REFLECTIONS ON GALLIPOLI

NATIONAL TOUR PARTNER

REFLECTIONS ON GALLIPOLI

NATIONAL TOUR PARTNER PRINCIPAL PARTNER

14 – 25 MAYCANBERRA, MELBOURNE,

NEWCASTLE, SYDNEY

GET TICKETS

ACO.COM.AU | 1800 444 444 #ACO15 @A_C_O

MENDELSSOHN Violin Concerto in E minor

MENDELSSOHN String Symphony No.9

BOTTESINI Gran Duo Concertante for

Double Bass and Violin

WOLF Italian Serenade

STEFAN JACKIW Violin

SATU VÄNSKÄ Lead Violin

MAXIME BIBEAU Double Bass

American violin virtuoso Stefan Jackiw

takes on Mendelssohn’s beautiful violin

concerto, in an intimate arrangement for

string orchestra.

Wa t c h Vivaldi’s Travelator a ty o u t u b e . c o m / v i r g i n a u s t r a l i a P r i n c i p a l P a r t n e r o f t h e

V I V A L D I

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Satu Vänskä, Principal Violin

1341_WESF - Arts Sponsorship Campaign 2014 - ACO_Program Ad_150x240mm_V2.indd 1 5/02/2015 10:36:03 AM

AUSTRALIAN CHAMBER ORCHESTRA 7


As one of the world’s leading oil and gas companies, Total appreciates that technical excellence, hard work, creativity and innovation are important drivers of success. When looking to form a flagship arts partnership in Australia, it was just these attributes that attracted Total to the Australian Chamber Orchestra and its unique and exceptional musical performances.

For the third year, Total will be a National Tour Partner of the ACO, supporting the Reflections on Gallipoli tour. With its proud French heritage, Total is especially pleased to support a performance commemorating the important battle of Gallipoli in World War I, a war where Australian and French soldiers often fought side by side.

Today, Australia is a key country for Total out of global operations which span 130 countries and include 100,000 employees. Here we are an active participant in Australia’s oil and gas industry, investing many billions as a major partner in two LNG projects currently under construction, and participating in both offshore and onshore exploration.

With Total committed to Australia long term, we hope to continue to make a positive contribution to Australia’s economy and to support exciting artistic endeavours like the ACO for as many as possible to experience. I very much hope you enjoy tonight’s performance.

David MendelsonManaging Director Total Exploration & Production Australia


8

ENGAGE WITH US

SOCIALLYWe’d love to hear from you – join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don’t forget the hashtag #ACO15.

@a_c_o facebook.com/AustralianChamberOrchestra @AustChamberOrchestra

LOOKWatch us Live in the Studio, go behind-the-scenes and find out more about our program on YouTube.

youtube.com/AustralianCO

LISTENTune in to an ACO Session on Spotify or hear concert tasters and playlists.

aco.com.au/Spotify

RADIOACO Concerts are regularly broadcast on ABC Classic FM. Andreas Scholl Sings Vivaldi Fri 3 Apr, 10pm

COMPETITION #MY4SEASONSThe changing seasons inspired Vivaldi to compose his most colourful work – The Four Seasons. To celebrate the ACO’s birthday and the Australian odyssey that is our production of this much-loved masterpiece, we’re offering you the chance to win a special Four Seasons prize pack. Visit aco.com.au/instacomp for the details.


MESSAGE FROM THE GENERAL MANAGER

After the exuberance of Vivaldi’s Four Seasons, which opened the Australian Chamber Orchestra’s year in February, it would be difficult to imagine a greater contrast to the profound contemplation of Reflections on Gallipoli.

This program has been taking shape in the ACO Studio over the last 12 months, with creative partners Neil Armfield, Nigel Jamieson, Carl Vine, Sean Bacon and Richard Tognetti developing the themes and ideas which will be unveiled in this series of performances around the country in the weeks leading up to the centenary of Anzac Day. We are especially grateful to the Australian War Memorial in Canberra for enabling us to project more than 150 historical images from the War Memorial’s immense collection, bringing striking actuality to the words and music you will hear on stage.

The ACO is always proud of its unique ability to perform throughout the year in all of the country’s major cities, but we are very much indebted to our National Tour Partner Total for making it possible to bring this historically and culturally significant program to audiences in Adelaide, Brisbane, Canberra, Melbourne, Perth and Sydney.

The Anzac theme continues in the ACO’s musical program in April. During the ACO’s 2015 US tour, the Orchestra has been invited by the Commonwealth Bank of Australia to perform a special private Anzac Day concert, co-hosted by the Australian Consul-General in New York, Nick Minchin. This special event takes place the night before the ACO’s Carnegie Hall concert on 26 April, which is the final concert of the tour. Our soloist throughout the tour is the brilliant Swedish clarinettist Martin Fröst and the repertoire includes the US premiere performances of Jonny Greenwood’s Water, which was written specially for Richard and the Orchestra.

Timothy Calnin General Manager

AUSTRALIAN CHAMBER ORCHESTRA10

ACO WHAT’S ON

EMERGING ARTISTS APPLICATIONS Applications close 5pm Friday 24 April

The ACO’s Emerging Artists’ Program provides talented young Australian string players with the opportunity to be mentored by members of the ACO. Applications are open to string players with extensive performance experience, who are aged 18–27 years.

aco.com.au/emerging_artists

USA TOUR 10–26 April 2015

The ACO heads back to the United States in April, joining up with much-loved collaborator Martin Fröst for an extensive tour – which features the US premiere of Jonny Greenwood’s Water – that will conclude with a performance at Carnegie Hall.

aco.com.au/international

MOSTLY MENDELSSOHN 14–25 May 2015

YouTube Symphony Orchestra sensation Stefan Jackiw takes the solo role in Mendelssohn’s beautiful violin concerto, in an intimate arrangement for string orchestra.

aco.com.au/mendelssohn

AROUND THE WORLD WITH BENJAMIN SCHMID & AcO2 14–29 May 2015

Embracing much-loved works in the string repertoire, Around the World takes the audience on a journey through America, Russia and Germany, culminating in a voyage from Salzburg to Barcelona, Paris and Maputo with Berger’s Metropoles Suite for Violin and Strings.

aco.com.au/aroundtheworld


Richard Tognetti Artistic Director & Violin

Neil Armfield Director

Nigel Jamieson Deviser

Taryn Fiebig Soprano

Yalin Ozucelik Actor

Nathaniel Dean Actor

Sean Bacon Video Designer

Matt Cox Lighting Designer

BARTÓK (arr. strings) String Quartet No.2: II. Allegro molto capriccioso

KELLY Elegy for strings ‘In Memoriam Rupert Brooke’

SARISÖZEN (arr. Meurant) Çanakkale Türküsü

VINE Soliloquy world premiere

TRADITIONAL (arr. Meurant) Ceddin Deden

ELGAR Sospiri, Op.70

INTERVAL

KODALLI Adagio for String Orchestra

MEHVEŞ HANIM (arr. Meurant) Kaçsam Bırakıp Senden Uzak Yollara Gitsem

TRADITIONAL (arr. Meurant) Nihavend Longa

VINE Our Sons world premiere

VAUGHAN WILLIAMS The Lark Ascending

Additional music by Carl Vine.

Reflections on Gallipoli is supported by Warwick & Ann Johnson Connie & Craig Kimberley

Approximate durations (minutes):

7 – 8 – 4 – 3 – 4 – 6 – INTERVAL – 7 – 5 – 2 – 13 – 16

The concert will last approximately two hours, including a 20-minute interval.

RE FLECTIONS ON GALLIPOLI

The ACO is providing audio description for the concert at the Sydney Opera House on Sunday 15 March. Audio description is a live, oral commentary of the visual elements of the concert, delivered to audience members who are blind or have a vision-impairment.


WHAT YOU ARE ABOUT TO HEAR . . .

Even though he wasn’t a musician himself, Mustafa Kemal, known as Atatürk (Father of the Turks), remains the towering figure in this concert of reflections on the Gallipoli campaign of 1915.

As a fearless Commander of the Turkish 19th Division, Atatürk himself served at Gallipoli in opposition to the initial Australian and New Zealand landing in April, and later commanded all Turkish forces in the combat zone between Chunuk Bair and Suvla Bay.

But it was after the War, and the 1923 Declaration of the Republic of Turkey, that Atatürk, as the founding President of the nation, made a remarkable contribution to the arts, which still resonates throughout the Turkish, English, Australian and Hungarian music in this multimedia concert.

Setting out to modernise Turkey, Atatürk believed that ‘A nation, when deprived of art and artists, cannot have a complete life’. To that end, he sponsored five composers (‘The Turkish Five’) to study composition with Béla Bartók, thus beginning a new tradition of Turkish composers assimilating European influences while creating music of a distinctly Turkish national character. And in works like the glorious Adagio by Paris-trained, Ankara-based Nevit Kodallı, he has broken down the musical distinction between East and West.

Atatürk couldn’t have chosen a better mentor for composers brought up with largely homophonic music typified by the patriotic songs Çanakkale Türküsü and Ceddin Deden. Bartók’s fascination with, and prodigious knowledge of, the traditional music of peoples of the so-called ‘Near East’ and North Africa – encountered first-hand during frequent folksong-collecting expeditions – informed his own music, including the wartime Second String Quartet.

