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T O G N E T T I ’ S M O Z A R T

—2 0 1 0

N A T I O N A L C O N C E R T S E A S O N

NATIONAL TOUR PARTNER

AUSTRALIAN CHAMBER ORCHESTRA 3

SPEED READSchubert’s 15 string quartets include some of the best-loved examples of the form. The 12th, however, never got beyond one movement (now known as the Quartettsatz) — but it is a passionate and dramatic work well able to stand on its own. Written fi ve years after his previous Quartet, the Quartettsatz shows him abandoning Hausmusik in order to write music for professional musicians.

Franz Liszt wrote of Grieg’s G-minor Quartet, “It is a long time since I have encountered a new composition, especially a string quartet, which has intrigued me as greatly as this distinctive and admirable work by Grieg.” Grieg said that it “strives towards breadth, soaring fl ight and, above all, resonance for the instruments”.

Mozart wrote four violin concertos between June and December, 1775, in Salzburg, presumably for his own pleasure. They show a remarkable development through the set, as the 19-year-old composer tests out his voice in the new genre, and it’s with the third and fourth that he begins to hit his stride. This technically demanding work is understandably a popular showpiece for violinists.

Haydn’s so-called “storm and stress” period yielded some of his more famous symphonies, including those dubbed “Mercury”, the “Trauer-Symphonie” and the “Farewell”. No.46 is the next in the set — less well-known perhaps but in its drama and humour it is as Haydnesque as any of the others. He says he was “forced to become original”: that originality is evident in each of these striking symphonies.

TOUR ONE TOGNETTI’S MOZARTRICHARD TOGNETTIArtistic Director and Lead Violin

Th e Australian Chamber Orchestra reserves the right to alter scheduled

programs or artists as necessary.

NEWCASTLE

City Hall

Wed 3 Feb 7.30pm

WOLLONGONG

IPAC

Th u 4 Feb 7.30pm

CANBERRA

Llewellyn Hall

Sat 6 Feb 8pm

MELBOURNE

Hamer Hall

Sun 7 Feb 2.30pm

Mon 8 Feb 8pm

ADELAIDE

Town Hall

Tue 9 Feb 8pm

SYDNEY

Angel Place

Sat 13 Feb 8pm

Tue 16 Feb 8pm

Wed 17 Feb 7pm

BRISBANE

QPAC

Mon 15 Feb 8pm

SYDNEY

Opera House

Sun 21 Feb 2.30pm

Approximate durations (minutes):

9 • 26 • INTERVAL • 19 • 35

Th e concert will last approximately two hours including

interval.

SCHUBERT

Quartettsatz

MOZART

Violin Concerto No.4 in D major

INTERVAL

HAYDN

Symphony No.46 in B major

GRIEG arr. Tognetti)

String Quartet in G minor

Th e performance at Sydney Opera House will be fi lmed for promotional

purposes. If you would prefer not to be recognisable in the footage,

please email [email protected]


Franz Schubert(born Vienna, 1797 — died Vienna, 1828)

SCHUBERT

Quartet Movement (Quartettsatz)

in C minor, D703

(Composed 1820)

Allegro assai

Schubert was born, bred, lived and died in Vienna. As an

infant he took piano lessons from his brother Ignaz, but

young Franz quickly outstripped his elder brother and

proceeded to instruct himself. When Schubert was seven,

he was engaged to sing at the Imperial Chapel, and at the

age of eight he took up the violin and organ, and began

elementary lessons in the techniques of composition.

Schubert’s earliest surviving music dates from when he

was a young teenager, but it is clear that he had been

composing for as long as he had known what music was

(from the outset he was transfi xed by the music of Haydn

and Mozart).

As a schoolboy, Schubert was a high achiever across

the board, and it would be easy to assume that the

talented youngster was rather full of himself. On the

contrary, Schubert found it uncomfortable to receive

compliments, and he described fl attery as “downright

nauseating”. His friend Anselm Hüttenbrenner reported:

“Schubert’s outward appearance was anything but striking

or prepossessing. He was short of stature, with a full,

round face, and was rather stout. His forehead was very

beautifully domed. Because of his short-sightedness he

always wore spectacles, which he did not take off even

during sleep. Dress was a thing in which he took no

interest whatsoever.”

By 1820 Schubert had written music of the highest

quality for church and stage, as well as symphonies,

chamber music, and hundreds of songs. Yet the Quartet

Movement (or Quartettsatz) achieved new heights of

expression in Schubert’s output. Th is is partly because this

unfi nished Twelfth String Quartet had been conceived

for performance by professionals – Vienna boasted a rich

seam of amateur music-making, but this was scorned

ABOUT THE MUSIC

Further Reading and Listening

Of the many recordings of Schubert’s 15 string quartets, a very fi ne complete set is that made for Naxos by the Kodaly Quartet, in 7 CDs also including some smaller chamber works. The Quartettsatz appears on Volume One (8.550590) alongside the famous Death and the Maiden quartet.

