Th amDr Hamish & Mrs Rosemary McGlashanPatricia McGregorMrs Robyn McLayI MerrickJan MinchinGraeme L MorganJulie MosesHelen & Gerald MoylanSusan NegrauJ NormanGraham NorthRobin Offl erAllegra & Giselle OvertonSelwyn M OwenJosephine PaechL ParsonageDeborah PearsonKevin PhillipsMiss F V Pidgeon AMMichael PowerTomasz RawdanowiczLarry & Mickey RobertsonSophie RotheryTeam SchmoopyManfred & Linda SalamonGreg & Elizabeth SandersonRobert Savage AMGarry Scarf & Morgie BlaxillKen & Lucille SealeJennifer SindelJohn Sydney SmithDr Fiona StewartProf Robert SutherlandIn memory of Dr Aubrey SweetShaun Tan
Leslie C Th iessMatthew TooheyDavid WalshG C & R WeirGordon & Christine WindeyerLee WrightMr Hugh WyndhamBrian ZulaikhaAnonymous (20)
CONTINUO CIRCLE BEQUEST PROGRAMTh e late Kerstin Lillemor Andersen Dave BeswickRuth Bell Sandra Cassell Th e late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett Th e late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes Th e late Pauline Marie JohnstonTh e late Mr Geoff Lee AM OAM Mrs Judy Lee Th e late Richard Ponder Ian & Joan ScottMargaret & Ron Wright Mark Young Anonymous (13)
LIFE PATRONS IBMMr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM
ACO DONATIONS PROGRAM
CONTRIBUTIONSIf you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at [email protected].
AUSTRALIAN CHAMBER ORCHESTRA 31
ACO CAPITAL CHALLENGETh e ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble.
We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:
CONCERTO $250,000 – $499,000Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-NettisMrs Barbara Blackman
OCTET $100,000 – $249,000Mr Robert Albert AO & Mrs Libby AlbertMrs Amina Belgiorno-NettisTh e Th omas Foundation
QUARTET $50,000 – $99,000Th e Clayton FamilyMr Peter HallMr & Mrs Philip & Fiona Latham
Mr John Taberner & Mr Grant LangMr Peter Yates AM & Mrs Susan Yates
ACO COMMITTEES
Bill Best (Chairman)Guido Belgiorno-Nettis AMChairman ACO & Executive Director Transfield HoldingsLeigh BirtlesExecutive DirectorUBS Wealth Management
SYDNEY DEVELOPMENT COMMITTEELiz Cacciottolo Senior Advisor UBS AustraliaIan Davis Managing Director Telstra TelevisionChris Froggatt
Tony Gill Rhyll GardnerJennie OrchardTony O’Sullivan Head of Investment Banking Lazard Australia
Peter ShorthouseClient AdvisorUBS Wealth Management John Taberner Consultant Freehills
Peter Yates AM (Chairman)Chairman Royal Institution of Australia Director AIAA Ltd
MELBOURNE DEVELOPMENT COUNCILDebbie BradyBen BradyStephen Charles
Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC
Jan Minchin DirectorTolarno GalleriesSusan Negrau
EVENT COMMITTEESBowral Elsa AtkinMichael Ball AM (Chairman) Daria Ball Cam CarterLinda Hopkins Judy LynchKaren Mewes Keith Mewes Tony O’SullivanMarianna O’SullivanTh e Hon Michael Yabsley
Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn
Sydney Margie BlokHelene BurtLiz Cacciottolo (Chair)Judy CrawfordDr Dee DebruynDi CollinsJudy Anne EdwardsChris FroggattElizabeth HarbisonSusan HarteBee Hopkins
Sarah JenkinsVanessa JenkinsCharlotte MackenziePrue MacLeodJulianne MaxwellMarianna O’SullivanJulia PincusAmanda PurcellDavid StewartTom Th awleyNicky Tindill
32 AUSTRALIAN CHAMBER ORCHESTRA
ACO PARTNERS 2012 CHAIRMAN’S COUNCIL MEMBERSTh e Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.