LEFT: The bodies of dead Turks at Chessboard. Australian War Memorial P02649.027

MIDDLE: In the trenches. State Library of South Australia B45342/50

RIGHT: Turkish soldiers in a covered shelter at Kanle Sirt. Australian War Memorial A02599


LEFT: Graves in the Christian cemetery at Belemedick, Turkey. Australian War Memorial P01645.002

MIDDLE: Gallipoli Peninsula, Turkey, 22 May 1915. The Turkish envoy who brought the request, for an armistice to enable the Turks to bury their dead. Australian War Memorial G00988

RIGHT: Trench warfare at Gallipoli. State Library of South Australia B17738/7

For Australians of the Gallipoli generation, though, the artistic models were always English. Edward Elgar’s Sospiri and Ralph Vaughan Williams’ The Lark Ascending were both conceived in the shadows of the First World War. The lament Sospiri was premiered just 11 days after the War’s onset, while Vaughan Williams’ most popular work was drafted just before its composer saw active service in the Ambulance Corps on the Western Front, and was only completed post-War when its radiant innocence now sounded like a lament for a pastoral world destroyed by rampant militarism.

Meanwhile, for Australians, the First World War represented a defining moment in our cultural history, when, in the words of war historian CEW Bean, ‘the men went into it absolutely raw, most of them, and 24 hours later they were veterans.’ One of them was the composer Frederick Septimus Kelly, who, in transit to Gallipoli lost his best friend, the poet Rupert Brooke, to septicemia and began composing his Elegy immediately, on 23 April 1915, just two days before the landing.

The suffering that followed, with nearly 9,000 Australian deaths, remains raw to this day, but Atatürk’s words in 1934 provided both comfort to the bereaved, and also the text for Carl Vine’s new ACO commission, Our Sons:

After having lost their lives on this land they have become our sons as well.

As Richard Tognetti has said, ‘Even if it were only a celebration of Atatürk, Reflections on Gallipoli would still be a worthy concert.’

But with its staging by Nigel Jamieson and Neil Armfield, with incidental music by Carl Vine, and with its overriding theme of reconciliation, Reflections on Gallipoli is so much more than that.

Martin Buzacott © 2015

“AFTER HAVING LOST THEIR LIVES ON THIS LAND THEY HAVE BECOME OUR SONS AS WELL .” MUSTAFA KEMAL ATATÜRK


BÉLA BARTÓKBorn Nagyszentmiklós, Hungary 1881. Died New York 1945.

String Quartet No.2

(Composed 1915–17)

II: Allegro molto capriccioso

Like Vaughan Williams in England, Béla Bartók was an inveterate folksong collector who spent much of the pre-War years ‘in the field’, recording and cataloguing the music not just of his native Hungary, but also of Bulgaria, Transylvania and even North Africa. But unlike his English counterpart, Bartók’s folksong-collecting activities were actually boosted rather than curtailed by the First World War.

Deemed unfit for service, he and his composer-colleague Zoltán Kodály were engaged by the Hungarian government to tour the military camps to collect the folk music of the soldiers, and it was while engaged in this activity that Bartók set to work on his wartime String Quartet No.2. It was to become a veritable mélange of ethnomusicological influences, perhaps the most significant of which was not Hungarian, but the music of the Arab world.

Bartók’s fascination with Levantine music was career-long, his first research visit to the region occurring when he toured the Biskra province of present-day Algeria in 1913 and continuing right through until his attendance at the Cairo Conference of Arab Folk Music in 1932. His understanding and assimilation of the vastly different modes and scales of this music from the Arabic and African people shaped his

PICTURED: Béla Bartók, 1915

ABOUT THE MUSIC


own style as a composer, placing so much of his music not just outside the major-minor scales of the Western tradition, but also into a sound world that bore little relationship with that of the Second Viennese School either. He thus became, perhaps, the first ‘world musician’ among Western classical composers.

And the evidence is there in the second (middle) movement of his Second String Quartet. Bartók himself described the Quartet as containing ‘life episodes’ of which the first movement represents ‘peaceful life’ and the third ‘suffering’. But for the middle movement, he chose the theme of ‘barbarism’ – how could he not, given the circumstances surrounding its composition! In it, the polyglot musical influences are obvious, the distinctive Hungarian rhythms of course, but also the melodic and harmonic twists of North Africa.

Bartók called this second movement ‘a kind of rondo, with a developmental section in the middle’, but there the Western terminology reaches its limit. Listen to the scurrying main theme, for instance, where the final phrases of each musical line inevitably twist into the more fluid melodic patterns of North African modes (in particular, musicologists have likened it to Berber music). Its frantic pace is unrelenting, a couple of ‘tranquillo’ moments notwithstanding, and just for good measure at the end, it demands a prestissimo tempo played pianissimo with mutes – a technical challenge that elite musicians of any nationality might fear!

FREDERICK SEPTIMUS KELLYBorn Sydney 1881. Died Beaucourt-sur-Ancre 1916.

Elegy for strings ‘In Memoriam Rupert Brooke’

(Composed 1915)

Frederick Septimus Kelly was born in Sydney, Australia, into a well-to-do family, but moved to England when he was just 12. A natural sportsman, and especially oarsman, he won a Gold Medal for England in rowing at the 1908 London Olympics. Along with his close friends, the poet Rupert Brooke and the critic and composer William Denis Browne, at the outbreak of the War he enlisted in the Royal Naval Volunteer Reserve which soon led to active service in the Royal Naval Division. Adapting well to military service, Kelly was destined to win the DSC (Distinguished Service Cross) ‘for conspicuous gallantry’ and was promoted to the rank of Lieutenant-Commander.

On 20 April 1915, the three friends Kelly, Brooke and Browne set out for Gallipoli, aboard the SS Grantully Castle.


But before reaching their destination, off the Greek Island of Skyros, it became apparent that 27-year-old Brooke was gravely ill with septicemia, caused by complications from a mosquito bite. Described by WB Yeats as ‘the handsomest young man in England’, Brooke died on board a French hospital ship on 23 April. How significant his most famous lines then seemed:

If I should die, think only this of me; That there’s some corner of a foreign field That is forever England.

That foreign field took the form of a rocky outcrop on Skyros, his close friends Browne and Frederick Septimus Kelly remaining behind after the formal burial to cover the grave with stones and to pay their own private, silent farewells, Kelly later writing in his diary:

‘The body lies looking down the valley towards the harbour and, from behind, an olive tree bends itself over the grave as though sheltering it from the sun and rain. No more fitting resting place for a poet could be found than this small grove, and it seems as though the gods had jealously snatched him away to enrich this scented island.’

Devastated by Brooke’s loss, Kelly immediately began to sketch his Elegy, ‘In Memoriam Rupert Brooke’, continuing to work on it while at Gallipoli itself and also when recuperating in hospital at Alexandria in Egypt, after being wounded twice in combat.

The modal tinges of the music refer not just to the Greek location of the grave, but also to Brooke’s own fascination with classicism, while the oscillating passagework from the violins suggests the wind rustling through the leaves of the olive tree bending over the grave.

Kelly eventually survived Gallipoli and in fact was one of the last officers to leave during the Evacuation of December 1915, but the following year he was killed in action during the final days of the Battle of the Somme.

PICTURED: Frederick Septimus Kelly


ÇANAKKALE TÜRKÜSÜ Muzaffer Sarısözen

CEDDIN DEDEN Traditional

KAÇSAM BIRAKIP SENDEN UZAK YOLLARA GITSEM Mehveș Hanım

NIHAVEND LONGA Traditional

Arranged by Cyrus Meurant

Traditional and folk music played a vital role on both sides of the Gallipoli campaign, the soldiers in the trenches often going into battle after patriotic songs had reignited faltering courage, or falling into fitful sleep with the sound of the opposition’s traditional laments wafting into their ears.

For the Turkish troops, Çanakkale Türküsü became particularly associated with the Gallipoli campaign, its refrain of ‘Oh, my youth, alas’ resonating with the experience of all those young soldiers marching off into battle. The town of Çanakkale itself is a seaport on the southern coast of the Dardenelles and like Istanbul it straddles two continents. Shrouded in classical legends, it’s where the love-story of Hero and Leander is said to have played out, and it’s also near Troy. But for Turkey itself, the entire Gallipoli campaign was known as the Battle of Çanakkale, and the song expresses the horror of the dying and wounded and those they left behind, ending with a lament for the ‘brave lions’ now resting beneath the willows.

Ceddin Deden (Your ancestors, your grandfathers) is a patriotic Turkish song celebrating the military heroes of the nation and the current Turkish forces who are ‘renowned all over the world’. With its references to the Ottoman conquest of Constantinople in 1453 and usually played by immaculately-dressed military bands, it was sung by the Turkish troops to fire themselves up before, and even during, battle on Gallipoli. Its raw and stirring emotion is palpable, its simple rhythm and homophonic refrain suitable for chanting by troops as they confront the enemy in combat.

Kaçsam Bırakıp Senden Uzak Yollara Gitsem (If I left you and ran away on far away roads) is a beautiful lament, much favoured by contemporary Turkish popular singers. Centred on the immortal themes of love and loss, its lovely melody has a universal appeal – some have even commented that it has a Russian flavour!

The ‘makham nihavent’ is the Turkish equivalent of the Western minor-key scale, an East-West musical form if ever there was one, its hybrid character having emerged in Thrace which is in the European part of Turkey bordering Bulgaria and Greece. Much-loved by oud players, but also popular in countless other instrumental arrangements, Nihavend Longa is a fast instrumental dance in 2/4 time.


PICTURED: Edward Elgar

EDWARD ELGARBorn Broadheath 1857. Died Worcester 1934.

Sospiri, Op.70

(Composed 1913–14)

No one expected the First World War to happen (hence the title of Christopher Clark’s definitive history, ‘The Sleepwalkers’) but in hindsight, the instincts of composers seem eerie. Gustav Holst’s ‘Mars’ from The Planets, written in the pre-War summer of 1914, seems in retrospect to be militarism captured in music. George Butterworth seemed prescient too in his choice of an AE Housman poem to set to music in 1913, for he himself would become one of those described therein:

And then one could talk with them friendly and wish them farewell And watch them depart on the way that they will not return … They carry back bright to the coiner the mintage of man, The lads that will die in their glory and never be old.