Stephen Hefl ing’s Nineteenth-Century Chamber Music (Routledge, 2004) provides a good contextual overview of the period in which both Schubert and Grieg fl ourished. The major Schubert biography is by Brian Newbould, entitled Schubert: The Music and the Man (California UP, 1997), while an excellent shorter (and illustrated) ‘life’ is Peggy Woodford’s Schubert (Midas, 1978). An excellent set of essays on all aspects of his work can be found in The Cambridge Companion to Schubert, edited by Christopher Howard Gibbs (Cambridge UP, 1997).

8 AUSTRALIAN CHAMBER ORCHESTRA

in professional circles as trivial at best, and artistically

harmful at worst.

Th e surviving Quartet Movement is remarkably self-

contained – its introduction and coda are the same, and

the working out of the sonata-form material is as coherent

and dramatically satisfying as anything that Schubert

wrote.

Th ere is a masculine urgency to the fi rst subject, which

is perfectly complemented by the serene feminine

second subject. But this achingly lovely second subject is

banished by an impassioned interruption that verges on

the savage.

Th ere is a clear autobiographical program here – the love

of Schubert’s life had just married someone else: “I loved

someone very dearly, and she loved me too. She was not

exactly pretty and her face had pock-marks; but she had a

heart of gold. For three years she hoped I would marry her;

but I could not fi nd a position that would have provided

for us both. She then bowed to her parents’ wishes and

married another, which hurt me very much.”

Th e Neapolitan harmonies and wistful sequences that

characterize the Quartet Movement come straight from

Schubert’s heart. Th e string quartet remained unfi nished,

and Schubert’s love remained unrequited. Th e movement

stands alone, emerging from within the string quartet

genre but struggling to create something larger, more

universal. Tonight’s arrangement of the music for string

orchestra recognises that musical and personal struggle,

and transports this heartfelt emotional utterance from the

salon to the concert hall.

ACO Performance History

Schubert’s Quartettsatz makes its entry into the ACO’s repertoire to join the ‘Death and the Maiden’ quartet (fi rst performed by the ACO in 1987 in its Gustav Mahler adaptation) and Quartet in G minor, D887.

Coda (literally, ‘tail’) is the passage at the end of a movement of music which brings it to its conclusion. It can be very short or extremely drawn-out.

Sonata form This favourite form of 18th and 19th century composers is typically heard as the first movement of symphonies, concertos and, of course, sonatas. In essence it’s a way of structuring the melodic and harmonic material into a coherent musical argument. Most sonata form movements fall into three parts: an Exposition, where two contrasting tunes (in different keys) are introduced one after the other (sometimes this whole section is repeated), a Development section where the material is freely manipulated, a Recapitulation where the tunes are again heard in order and now in the same key. Sometimes a coda rounds things out.

Schubert transformed our understanding of the art song, but in life he was considered largely a domestic composer; indeed, he was a master of all forms of chamber music. His fame increased after his premature death, however, and he is now one of the most highly regarded of composers.


Wolfgang Amadeus Mozart(born Salzburg, 1756 — died Vienna, 1791)

MOZART

Violin Concerto No.4 in D major, K218

(Composed 1775)

Allegro

Andante cantabile

Rondeau; Andante grazioso –

Allegro ma non troppo

1756 had been a noteworthy year in the Mozart household.

Not only did it witness Wolfgang’s birth, but it was also

the year in which Mozart’s father, Leopold, published his

celebrated violin tutor (A Treatise on the Fundamental

Principles of Violin Playing). Although the young Mozart

is indelibly associated with the piano – because of our

image of the child prodigy touring Europe at the keyboard,

and the existence of over twenty piano concertos – the

violin was Mozart’s father’s instrument and the instrument

to which Mozart fi rst turned in earnest when writing

concertos. (Of the fi ve piano concertos that pre-date the

violin concertos, four are arrangements of solo keyboard

works by other composers, and the fi fth was conceived as

an organ concerto.)

Mozart had played the violin well since he was very young

indeed, as an observation from Mozart’s eighth year

illustrates. “One or two days later, I came to see him again,

and found him amusing himself with his own violin. He

thought a moment, and said to me: ‘Herr Schachtner, your

violin is tuned an eighth of a tone lower than mine, if you

left it tuned as it was last time I played it’. ”

Needless to say, the seven-year-old proved to be correct,

and went on to be appointed leader of the Salzburg Court

Orchestra by the time he was fourteen. Mozart did not

shrink from boasting about his excellence as a violinist

(“I played as if I was the fi nest fi ddler in all Europe”), egged

on by the approval of his doting father (“You yourself

do not know how well you play the violin”). His fi rst try

at a violin concerto (K207) most likely dates from 1773,

but in a typically manic burst of creativity, Mozart wrote

four more violin concertos between June and December

1775. Th ese four concertos (K211, 216, 218, and 219) were

the main musical output of the closing months of the

composer’s teenage years and were designed primarily to

show off Mozart’s technique as a player. Th e orchestration

of the concertos was the standard Austrian confi guration

of the time: string orchestra augmented by a pair of oboes

and a pair of horns (by now the use of a keyboard within


It seems appropriate that the fi rst concert of a new season should be a program made up largely with ‘fi rsts’. With the exception of the Mozart Concerto the Orchestra has not performed any of the works before.