Mr Guido Belgiorno-Nettis AMChairmanAustralian Chamber Orchestra &Joint Managing DirectorTransfi eld Holdings
Mr Philip Bacon AM DirectorPhilip Bacon Galleries
Mr David Baff sky AO
Mr Brad BanducciDirector Woolworths Liquor Group
Mr Jeff BondGeneral ManagerPeter Lehmann Wines
Mr John BorghettiChief Executive Offi cerVirgin Australia
Mr Michael & Mrs Helen Carapiet
Mr Stephen & Mrs Jenny Charles
Mr Georg ChmielChief Executive Offi cerLJ Hooker
Mr & Mrs Robin Crawford
Rowena Danziger AM & Kenneth G. Coles AM
Dr Bob EveryChairmanWesfarmersMr Robert ScottManaging DirectorWesfarmers Insurance
Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel
Mr Richard FreudensteinChief Executive Offi cerFOXTEL
Mr Colin Golvan SC & Dr Deborah Golvan
Mr John GrillChief Executive Offi cerWorleyParsons
Mrs Janet Holmes à Court AC
Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited
Mr John JamesManaging DirectorVanguard
Ms Catherine Livingstone AOChairmanTelstra
Mr Andrew LowFounder & Chairman/CEO RedBridge Grant Samuel
Mr Steven Lowy AMChief Executive Offi cerWestfi eld Group
Mr Didier MahoutCEO Australia & NZBNP Paribas
Mr David MathlinSenior PrincipalSinclair Knight Merz
Ms Julianne Maxwell
Mr Michael Maxwell
Mr Geoff McClellanPartnerFreehills
Mr Donald McGauchie AOChairmanNufarm Limited
Mr John MeacockManaging Partner NSWDeloitte
Ms Naomi Milgrom AO
Ms Jan MinchinDirectorTolarno Galleries
Mr Jim MintoManaging DirectorTAL
Mr Alf MoufarrigeChief Executive Offi cerServcorp
Mr Scott PerkinsHead of Global BankingDeutsche Bank Australia/New Zealand
Mr John B Prescott ACChairmanMr Hans AnneveldtVice President Intermodal BusinessQR National
Mr Oliver RoydhouseManaging DirectorInlink
Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand
Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities
Mr Andrew StevensManaging DirectorIBM Australia & New Zealand
Mr Paul Sumner DirectorMossgreen Pty Ltd
Mr Mitsuyuki (Mike) Takada Managing Director & CEOMitsubishi Australia Ltd
Mr Alden ToevsGroup Chief Risk Offi cerCommonwealth Bank of Australia
Mr Michael Triguboff Managing DirectorMIR InvestmentManagement Ltd
Th e Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO
Ms Vanessa WallaceDirectorBooz & Company
Mr Kim Williams AMChief Executive Offi cerNews Limited
Mr Geoff WilsonChief Executive Offi cerKPMG Australia
Mr Peter Yates AM Chairman, Royal Institution of AustraliaDirector, AIAA Ltd
AUSTRALIAN CHAMBER ORCHESTRA 33
ACO CORPORATE PARTNERS Th e ACO would like to thank its corporate partners for their generous support.
FOUNDING PARTNER NATIONAL TOUR PARTNERS
CONCERT AND SERIES PARTNERS
EVENT PARTNERS
Daryl Dixon
Peter Weiss AM
OFFICIAL PARTNERS
PERTH SERIES &WA REGIONAL TOUR PARTNER
PRINCIPAL PARTNER
34 AUSTRALIAN CHAMBER ORCHESTRA
newsACO NEWS • NOVEMBER 2012
PIER 2/3 CHAMBER MUSIC SERIESLast month we presented the fi rst concert
of our new Pier 2/3 chamber music series,
curated by ACO Principal Cellist Timo-Veikko
Valve. The raw heritage Pier in Sydney’s
Walsh Bay was transformed into a unique,
intimate performance space complete with
seating that surrounded the stage.
The next instalment of this series is
scheduled for 24 November, when we partner
with actors from Bell Shakespeare in the fi rst
of what we hope will be many collaborative
projects at the Pier.
Above: Rebecca Chan and Timo-Veikko Valve performing Ravel’s Duo for violin and cello.
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Above and below: ACO players, led by Principal Violin Helena Rathbone, performing Brahms’ String Quintet No. 2.