But in his miniature tone poem Sospiri, Op.70, Elgar too seemed to have a premonition that something unprecedented was about to happen.

Originally conceived under the working title Soupir d’Amour (Sigh of Love), it was intended as a kind of sentimental companion-piece to his earliest ‘hit’, Salut d’Amour, scored for just violin and piano and serving the needs of amateur salon-musicians throughout the Continent. But as he worked on it during the first part of 1914, a deeper, more intense mood began to take over, in excess of Elgar’s trademark nostalgia and wistfulness.

In acknowledgment of its deepening substance, he changed his title from French to Italian, retaining the concept of a musical ‘sigh’ but now calling it Sospiri and turning it into a work for string orchestra with harp and organ.


Slow throughout, and deeply melancholy in its mood, it became the first work by a significant composer to be premiered following the declaration of War, its first performance in London’s Queens Hall occurring just 11 days after the fateful announcement of 4 August. Its dedicatee WH (Billy) Reed was soloist with Sir Henry Wood conducting, while already, outside, the recruiting offices were in overdrive, Sospiri ’s subdued, elegiac mood matching that of a British community about to experience a 90% casualty rate among its first 100,000 soldiers deployed to the War.

Later in the War, Elgar wrote to a friend: ‘Everything good & nice & clean & fresh & sweet is far away – never to return.’ Sospiri was the first inkling of that feeling, making it a small but significant transition-point between the gentle regret in the pre-War Violin Concerto and the flagrant sense of loss in the post-War Cello Concerto.

NEVIT KODALLIBorn Mersin 1924. Died Mersin 2009.

Adagio for String Orchestra

(Composed 1966)

When Nevit Kodallı died from a heart attack in 2009, the 85 year-old was mourned not just in his native Turkey where he was revered as one of the most important inheritors of the legacy of the ‘Turkish Five’, but also in Paris where he’d trained as a student of Honegger and Nadia Boulanger. Having spent much of his career teaching at the Ankara State Conservatory, his catalogue of works reflects his bi-cultural identity, his Atatürk Oratorio and Republic Cantata being among the 20th century’s most important Turkish works, while his opera Van Gogh and much of his orchestral and chamber music, including his Adagio for String Orchestra, take their rightful place squarely in the grand Western tradition.

Subdued and profound, occasionally tinged with dissonance but with a soaring melodic line nonetheless, the Adagio is a brief, exquisite lament. Like similarly titled works by his Hungarian near-namesake Zoltán Kodály and also Samuel Barber, Kodallı’s Adagio reflects the sense of grief and loss of all who have suffered in war and all who mourn the 20th century’s passing parade of generations thrust unavoidably into conflict. Its striking middle section comes like a momentary cry of anguish, before settling back into its prevailing mood of quiet and dignified regret, its haunting and beautiful conclusion tapering off into the nothingness of oblivion.


CARL VINE Born Perth 1954.

Our Sons

Soliloquy

(Composed 2015)

PICTURED: Carl Vine

Photo by Keith SaundersThe leading Australian composer of his generation, Carl Vine’s symphonies, concertos and chamber music have achieved international acclaim. But it was as a composer of prodigiously imaginative scores for dance that he first made his name in the late 1970s. He is Artistic Director of Musica Viva Australia and the Huntington Estate Music Festival and now lectures in composition at the Sydney Conservatorium of Music. Of Our Sons, he writes:

‘There is no good in any war, but the ground attack by Britain and its allies against the Ottoman Empire at Gallipoli in April 1915, causing the death of 8,709 Australians and 2,721 New Zealanders, achieved a new level of grotesque pointlessness in warfare.

‘The meek compliance of Australia’s colonial high command to the often ill-advised commands of their British superiors ensured the demise of every second troop they sent to the battlefield. It is hard to generate pride in Australia’s contribution to this horrific military failure.

‘Mustafa Kemal Atatürk was a Lieutenant defending his homeland against the Anzacs invading the Dardanelles, and troops under his direct command must have killed hundreds of my countrymen. After the war he quickly rose to political prominence, and was bestowed his unique surname (“Father of the Turks”) by the parliament of the new Turkish nation that he helped forge and over which he presided. His epitaph on the Turkish Memorial at ANZAC Cove, Gallipoli, is addressed directly to the mothers of the fallen Anzacs, and resonates with a level of compassion and generosity that should shame the allied commanders whom he defeated in battle.

‘It ends with the words: “After having lost their lives on this land they have become our sons as well”. The voice in my setting


of this text embodies the spirit of bereaved Anzac mothers, trying to make sense of their atrocious loss, seeking solace in the thoughtful words of one of those responsible for the killing. But no number of words can raise the dead, no amount of kindness can heal their wounds, and there is never redemption in bloodshed. When the war is over there is little left but loss.’

Carl Vine, January 2015

Those heroes who shed their blood and lost their lives … you are now lying in the soil of a friendly country. Therefore rest in peace. There is no difference between the Johnnies and Mehmets to us where they lie side by side here in this country of ours … You, the mothers, who sent their sons from far away countries wipe away your tears. Your sons are now lying in our bosom and are in peace. After having lost their lives on this land they have become our sons as well.

Mustafa Kemal Atatürk (1881–1938)

Of Soliloquy, Carl Vine writes:

‘Soliloquy was written in direct response to the horrific narratives from Anzac troops in the frontline trenches at Gallipoli, compiled for this concert. It reflects in turn the personal horror, disbelief, anguish and anger evoked by such stark depictions of pointless human suffering, inflicted by countries who consider themselves civilised, upon their own citizens. Words fail me.’

RALPH VAUGHAN WILLIAMSBorn Down Ampney 1872. Died London 1958.

The Lark Ascending

(Composed 1914, revised 1920)

The European summer of 1914 was the most beautiful in living memory, the Continent bathed in sunshine and warmth, the Belle Epoque at its height, unprecedented wealth and prosperity.

PICTURED: Inscription on the Turkish Memorial at ANZAC Cove, Gallipoli (1934)


The Lark Ascending, composed by Vaughan Williams in 1914, captured the spirit of the times. A rhapsody for violin and orchestra conceived while the composer was visiting the pretty Tillingbourne Valley in Surrey, it’s based on a poem by George Meredith:

He rises and begins to sound, He drops the silver chain of sound, Of many links without a break, In chirrup, whistle, slur and shake … And ever winging up and up, Our valley is his golden cup And he the wine which overflows To lift us with him as he goes

Up and up, the ascent heavenwards, the cup of wine in hand. How quickly this pastoral vision of freedom and careless consumption was to be reversed, and what a different world it would be by the time Vaughan Williams came to revise The Lark Ascending for its eventual premiere in 1920!

Along with his younger colleague George Butterworth and the musicologist Cecil Sharp, Vaughan Williams had spent much of that idyllic early summer of 1914 in the English countryside collecting folksongs, its influence plainly heard in the pentatonic character of much of The Lark Ascending’s musical content.

But then at the end of June that year, on the fringes of the Continent, two shots rang out, and Europe was plunged into cataclysm. Within weeks of the assassination of Archduke Franz Ferdinand in Sarajevo, events escalated into a War that was unprecedented in its scale and ferocity.

The halcyon days captured within The Lark Ascending were over forever, and the manuscript, now in first draft form, was set aside as Vaughan Williams, like so many other British composers, enlisted and went to France, in his case serving as a wagon-orderly transporting the dead and dying from the Front in the bloodbath surroundings of Vimy Ridge.

When he returned from the War and revised The Lark Ascending, the creative mood of both Vaughan Williams himself, and of course the European world at large, was now unrecognisable from the one in which the ecstatic roulades of the work’s solo violin part had captured the prevailing zeitgeist. Now, at its premiere by Marie Hall, accompanied only by piano, in late 1920, and then six months later in its now-standard orchestral version, it was heard not as a vision of innocence and elation, but as a lament for all that had been lost in the war to end all wars.

Martin Buzacott © 2015


LEFT: A Turkish officer, Major Kemal Ohri, being led blindfolded on a horse after the Turkish counter attack of 19 May 1915, to negotiate an armistice. Australian War Memorial A00836

RIGHT: A trench at Lone Pine after the battle, showing Australian and Turkish dead on the parapet. Australian War Memorial A02025

Actual quotes from those in the trenches at Gallipoli

‘We regarded them as a fair enemy. I had no ill-feelings about them. None of us had. We were fighting them but there was no hate about it, not with any of us.’

Basil Holmes (Captain, 17th Battalion, 5th Brigade, 2nd Division, AIF)

‘When the Armistice was on, I guarantee if there was a pub there we would have been drinking with them.’

Frank Parker (52nd Infantry, 5th Infantry Battalion, D Company)

FAIR ENEMIES

‘We used to throw tins of bully beef over to them … and they threw us Turkish cigarettes which we very much appreciated, and things got very friendly … We considered the Turkish soldier a very brave man and a brave fighter.’

Harry Benson (5th AIF Ambulance)

‘Those who sacrificed themselves for the fate of their countries were admired by each other for their heroic and humanitarian action on both sides.’

Rustu Erdelhun (General, 2nd Army Turkish Land Forces, Caucasus Front)

‘They respected the Australian soldier. They never committed any atrocity or anything like that … And that’s how Johnny Turk happened to be christened Johnny Turk: it’s more a compliment than anything else in saying it that way.’

Jack Nicholson (1st Infantry Battalion)

[Excerpted from Anzac Stories, CD available on ABC Classics, 2 April. Interviews drawn from ABC Audio Archives.]