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AUSTRALIAN CHAMBER ORCHESTRA 35
EDUCATION NEWSThis year we have visited every state and
territory in Australia, with the fi nal state being
ticked off in October when ACO2 toured to
Tasmania. The tour, led by Aiko Goto, included
concerts in Hobart, Port Arthur, Devonport,
St Helens, Launceston, Zeehan and Stanley
plus String Workshops and Schools’ Concerts
in Burnie, Launceston, Nubeena and Zeehan.
A tour highlight was performing in an old
Asylum building in Port Arthur at one of
Australia’s oldest convict settlements.
Our most recent regional tour was the ACO
Ensemble Queensland tour where we ran
a full day of workshops with local students
in Bundaberg and performed concerts in
Brisbane, Bundaberg and Mt Isa. Students
from the Mt Isa School of the Air travelled
hundreds of kilometres to perform with
us in the annual Mt Isa and District Gala
Instrumental Concert. Many of these students
are taught how to play their instruments over
the phone and their dedication was inspiring.
Secondary students in Sydney who attended
the Project Rameau matinee schools concert,
had the unique opportunity of putting Richard
Tognetti and Sydney Dance Company’s
Artistic Director, Rafael Bonachela, in the hot
seat, asking them questions about the recent
ACO and SDC collaboration.
The education program fi nishes the year with
visits to Picton Primary School, Matraville
Soldiers Settlement School and Our Lady of
Carmel School, as well as an Open Rehearsal
for Students with Disability.
Aiko Goto rehearses with students during a 2012 string workshop.
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William Clark and Caroline Henbest rehearse for the ACO2 tour.
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Aiko Goto leads a school’s concert with ACO2 at Tasman District School in Nubeena, Tasmania.
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36 AUSTRALIAN CHAMBER ORCHESTRA
YOUR SAYFeedback about the Richard Egarr Tour
“Richard Egarr was a breath of fresh air...
Great performance, great showmanship and
thank you so much for the two encores.”
Leone Moffat
“Egarr live was an experience not to be
missed. Watching him play and direct the
K.414 Piano Concerto, I felt it could be
Mozart himself at the keyboard: now that
surely IS period authenticity!” John Hart
“Extraordinary! Richard is simply the best!”
Jennifer Lee
“I had a wonderful night last night…
The encores were amazing; fancy having
enough energy left to fi nish with part of
Brandenburg 3. Congratulations to Helena,
she is always so professional.”
Suzan Aslin
“Loved the snare drum, Maxime. Loved the
rest of the performance too. Thank you.”
Kane Alchin
Let us know what you thought about this concert at [email protected].
A FOND FAREWELL TO ALICE EVANSAs someone who has had the pleasure of
playing violin alongside Alice Evans for
18 years, I am especially sad to be saying
goodbye to her at the end of the year.
Alice has been one of the longest serving
members of the ACO in its entire history —
an impressive 21 years — and has seen the
Orchestra grow into the wide-ranging
musical institution it is today. She has played
a vital part of that growth, touring the
world and performing to audiences all over
Australia.
Somehow, Alice managed to be super-mum
to her two wonderful children Edward and
Molly whilst juggling the heavy demands of
the ACO’s schedule, so she was very much a
role model for me when I was contemplating
motherhood.
On a personal note, I would very much like
to thank both Alice and Antony for their
friendship and especially for making me feel
so welcome when I fi rst arrived in Australia.
Alice’s dedication to the ACO will be
sorely missed. We thank her for her huge
contribution to the Orchestra and wish her
the very best as she embarks on the next
chapter of her life.
Helena Rathbone, ACO Principal Violin
Alice Evans
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WE DANCE TOA DIFFERENTTUNE.Event Emporiumorchestrates events like no other. From gala dinners and corporate parties to conferences and product launches, our repertoire is original, daring and different, inspiring audiences to engage, celebrate, applaud and delight.
Event Emporium. Making beautiful music with the ACO as official event partner.p: 02 9955 7107 | w: www.eventemporium.com.au
Pictured: ACO Gala Dinner Fundraiser, Out Of Africa
ACO BABY NEWSViolinist Mark Ingwersen is proud to present
the newest member of the ACO family.
Baby Freya Ruth Ingwersen was born on
1 September at the Mater Hospital, North
Sydney. She joins two doting siblings –
Annika, fi ve years old, and Leif, three.
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