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RICHARD TOGNETTI– DIRECTOR & VIOLIN

Photo by Jack Saltmiras

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

2015 marks the 25th year of Richard Tognetti’s artistic directorship of the Australian Chamber Orchestra. Born and raised in Wollongong NSW, Richard has established an international reputation for his compelling performances and artistic individualism.

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

Richard performs on period, modern and electric instruments and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras.

Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes; and created The Red Tree, inspired by Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica. Most recently, he provided additional music for The Water Diviner, Russell Crowe’s directorial debut.

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

He has given more than 2500 performances with the Australian Chamber Orchestra.

SELECT DISCOGRAPHY

AS SOLOIST:

BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679

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

BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner

BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three Bach releases available as a 5CD Box set: ABC Classics 476 6168)

VIVALDI The Four Seasons BIS SACD-2103

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

AS DIRECTOR:

GRIEG Music for String Orchestra BIS SACD-1877

Pipe Dreams Sharon Bezaly, Flute BIS CD-1789

All available from aco.com.au/shop


Photo by Heidrun Löhr

Neil Armfield is a leading Australian director of theatre, opera and film. He was co-founder of Sydney’s Belvoir Theatre and its Artistic Director for 17 years, during which time he directed over 50 productions, with a particular focus on new and Indigenous writing, the plays of Shakespeare and Jonson, Chekhov and Gogol, Patrick White and David Hare. Notable productions include Cloudstreet (toured to London twice, Dublin, Zurich, New York), Hamlet (toured Australia starring Richard Roxburgh), Diary of a Madman (with Geoffrey Rush, toured to Moscow, St Petersburg, New York), Exit the King (Sydney and Broadway, winning Geoffrey Rush a Tony), The Book of Everything (toured to New York), The Judas Kiss (toured Australia starring Bille Brown in 1999 and in 2012 with Rupert Everett) and The Secret River, adapted for theatre by Andrew Bovell.

Neil has directed for English National Opera, Royal Opera House Covent Garden, Chicago Lyric Opera, Zurich Opera, Bregenz Festival, and regularly with Opera Australia, Canadian Opera, Welsh National Opera, and Houston Grand Opera. He has directed new operas Frankie and The Eighth Wonder by Alan John, Love Burns by Graeme Koehne and Bliss by Brett Dean, as well as operas by such composers as Mozart, Strauss, Janáček and Britten. Last year he directed Wagner’s Ring Cycle in Melbourne and Tristan und Isolde in Washington.

Neil directed the multi award-winning television miniseries Eden’s Lost for the ABC in 1988, and The Fisherman’s Wake and Coral Island, both for the ABC in 1996 and both winners of many awards. In 2005 he directed and co-wrote the feature film Candy, starring Heath Ledger and Abbie Cornish, which screened in competition at the Berlinale, and played 20 other international festivals. He won Best Adapted Screenplay at the AFI Awards and an AWGIE for Best Screenplay. Neil is in pre-production on his second feature film Holding the Man.

Neil has won two AFI Awards, eight Helpmann Awards, and numerous Sydney Theatre, Victorian Green Room and Sydney Theatre Critics Circle Awards. He has Honorary Doctorates from Sydney and NSW Universities, and in 2007 was appointed Officer of the Order of Australia.

NEIL ARMFIELD – DIRECTOR


NIGEL JAMIESON – DEVISER

Photo by Sangye Christianson

Nigel began his career in London, where he directed Trickster Theatre Company, worked at the Royal National Theatre, and was founder and of The London International Workshop Festival and the London Festival of New Circus. He was awarded a Greater London Arts Award for his outstanding contribution to London Arts.

Subsequently moving to Sydney, he created a series of large scale works including Tin Symphony for the Sydney Olympic Opening Ceremony, the ABC Millennium Broadcast, the Closing Ceremony of the Manchester Commonwealth Games, the historic Yeperenye Federation Festival, the opening of the 2007 European City of Culture, Angkor Wat, Sydney Festival First Night, which received a Helpmann Award for Best Australian Special Event and Clusters of Light about the Prophet Mohammed.

His theatre work tours the world extensively. It has included multi award-winning shows such as his Indonesian collaboration Theft of Sita, All of Me and Honour Bound about David Hicks and Guantanamo, which was winner of the 2007 Sydney Theatre Award for Best Australian Main Stage Work. Other works he has written and directed include Gallipoli for the Sydney Theatre Company, and In Our Name about the plight of asylum seekers in Australian Detention.

Acclaimed opera productions have included Brundibar, Dead Man Walking and La fanciualla del West, for which he received the Helpmann for Best Direction of an Opera. His epic aerial production As The World Tipped is embarking on its fourth year of International touring, while his Arena Production of How To Train Your Dragon, for Dreamworks played to over 750,000 and recently completed a Beijing season.

He is currently directing the opening and closing ceremonies for the 2015 Pacific Games and a new aerial work in the UK. He was awarded a Federation Medal for his contribution to Australian Theatre and the 2007 Sidney Myer Award.


Photo by Heidrun Löhr

Sean Bacon studied video and visual arts, graduating with Honours in 1998. He worked with the French dance company Experience Harmaat (2000–02), and their collaboration Nobody Nevermind opened the performance section of the prestigious Venice Bienniale (2001). In 2005 he was awarded a three-month residency at the Australia Council’s Green Street Studios in New York. Sean has been a Company Artist for version 1.0 since 2005. In 2010 Sean worked as the video artist on the Sydney Theatre Award nominated seven kilometres north-east, which toured to Sarajevo in April 2011. Sean worked as the video designer for Belvoir’s production of Measure for Measure directed by Benedict Andrews, for which he won a Sydney Theatre Award for Stage Design in 2010. With Andrews he also worked as the video designer for the English National Opera/Young Vic’s production Return of Ulysses in London 2011. In 2012 Sean worked on Sydney Theatre Company’s Pygmalion, and Sydney Festival/ Urban Theatre Projects/ Belvoir’s Buried City, version 1.0/ATYP’s production The Tender Age and version 1.0/Belvoir/Ilbeijerri’s co-production Beautiful One Day as well as Q Theatre’s Truck Stop for which he won a Sydney Theatre Award for Stage Design 2012. In 2014, he worked on the STC’s production of The Maids at New York’s Lincoln Theatre Festival.

SEAN BACON – VIDEO DESIGNER

Photo by Marie Maitt

Matt’s career in theatre has spanned 15 years designing lighting in both Australia and the UK. During his time in London, Matt worked with student directors attending the Royal Academy of Dramatic Art, the Edinburgh Fringe Festival and John Stahl’s solo show Blindman. Since returning to Sydney he has designed numerous theatre productions including Blak, Belong (Bangarra Dance Theatre), Romeo and Juliet (Bell Shakespeare), Ruby Moon (Sydney Theatre Company), The Mousetrap, A Murder is Announced (Louise Withers and Associates), The Seed (Company B), Symphony (Legs on the Wall), The Libertine, Othello (Sport for Jove), The Famous Spiegeltent, The Aurora Spiegeltent (Sydney Festival) and His Music Burns (Sydney Chamber Opera).

Matt currently tutors for the National Institute of Dramatic Art (NIDA).

MATT COX – LIGHTING DESIGNER


Photo by Sally Flegg

Yalin Ozucelik graduated from NIDA in 2007. Most recently, Yalin played Le Bret in Cyrano de Bergerac for Sydney Theatre Company for which he received a Sydney Theatre nomination. He also played the title role in Sport For Jove’s outdoor production of Cyrano de Bergerac, receiving the Sydney Theatre Award for Best Actor in a Leading Role (Independent Production) 2014. Other recent theatre includes The Importance of Being Earnest for State Theatre Company of South Australia, Vere/Faith (STCSA/STC), This Is Where We Live (Just Visiting/Griffin Independent), Henry IV and King Lear (Bell Shakespeare), A Beautiful Life (Matrix/La Boite). He played Gabriel in Brink’s acclaimed, multi-award winning production of When The Rain Stops Falling and in 2012 he toured Europe in Gross Und Klein for STC. Yalin recently filmed across two television series, Deadline Gallipoli (Matchbox Pictures) and Gallipoli (Endemol Australia) which will air in Australia this year.

YALIN OZUCELIK – ACTOR

Photo by Simon Lekias

Nathaniel has worked extensively in film, theatre and television. His first film role after graduating from NIDA in 1999 was in Tony Ayres’ Walking on Water for which he received the Australian Film Institute (AFI) Award in 2002 for Best Actor in a Supporting Role. In 2004 Nathaniel was again nominated for an AFI Award for his role in Cate Shortland’s Somersault. His other film credits include roles in Neil Armfield’s Candy, as well as The Rage in Placid Lake and The Final Winter. Nathaniel’s roles in theatre include The Effect (MTC), A Streetcar Named Desire (Black Swan Theatre Company), The One Day of the Year and The Secret River (STC) directed by Neil Armfield, for which he received a Helpmann Award nomination for Best Actor for his portrayal of William Thornhill. Included in Nathaniel’s numerous television credits are Anzac Girls, Puberty Blues, Parer’s War, Old School, Bikie Wars, Wild Boys, Underbelly, East West 101, All Saints, City Homicide, Killing Time, Satisfaction and Always Greener.

NATHANIEL DEAN – ACTOR


Photo by Steven Godbee

Helpmann Award-winning soprano Taryn Fiebig is one of Australia’s most popular and versatile artists.

Her many roles as a principal soprano with Opera Australia have included Susanna in Le nozze di Figaro, Galatea in Acis and Galatea, Musetta in La bohème, Zerlina in Don Giovanni, Pamina in Die Zauberflöte, The Woodbird (Der Ring des Nibelungen) and many others. In 2008/09, she sang the leading role of Eliza Doolittle in the national tour of My Fair Lady.

Taryn won a Helpmann Award for her portrayal of Lucy in Bliss (which she sang in Sydney, Melbourne and at the Edinburgh Festival).

She sang Esmeralda in The Bartered Bride for New Zealand Opera and is a regular soloist with the Sydney and Queensland Symphony Orchestras.

Taryn returns to Opera Australia in 2015 as Pamina, Zerlina and Susanna (in a new production of Le nozze di Figaro). She will also appear as soloist with the Adelaide Symphony and the Australian Haydn Ensemble.

TARYN FIEBIG – SOPRANO

Treloar Crescent McCoy Circuit Campbell ACT 2612 Acton ACT 2601 T: 02 6243 4211 T: 02 6248 2000 E: [email protected] E: [email protected]

The Australian Chamber Orchestra thanks both the Australian War Memorial and the National Film and Sound Archive of Australia for their assistance with Reflections on Gallipoli and access to a selection of their still and moving images.

WITH THANKS

The ACO would like to thank and acknowledge those whose first hand testimonies have contributed to Reflections on Gallipoli, including Albert Facey, Tom Usher, Alec Gilpin, Peter Jackson, Charles Bean, Joe Murray, Aubrey Herbert and Tony Fagan.

We would also like to acknowledge the poets, including Akif Ersoy (‘Çanakkale Şehitlerine’) and M.R. as attributed in The Anzac Book, a 1916 ‘trench publication’ by Gallipoli troops (‘Now the Snowflakes Thickly Falling’).


AUSTRALIAN CHAMBER ORCHESTRA

This year marks the 40th anniversary of the Australian Chamber Orchestra. From its first concert in November 1975 to its first concert of 2015, the Orchestra has travelled a remarkable road.

Inspiring programming, 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 by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 20 players (three part-time), giving more than 100 performances in Australia each year, as well as touring internationally.

The Orchestra performs around the world: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper.

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

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

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

Richard Tognetti Artistic Director & Leader

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Glenn Christensen Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Liisa Pallandi 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

Caroline Henbest Viola

Daniel Yeadon Cello

“IF THERE’S A BETTER CHAMBER ORCHESTRA IN THE WORLD TODAY, I HAVEN’T HEARD IT.” THE GUARDIAN (UK)


MUSICIANS ON STAGE

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

Satu Vänskä 2 Principal ViolinChair sponsored by Kay Bryan

Aiko Goto ViolinChair sponsored by Anthony & Sharon Lee Foundation

Ike See 4 Violin

Liisa Pallandi Violin

Mark Ingwersen 3 ViolinChair sponsored by Ian Wallace & Kay Freedman

Alexandru-Mihai Bota ViolaChair sponsored by Philip Bacon am

Nicole Divall ViolaChair sponsored by Ian Lansdown

Timo-Veikko Valve Cello Chair sponsored by Peter Weiss ao


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

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

3. Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund.

4. Ike See plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

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

Photos: Jack Saltmiras

Julian Thompson 5 CelloChair sponsored by The Clayton Family

Maxime Bibeau Principal BassChair sponsored by Darin Cooper Foundation

Melissa Barnard CelloChair sponsored by Martin Dickson am & Susie Dickson

Players dressed by AKIRA ISOGAWA

Madeleine Boud Violin

Katherine Lukey Violin

Alexandra Osborne ViolinCourtesy of National Symphony Orchestra, Washington DC

Susanne von Gutzeit ViolinCourtesy of Stuttgart Chamber Orchestra

Amanda Verner ViolaCourtesy of Sydney Symphony Orchestra

Sally Walker Flute / PiccoloCourtesy of The Conservatorium, University of Newcastle

Dmitry Malkin Oboe / Zurna Courtesy of Jerusalem Symphony Orchestra

Christopher Tingay Clarinet Courtesy of Sydney Symphony Orchestra

Andrew Barnes Bassoon Courtesy of Sydney Conservatorium of Music, University of Sydney

Luiz Garcia HornCourtesy of Brazilian Symphony Orchestra

Brian Nixon Percussion Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert

Julie Raines Harp


ACO BEHIND THE SCENES

BOARD

Guido Belgiorno-Nettis am Chairman

Angus James Deputy

Bill Best John Borghetti Liz Cacciottolo Chris Froggatt John Grill ao Heather Ridout ao Andrew Stevens John Taberner Peter Yates am Simon Yeo

Richard Tognetti ao Artistic Director

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Timothy Calnin General Manager

Jessica Block Deputy General Manager

Alexandra Cameron-Fraser Strategic Development Manager

Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti ao

ARTISTIC & OPERATIONS

Luke Shaw Head of Operations & Artistic Planning

Andreea Butucariu Artistic Administrator

Megan Russell Tour Manager

Lisa Mullineux Assistant Tour Manager

Danielle Asciak Travel Coordinator

Bernard Rofe Librarian

Cyrus Meurant Assistant Librarian

Bob Scott Sound Engineer

Felix Abrahams Sound Assistant

Joy Pereira Stage Manager

Louis Thorn Projection Assistant

EDUCATION

Phillippa Martin AcO2 & ACO VIRTUAL Manager

Vicki Norton Education Manager

Sarah Conolan Education Coordinator

FINANCE

Maria Pastroudis Chief Financial Officer

Steve Davidson Corporate Services Manager

Yvonne Morton Accountant

Shyleja Paul Assistant Accountant

DEVELOPMENT

Rebecca Noonan Development Manager

Jill Colvin Philanthropy Manager

Penelope Loane Investor Relations Manager

Tom Tansey Events Manager

Tom Carrig Senior Development Executive

Ali Brosnan Patrons Manager

Sally Crawford Development Coordinator

MARKETING

Derek Gilchrist Marketing Manager

Mary Stielow National Publicist

Hilary Shrubb Publications Editor

Neall Kriete Communications Coordinator

Leo Messias Marketing Coordinator

Chris Griffith Box Office Manager

Dean Watson Customer Relations Manager

Deyel Dalziel-Charlier Box Office & CRM Database Assistant

Christina Holland Office Administrator

INFORMATION SYSTEMS

Ken McSwain Systems & Technology Manager

Emmanuel Espinas Network Infrastructure Engineer

ARCHIVES

John Harper Archivist

AUSTRALIAN CHAMBER ORCHESTRA

ABN 45 001 335 182 Australian 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 Box Office 1800 444 444 Email [email protected] Web aco.com.au


VENUE SUPPORT

SYDNEY OPERA HOUSE

Bennelong Point,

GPO Box 4274, Sydney NSW 2001

Telephone (02) 9250 7111

Box Office 02 9250 7777

Email

[email protected]

Web sydneyoperahouse.com

The Hon. Helen Coonan

Acting Chair,

Sydney Opera House Trust

Louise Herron am

Chief Executive Officer

ARTS CENTRE MELBOURNE

PO Box 7585, St Kilda Road,

Melbourne VIC 8004

Telephone (03) 9281 8000

Box Office 1300 182 183

Web artscentremelbourne.com.au

Tom Harley President

Victorian Arts Centre Trust

Claire Spencer

Chief Executive Officer

QUEENSLAND PERFORMING ARTS

CENTRE

Cultural Precinct,

Cnr Grey & Melbourne Street,

South Bank QLD 4101

PO Box 3567,

South Bank QLD 4101

Telephone (07) 3840 7444

Box Office 131 246

Web qpac.com.au

Christopher Freeman am Chair

John Kotzas Chief Executive

ADELAIDE TOWN HALL

128 King William Street,

Adelaide SA 5000

GPO Box 2252, Adelaide SA 5001

Venue Hire Information

Telephone 08 8203 7590

Email

[email protected]

Web adelaidetownhall.com.au

Martin Haese Lord Mayor

Peter Smith Chief Executive Officer

AUSTRALIAN NATIONAL

UNIVERSITY

Llewellyn Hall School of Music

William Herbert Place

(off Childers Street)

Acton, Canberra

VENUE HIRE INFORMATION

Telephone (02) 6125 2527

Email [email protected]

PERTH CONCERT HALL

5 St Georges Terrace,

Perth WA 6000

PO Box 3041,

East Perth WA 6892

Telephone 08 9231 9900

Web perthconcerthall.com.au

Brendon Ellmer General Manager

CITY RECITAL HALL ANGEL PLACE

A City of Sydney Venue

2–12 Angel Place, Sydney NSW 2000

GPO Box 3339, Sydney NSW 2001

Telephone (02) 9231 9000

Box Office (02) 8256 2222

Web cityrecitalhall.com

Anne-Marie Heath General Manager

City Recital Hall Angel Place

is managed by Pegasus Venue

Management (AP) Pty Ltd


Tour presented by

Sat 14, 8pm – Canberra Llewellyn Hall Pre-concert talk by Ken Healey am

Sun 15, 2pm – Sydney Opera House Pre-concert talk by Ken Healey am

Mon 16, 8pm – Melbourne Arts Centre Pre-concert talk by John Weretka

Tue 17, 8pm – Adelaide Town Hall Pre-concert talk by Vincent Plush

Wed 18, 8pm – Perth Concert Hall Pre-concert talk by Claire Stokes

Sat 21, 7pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am

Sun 22, 2.30pm – Melbourne Arts Centre Pre-concert talk by John Weretka

Mon 23, 8pm – Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills

Tue 24, 8pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am

Wed 25, 7pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am

Fri 27, 1.30pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am

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

TOUR DATES & PRE-CONCERT TALKS

MARCH – REFLECTIONS ON GALLIPOLI

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–152 — 17500 — 1/140315

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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

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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.

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ACO MEDICI PROGRAM

MEDICI PATRON

AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti ao Artistic Director & Lead Violin

Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts

Helena Rathbone Principal Violin

Kate & Daryl Dixon

Satu Vänskä Principal Violin

Kay Bryan

Christopher Moore Principal Viola

peckvonhartel architects

Timo-Veikko Valve Principal Cello

Peter Weiss ao

Maxime Bibeau Principal Double Bass

Darin Cooper Foundation

CORE CHAIRS

VIOLIN

Glenn Christensen

Aiko Goto Anthony & Sharon Lee Foundation

Mark Ingwersen Ian Wallace & Kay Freedman

Ilya Isakovich Australian Communities Foundation – Connie & Craig Kimberley Fund

Liisa Pallandi

Ike See

Violin Chair Terry Campbell ao & Christine Campbell

VIOLA

Alexandru-Mihai Bota Philip Bacon am

Nicole Divall Ian Lansdown

CELLO

Melissa Barnard Martin Dickson am & Susie Dickson

Julian Thompson The Clayton Family

GUEST CHAIRS

Brian Nixon Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICI

Mr R. Bruce Corlett am & Mrs Ann Corlett

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.

ACO LIFE PATRONS

IBM


Mr Guido Belgiorno-Nettis am

Mrs Barbara Blackman

Mrs Roxane Clayton

Mr David Constable am

Mr Martin Dickson am & Mrs Susie Dickson

Dr John Harvey ao

Mrs Alexandra Martin

Mrs Faye Parker

Mr John Taberner & Mr Grant Lang

Mr Peter Weiss ao


ACO BEQUEST PATRONS

The late Charles Ross Adamson

The late Kerstin Lillemor Andersen

Steven Bardy

Dave Beswick

Ruth Bell

Sandra Cassell

The late Mrs Moya Crane

Mrs Sandra Dent

Leigh Emmett

The late Colin Enderby

Peter Evans

Carol Farlow

Ms Charlene France

Suzanne Gleeson

Lachie Hill

The late John Nigel Holman

Penelope Hughes

The late Dr S W Jeffrey am

Estate of Pauline Marie Johnston

The late Mr Geoff Lee am oam

Mrs Judy Lee

The late Shirley Miller

Selwyn M Owen

The late Josephine Paech

The late Richard Ponder

Ian & Joan Scott

The late Mr Geoffrey Francis Scharer

Leslie C Thiess

G.C. & R. Weir

Margaret & Ron Wright

Mark Young

Anonymous (11)

ACO INSTRUMENT FUND

Peter Weiss ao PATRON, ACO Instrument Fund

BOARD MEMBERS Bill Best (Chairman)

Jessica Block

Chris Frogatt

John Leece am

John Taberner

PATRONS

VISIONARY $1m+ Peter Weiss ao

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,999 Amina Belgiorno-Nettis

Naomi Milgrom ao

OCTET $100,000 – $199,999 John Taberner

QUARTET $50,000 – $99,999 John Leece am & Anne Leece

Anonymous

SONATA $25,000 – $49,999

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

Peter J Boxall ao & Karen Chester

SOLO $5,000 – $9,999

PATRON $500 – $4,999 Dr Jane Cook

Leith & Darrel Conybeare

John Landers & Linda Sweeny

Luana & Kelvin King

Bronwyn & Andrew Lumsden

Ian & Pam McGaw

Patricia McGregor

Trevor Parkin

Elizabeth Pender

Robyn Tamke

Anonymous (2)

INVESTORS

Stephen & Sophie Allen

John & Deborah Balderstone

Guido & Michelle Belgiorno-Nettis

Bill Best

Benjamin Brady

Sally Collier

Michael Cowen & Sharon Nathani

Marco D’Orsogna

Garry & Susan Farrell

Gammell Family

Philip Hartog

Brendan Hopkins

Angus & Sarah James

Daniel and Jacqueline Phillips

Ryan Cooper Family Foundation

Andrew & Philippa Stevens

Ian Wallace & Kay Freedman

The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen.


ACO RECORDING PROJECTS, SPECIAL COMMISSIONS & SPECIAL PROJECTS

FOUR SEASONS RECORDING PROJECT PATRONS


Jennifer Hershon

Anthony & Sharon Lee Foundation

Strauss Family

SPECIAL COMMISSIONS PATRONS

Peter & Cathy Aird

Gerard Byrne & Donna O’Sullivan

Mirek Generowicz

Pater & Valerie Gerrand

Gin Graham

Anthony & Conny Harris

Rohan Haslam

John Griffiths & Beth Jackson

Andrew & Fiona Johnston

David & Sandy Libling

Tony Jones & Julian Liga

Lionel & Judy King

Alison Reeve

Augusta Supple

Dr Suzanne Trist

Team Schmoopy

Rebecca Zoppetti Laubi

Anonymous (1)

INTERNATIONAL TOUR PATRONS

The ACO would like to pay tribute to the following donors who support our international touring activities in 2015:

Linda & Graeme Beveridge

Jan Bowen

Bee & Brendan Hopkins

Delysia Lawson

Ian & Pam McGaw

Mike Thompson

ACO ACADEMY BRISBANE

LEAD PATRONS

Philip Bacon ao

Kay Bryan

Dr Edward Gray

Wayne Kratzmann

Bruce & Jocelyn Wolfe

PATRONS

Andrew Clouston

Cass George

Professor Peter Høj

Helen McVay

Shay O’Hara-Smith

Marie-Louise Theile

Beverley Trivett

MELBOURNE HEBREW CONGREGATION PATRONS

LEAD PATRONS

PATRONS

Marc Besen ac & Eva Besen ao

Leo & Mina Fink Fund

Drs Victor & Karen Wayne

THE GREAT SYNAGOGUE PATRONS

CORPORATE PARTNERS

Adina Apartment Hotels

Meriton Group

PATRONS

David & Helen Baffsky

Leslie & Ginny Green

The Narev Family

Greg & Kathy Shand

Peter Weiss ao

TRUSTS & FOUNDATIONS

Holmes à Court Family Foundation The Neilson Foundation The Ross Trust


EMERGING ARTISTS & EDUCATION PATRONS $10,000+


Australian Communities Foundation – Annamila Fund

Australian Communities Foundation – Ballandry Fund

Daria & Michael Ball

Steven Bardy & Andrew Patterson

The Belalberi Foundation

Andre Biet

Leigh & Christina Birtles

Liz Cacciottolo & Walter Lewin

Mark Carnegie

Stephen & Jenny Charles

The Cooper Foundation

Chris & Tony Froggatt

Ann Gamble Myer

Daniel & Helen Gauchat

Andrea Govaert & Wik Farwerck

Dr Edward C. Gray

Angus & Sarah James

PJ Jopling am qc

Miss Nancy Kimpton

Bruce & Jenny Lane

Prudence MacLeod

Anthony & Suzanne Maple-Brown

Alf Moufarrige

Jennie & Ivor Orchard

Margie Seale & David Hardy

Tony Shepherd ao

Peter & Victoria Shorthouse

John Taberner & Grant Lang

Leslie C. Thiess

Alden Toevs & Judi Wolf

Transfield Holdings

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

E Xipell

Peter Yates am & Susan Yates

Peter Young am & Susan Young

Anonymous (3)

DIRETTORE $5,000 – $9,999

The Abercrombie Family Foundation

Geoff Ainsworth & Jo Featherstone

Geoff Alder

Bill & Marissa Best

Joseph & Veronika Butta

John & Lynnly Chalk

Elizabeth Chernov

Clockwork Theatre Inc

Andrew Clouston

Victor & Chrissy Comino

Leith & Darrel Conybeare

David Craig

Liz Dibbs

Ellis Family

Bridget Faye am

Michael Firmin

Ian & Caroline Frazer

David Friedlander

Kay Giorgetta

Tony & Michelle Grist

Fraser Hopkins

I Kallinikos

Keith & Maureen Kerridge

Macquarie Group Foundation

David Maloney & Erin Flaherty

P J Miller

Averill Minto

Jacqui & John Mullen

The Myer Foundation

Willy & Mimi Packer

peckvonhartel architects

Elizabeth Pender

Bruce & Joy Reid Trust

John Rickard

Andrew Roberts

Paul Schoff & Stephanie Smee

Greg Shalit & Miriam Faine

Joyce Sproat & Janet Cooke

Emma Stevens

Jon & Caro Stewart

Anthony Strachan

John Vallance & Sydney Grammar School

Geoff Weir

Shemara Wikramanayake

Cameron Williams

Anonymous (5)

MAESTRO $2,500 – $4,999

David & Rae Allen

Atlas D’Aloisio Foundation

Will & Dorothy Bailey Charitable Gift

Brad Banducci

Adrienne Basser

Doug & Alison Battersby

The Beeren Foundation

Berg Family Foundation

Rosemary & Julian Block

Gilbert Burton

Arthur & Prue Charles

Caroline & Robert Clemente

Robert & Jeanette Corney

Judy Crawford

Peter Curry

Rowena Danziger am & Ken Coles am

Dee de Bruyn

Kate Dixon

Leigh Emmett

ACO NATIONAL EDUCATION PROGRAM

The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australianmusicians. This initiative is pivotal in securing the future of the ACO and the future ofmusic in Australia. We are extremely grateful for the support that we receive.

If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Ali Brosnan on (02) 8274 3830 or [email protected]


Suellen & Ron Enestrom

Jane & Richard Freudenstein

Tom Goudkamp oam

Megan Grace

Ross Grant

Maurice Green am & Christina Green

Warren Green

Nereda Hanlon & Michael Hanlon am

Liz Harbison

Gavin & Christine Holman

Simon & Katrina Holmes à Court

Mark Johnson

John Karkar qc

Carolyn Kay & Simon Swaney

John Kench

Julia Pincus & Ian Learmonth

The Alexandra & Lloyd Martin Family Foundation

Peter Mason am & Kate Mason

Paul & Elizabeth McClintock

Jane Morley

Sandra & Michael Paul Endowment

Justin Punch

Patricia H Reid Endowment Pty Ltd

Ralph & Ruth Renard

Chris Roberts

The Sandgropers

D N Sanders

Chris & Ian Schlipalius

Petrina Slaytor

Andrew Strauss

John & Josephine Strutt

David Thomas oam

Peter Tonagh

Ralph Ward-Ambler am & Barbara Ward-Ambler

The WeirAnderson Foundation

Ivan Wheen

Simon Whiston

Anna & Mark Yates

Anonymous (5)

VIRTUOSO $1,000 – $2,499

Jennifer Aaron

Annette Adair

Michael & Margaret Ahrens

Antoinette Albert

Mrs Jane Allen

Matt Allen

Philip Bacon am

Samantha Baillieu

Barry Batson

Ruth Bell

Justice Annabelle Bennett ao

Virginia Berger

Brian Bothwell

Jan Bowen

Michael & Tina Brand

Vicki Brooke

Diana Brookes

Mrs Kay Bryan

Sally Bufé

Neil Burley & Jane Munro

Ivan Camens

Ray Carless & Jill Keyte

Bella Carnegie

James Carnegie

Roslyn Carter

Andrew Chamberlain

Julia Champtaloup & Andrew Rothery

K. Chisholm

Angela and John Compton

Martyn Cook Antiques

Alan Fraser Cooper

P Cornwall & C Rice

Laurie & Julie Ann Cox

Judith Crompton

June Danks

Ian Davis

Michael & Wendy Davis

Martin Dolan

Anne & Thomas Dowling

Dr William F Downey

Emeritus Professor Dexter Dunphy am

Peter Evans

Julie Ewington

Ian Fenwicke & Prof. Neville Wills

Don & Marie Forrest

Bill Fleming

Elizabeth Flynn

Justin & Anne Gardener

Matthew Gilmour

In memory of Fiona Gardiner-Hill

Colin Golvan qc

Fay Grear

Kathryn Greiner ao

Paul & Gail Harris

Bettina Hemmes

Reg Hobbs & Louise Carbines

Michael Horsburgh am & Beverley Horsburgh

Monique D’Arcy Irvine & Anthony Hourigan

Stephanie & Mike Hutchinson

Colin Isaac & Jenni Seton

Phillip Isaacs oam

Will & Chrissie Jephcott

Brian Jones

Bronwen L Jones

Genevieve Lansell

Mrs Judy Lee

Michael Lin

Airdrie Lloyd

Alceon Group

Trevor Loewensohn

Robin & Peter Lumley

Diana Lungren

Greg & Jan Marsh

Massel Australia Pty Ltd

Jane Mathews ao

Julianne Maxwell

Karissa Mayo

Kevin & Deidre McCann

Brian & Helen McFadyen

Ian & Pam McGaw

J A McKernan

Diana McLaurin

Peter & Ruth McMullin

Phil & Helen Meddings

Roslyn Morgan

Suzanne Morgan

Glenn Murcutt ao

Baillieu Myer ac

Dennis & Fairlie Nassau

Nola Nettheim

Anthony Niardone

Paul O’Donnell

Ilse O’Reilly

Origin Foundation

James & Leo Ostroburski

Anne & Christopher Page

Prof David Penington ac

Matthew Playfair

Mark Renehan


Dr S M Richards am & Mrs M R Richards

Warwick & Jeanette Richmond In memory of Andrew Richmond

Josephine Ridge

David & Gillian Ritchie

Roadshow Entertainment

Em. Prof. A. W. Roberts am

Jennifer Sanderson

In memory of H. St. P. Scarlett

Lucille Seale

Gideon & Barbara Shaw

Maria Sola

Dr P & Mrs D Southwell-Keely

Keith Spence

Dr Charles Su & Dr Emily Lo

Magellan Logistics Pty Ltd

Robert & Kyrenia Thomas

Anne Tonkin

Ngaire Turner

Kay Vernon

Marion W Wells

Barbara Wilby

Nick & Jo Wormald

Lee Wright

Don & Mary Ann Yeats am

William Yuille

Brian Zulaikha

Anonymous (18)

CONCERTINO $500 – $999

A Ackermann

Mrs C A Allfrey

Elsa Atkin am

A. & M. Barnes

Tessa Barnett

Robin Beech

Hugh Burton-Taylor

Jasmine Brunner

Lynda Campbell

Helen Carrig & Ian Carrig oam

J. M. Carvell

Scott Charlton

Colleen & Michael Chesterman

Richard & Elizabeth Chisholm

Stephen Chivers

Olivier Chretien

ClearFresh Water

Warren Coli

Sally Collier

Marie Dalziel

Jill Davies

Mari Davis

Dr Christopher Dibden

The Hon. Catherine Branson & Dr Alan Down

In memory of Raymond Dudley

M T & R L Elford

Christine Evans

Penelope & Susan Field

Elizabeth Finnegan

Jean Finnegan & Peter Kerr

Sheila Fitzpatrick in memory of Michael Danos

Michael Fogarty

Brian Goddard

George H. Golvan qc & Naomi Golvan

Prof Ian & Dr Ruth Gough

Grandfather’s Axe

Victoria Greene

Annette Gross

Lesley Harland

Susan Harte

Alan Hauserman & Janet Nash

Gaye Headlam

Peter Hearl

Kingsley Herbert

Marian Hill

Sue & David Hobbs

Geoff Hogbin

Mary Ibrahim

How to Impact Pty Ltd

Peter & Ann Hollingworth

Pam & Bill Hughes

Dr & Mrs Michael Hunter

Margaret & Vernon Ireland

Dr Anne James & Dr Cary James

Owen James

Barry Johnson & Davina Johnson oam

Caroline Jones

Mrs Angela Karpin

Bruce & Natalie Kellett

Professor Anne Kelso ao

Graham Kemp & Heather Nobbs

Josephine Key & Ian Breden

Wendy Kozica & David O’Callaghan qc

TFW See & Lee Chartered Accountants

Wayne & Irene Lemish

David & Sandy Libling

Greg Lindsay ao & Jenny Lindsay

Megan Lowe

Dr & Mrs Donald Maxwell

H E McGlashan

I Merrick

Louise Miller

John Mitchell

John K Morgan

Simon Morris & Sonia Wechsler

Julie Moses

Dr Greg Nelson

J Norman

Graham North

Robin Offler

Leslie Parsonage

Deborah Pearson

Michael Peck

Kevin Phillips

Bernard Hanlon & Rhana Pike

Rosie Pilat

Michael Power

Beverly & Ian Pryer

Dr Anoop Rastogi

Garry Scarf & Morgie Blaxill

Berek Segan obe am & Marysia Segan

John C Sheahan qc

Andrew & Rhonda Shelton

Sherborne Consulting

Roger & Ann Smith-Johnstone

Alida Stanley & Harley Wright

Judy Ann Stewart

In memory of Dr Aubrey Sweet

Gabrielle Tagg

Arlene Tansey

Barrie & Jillian Thompson

Matthew Toohey

Nev & Janie Wittey

G C & R Weir

Anonymous (23)


Mr Guido Belgiorno-Nettis am Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings

Aurizon Holdings Limited

Mr Philip Bacon am Director Philip Bacon Galleries

Mr David Baffsky ao

Mr Brad Banducci Director Woolworths Liquor Group

Mr Marc Besen ac & Mrs Eva Besen ao

Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management

Mr John Borghetti Chief Executive Officer Virgin Australia

Mr Matt Byrne Director ROVA Media

Mr Michael & Mrs Helen Carapiet

Mr Jim Carreker Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux

Mr Stephen & Mrs Jenny Charles

Mr & Mrs Robin Crawford

Rowena Danziger am & Kenneth G. Coles am

Dr Bob Every ao Chairman Wesfarmers

Ms Tracey Fellows Chief Executive Officer REA Group

Mr Bruce Fink Executive Chairman Executive Channel Network

Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

Mr Richard Freudenstein Chief Executive Officer FOXTEL

Ms Ann Gamble Myer

Mr Daniel Gauchat Principal The Adelante Group

Mr Colin Golvan qc & Dr Deborah Golvan

Mr John Grill ao Chairman WorleyParsons

Mr Grant Harrod Chief Executive Officer LJ Hooker

Mr Richard Herring Chief Executive Officer APN Outdoor

Mrs Janet Holmes à Court ac

Mr & Mrs Simon & Katrina Holmes à Court Observant

Mr John Kench Chairman Johnson Winter & Slattery

Ms Catherine Livingstone ao Chairman Telstra

Mr Andrew Low Head of Investment Banking CLSA

Mr Didier Mahout CEO Australia & NZ BNP Paribas

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank

Ms Naomi Milgrom ao

Ms Jan Minchin Director Tolarno Galleries

Mr Jim Minto Managing Director TAL

Mr Alf Moufarrige Chief Executive Officer Servcorp

Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects

Peter Lehmann Wines

Mr Mark Robertson oam & Mrs Anne Robertson

Ms Margie Seale & Mr David Hardy

Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Tony Shepherd ao

Ms Anne Sullivan Chief Executive Officer Georg Jensen

Mr Paul Sumner Director Mossgreen Pty Ltd

Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Mr David & Mrs Julia Turner

Ms Vanessa Wallace & Mr Alan Liddle

Mr Peter Yates am Deputy Chairman Myer Family Investments Ltd & Director, AIA Ltd

Mr Peter Young am & Mrs Susan Young

ACO CHAIRMAN’S COUNCIL


GOVERNMENT PARTNERS

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

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

QUEENSLAND REGIONAL TOURING PARTNER

The ACO’s Queensland regional touring is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.

THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT

SYDNEY DEVELOPMENT COMMITTEE

Heather Ridout ao (Chair) Director, Reserve Bank of Australia

Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings

Bill Best

Leigh Birtles Executive Director, UBS Wealth Management

Maggie Drummond

Tony Gill

Andrea Govaert

John Kench Chairman, Johnson Winter & Slattery

Jennie Orchard

Tony O’Sullivan

Peter Shorthouse Client Advisor, UBS Wealth Management

Mark Stanbridge Partner, Ashurst

Nina Walton

MELBOURNE DEVELOPMENT COUNCIL

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

Debbie Brady

Stephen Charles

Christopher Menz

Paul Cochrane Investment Advisor, Bell Potter Securities

Colin Golvan qc

Simon Thornton Partner, McKinsey & Co.

EVENT COMMITTEES

SYDNEY

Lillian Armitage

Margie Blok

Judy Anne Edwards

Sandra Ferman

Elizabeth Harbison

Julianne Maxwell

Julie McCourt

Elizabeth McDonald

Sandra Royle

Nicola Sinclair

John Taberner (Chair)

Liz Williams

Judi Wolf

BRISBANE

Philip Bacon

Kay Bryan

Andrew Clouston

Ian & Caroline Frazer

Cass George

Edward Gray

Wayne Kratzmann

Helen McVay

Shay O’Hara-Smith

Marie-Lousie Theile

Beverley Trivett

Bruce and Jocelyn Wolfe

ACO COMMITTEES

DISABILITY ADVISORY COMMITTEE

Amanda Tink Independent Consultant, Amanda Tink Consultancy

Morwenna Collett Manager, Project Controls & Risk

Disability Coordinator, Australia Council for the Arts


ACO CORPORATE PARTNERS

THE ACO THANKS OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT

PERTH SERIES AND WA REGIONAL TOUR

PARTNER

ASSOCIATE PARTNER: ACO VIRTUAL

OFFICIAL PARTNERSCONCERT AND

SERIES PARTNERS

NATIONAL TOUR PARTNERSFOUNDING PARTNER

FOUNDING PARTNER: ACO VIRTUAL

EVENT PARTNERSMEDIA PARTNERS


ACO NEWS

Chairman’s Council and Major Patrons’ Cocktail Party – Sydney

Our annual Sydney Chairman’s Council and Major Patrons’ Cocktail Party took place at Government House, in the presence of His Excellency General The Honourable David Hurley ac dsc (Ret’d), Governor of New South Wales on Wednesday 25 February.

Guests were treated to a performance by Richard, Liisa, Sascha and Julian in the Ballroom, before enjoying drinks and canapés in the historic house and gardens as the sun set over Sydney Harbour. As we celebrate the Orchestra’s 40th anniversary year, this was a fitting location in which to thank our most valued patrons and supporters.

We’d like to thank His Excellency and Mrs Hurley for so generously welcoming us at Government House.

Julian Thompson, Guido Belgiorno-Nettis am, Liisa Pallandi, Richard Tognetti ao, His Excellency General The Hon David Hurley ac dsc (Ret’d), Governor of NSW, Mrs Hurley, Sascha Bota.

RIGHT: Julian Thompson, Liisa Pallandi, Doris Weiss, Peter Weiss ao, Sascha Bota, Ginny and Leslie Green.

Marian Moufarrige, Ann and Warwick Johnson.

Rachel Peck, Yvonne von Hartel, Andrea Kowalski, Marten Peck.

Allegra Spender, Guido Belgiorno-Nettis am and Carla Zampatti ac.

PHOTOS: © Fiora Sacco


ACO’s ‘A Night of Nights’

On Tuesday 24 February, the ACO performed for the second time at the Melbourne Hebrew Congregation, to a rapturous audience. The evening began with a short performance of ‘Fiddles on Fire’ by talented young violin students from Sholem Aleichem College, led by Ilya Isakovich, who had held a workshop with music students late last year. Richard Tognetti then led a captivating program featuring works by Bach, Haydn and Mendelssohn and concluded the evening with Ravel’s haunting Kaddish and Barber’s beautiful and moving Adagio for Strings.

Our warm and heartfelt thanks are due to Gandel Philanthropy, The Pratt Foundation, Marc Besen ac and Eva Besen ao, The Leo and Mina Fink Fund and Doctors Victor and Karen Wayne for their generous support of the Orchestra in this unforgettable performance.

Richard Tognetti and the ACO during the performance.

Our patrons Dr Karen Wayne, Dr Victor Wayne and Julian Thompson at the post-performance reception.

Richard Tognetti and the ACO receive a standing ovation from the audience after the performance.

BELOW LEFT: Richard Tognetti, Satu Vänskä, Mark Ingwersen and Illya Isakovich.

BELOW RIGHT: Illya Isakovich and members of the ACO lead students from Sholem Aleichem College during their performance of ‘Fiddles on Fire’.

PHOTOS: © Ivanna Oksenyu


Welcome to our two newest ACO members – Glenn Christensen and Liisa Pallandi

ACO NEWS

Glenn and Liisa’s appointments are particularly special to the ACO as they are both former Emerging Artists, completing our education and mentoring program in 2012. Liisa and Glenn took some time out while on tour with The Four Seasons to tell us what it’s like to be part of the ACO.

How have you been enjoying your first national tour as permanent players with the ACO?

Glenn: I’m really enjoying the tour. It’s nice to join the Orchestra on such an interesting, fun and rewarding program. Life on tour can be a little tough with early mornings and late nights, lots of travel. But doing it with this group of people makes it enjoyable. I really like getting to know each of the cities we visit – it’s a little personal goal to seek out the best bars and coffee, as well as running routes in each place!

Liisa: It’s amazing how different it feels to be ‘one of the team’. Everyone was very supportive of Glenn and me whilst we were on trial. But it’s such a different (and enjoyable!) feeling to be a permanent member. On these national tours everyone seems to have a tried and tested routine: where they go to eat, shop, exercise, friends they always catch up with … So I’m really looking forward to touring regional Queensland with AcO2 and America with ACO later in the year, just to see what it’s like when everyone is in unfamiliar territory.


How did the Emerging Artists’ Program prepare you for life as a professional full-time player with an orchestra, specifically the ACO?

G: Getting an insight into the ACO’s ‘style’ of playing was one of the best things about the EA program. Also having regular contact with a mentor from the Orchestra was invaluable. It’s quite cool and very special to me that my mentor Aiko and I now stand next to each other as colleagues.

L: I’m not sure I’d be in this position today if it weren’t for the encouragement and guidance from Helena. She was an amazing mentor, very thoughtful and honest, and I always love playing alongside her. During my EA year I was lucky enough to sit next to Richard for The Reef tour which was a big learning curve for me. There was no ‘switching off’ on that tour!

Did you always want to be part of an orchestra?

G: I often considered being a vet, but I think being in an orchestra is probably much more fun.

L: I have always loved playing in groups, big or small, but I wasn’t always sure I could make it a career. Other things I vaguely considered were writing, journalism, law, and being a mermaid!

What do you know now that you are part of the ACO that you didn’t know prior to joining the Orchestra?

G: I love learning about all the players’ different lives, their hobbies and their individual little quirks. It makes life interesting!

L: How much goes on behind the scenes! I’ve never had to go to board meetings or strategic planning days before and it’s interesting to see the ‘non-artistic’ facets of the organisation. I’m also learning that it’s not so crazy to over-pack on tour. You really never know when you’ll want your own tea bags, snacks or that little something to make your hotel room feel more like home.

Are there any programs in particular you are looking forward to performing this year?

G: I’m particularly looking forward to Brahms 3. I came from the symphony orchestra background, and love these bigger works. To play this with the ACO will be awesome.

L: I’m looking forward to working with Richard Egarr and Olli Mustonen. Both programs are quite unfamiliar to me and I’ve only heard wonderful things about both of these guest directors.


MEET OUR SUPPORTERS

Amanda Stafford from Western Australia is a highly valued donor to our Instrument Fund and National Education Program who attends our Perth concerts.

“I have been involved with the ACO for around three years now, when I decided to take up a subscription and simply plunge into what the orchestra offers.

My knowledge of classical music is not extensive, so I rarely look at the program beforehand but simply mark the date in my diary and turn up on the night. So each concert is a voyage into unknown territory with the occasional delight of hearing them play a piece of music I know and love already. There have been many wonderful discoveries which I now listen to at home on CDs, though nothing on CD quite matches the sound of the outstanding ACO instruments heard live.

My most amazing ACO experience was the opportunity to hear Richard, Satu and Rebecca playing their historic violins at a special ACO lunch for donors in Perth in 2014. Hearing them play the same pieces of music, one after another, was a rare insight into how different and special the sound produced by a violin can be.

Outside of work and ACO concerts, I enjoy seeking out the skills and work of artisans – those who are truly engaged in their craft. They range from the dressmaker who creates my clothes from vintage kimono fabric to the people who restored a VW Beetle for me and realised my dream of a lavender coloured car. They live with a passion for what they do and that’s a wonderful way to live.”

We would like to thank Amanda most warmly for her support.

If you would like more information about the ACO’s donations program, please contact Ali Brosnan on 02 8274 3830 or [email protected]. If you would like to subscribe to the ACO, please contact our Box Office on 1800 444 444.

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Since 1984, BNP Paribas has been supporting numerous festivals and artists, sharing our passion for classical music with a wider audience. It is with the same passion that we’ve been supporting the Australian Chamber Orchestra for 9 years as a proud National Tour Partner.

31 years of commitmentto classical music

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REFLECTIONS ON GALLIPOLI

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