The exception is a fi rst also, however, Richard Tognetti not having performed it in a Subscription Concert before.

Mozart’s 4th Violin Concerto has been performed only once by the Orchestra, in 1993 when Richard Tognetti directed the Orchestra for soloist Thomas Zehetmair.

Mozart was the single greatest composer of the Classical period and remains one of music’s foremost geniuses. A master both of the highbrow and the common touch, he has delighted audiences and inspired performers from his time until now.


“You yourself do not know how well you play the violin.”

LEOPOLD MOZART


For a defi nitive collection of the Mozart Violin Concertos we suggest you hold fi re and keep an eye on BIS Records (www.bis.se) who will be releasing the complete set featuring Richard Tognetti and the ACO during the next 12 months. As soon as they’re released they will also be available from aco.com.au/shop

An excellent survey of the fi rst part of Mozart’s life (including the composition of the Violin Concertos) is Stanley Sadie’s Mozart: The Early Years 1756—1781 (Oxford UP, 2006); for a more gargantuan overview try Maynard Solomon’s 640-page opus Mozart: a life (Harper, 1996).

the orchestra was redundant). But unusual and unexpected

features had begun to creep into Mozart’s music, and

these idiosyncrasies were not wholly appreciated by the

conservative Salzburg public.

Th e form of the fi rst movement strikes us now as

attractively capricious, in that sometimes material from

the exposition is developed as expected, but sometimes

not. Th is apparent disrespect for classical form was

perceived in Salzburg as wilful rather than eccentric.

After the orchestral introduction, the lilting second

movement is a vehicle for the hypnotic soloist who,

once entered, has virtually no rests until the end of the

movement, which itself sets the stage for the end of the

concerto. Th is fi nal, third movement is straight out

of Haydn – quirky and gypsy-like, with drones, mock-

serious passages, and dramatic silences; it is collage-like,

ultimately optimistic, and culminates in a cheekily quiet

ending.

Leopold Mozart


Franz Joseph Haydn(born Rohrau, 1732 — died Vienna, 1809)

HAYDN

Symphony No.46 in B major

(Composed 1772)

Vivace

Poco Adagio

Menuetto – Allegretto

Finale – Presto e Scherzando

Haydn was famously unhappy following his dismissal from

the choir of St Stephen’s Cathedral in Vienna. Haydn’s

voice broke when he was seventeen, and the young

musician was condemned to work as a music teacher,

a living that he despised. “For eight whole years I was

forced to eke out a wretched existence by teaching young

people. Many geniuses are ruined by this miserable daily

bread, because they lack time to study. Th is could well

have happened to me; I would never have achieved what

little I have done, had I not carried on with my zeal for

composition during the night.”

Eventually Haydn’s hard work paid off , and he was

appointed director of music to Count Morzin (for whom

Haydn wrote most of his earliest symphonies), and

thereafter to the court of the rich and infl uential Prince

Nicolaus Esterházy. In the late 1760s and early 1770s,

Haydn’s orchestral works assumed an air of dark caprice

that characterised the composer’s so-called Sturm und

Drang (‘Storm and Stress’) period. Th is ‘romantic crisis’

in Haydn’s output was identifi ed a century ago, at a time

when the chronology of Haydn’s works was imperfectly

understood. In fact, the play that bore the title Sturm und

Drang was not written until 1776, by which time Haydn

had turned his own stylistic corner in order to follow

a path that led away from this Counter-Enlightenment

movement. Whether the term Sturm und Drang is useful

or not, the music of Haydn’s late thirties was idiosyncratic

and powerfully persuasive. “My Prince was always satisfi ed

with my works; I not only had the encouragement of

constant approval, but as conductor of an orchestra I could

make experiments, observe what produced an eff ect and

what weakened it, and was thus in a position to improve,

alter, make additions or omissions, and be as bold as I

pleased. I was cut off from the world, there was no one

to confuse or torment me, and I was forced to become

original.”

Th e B-major Symphony (written in 1772 for performance

at Eszterháza) is the only substantial surviving work by


Haydn Symphonies have held a major place in the ACO’s concerts, from the fi rst in 1975 when the Orchestra’s inaugural concert included Symphony No.90 in C major. Since that time the ACO has performed no less than 34 of Haydn’s Symphonies in various concerts all over the world. Although most of the Symphonies between No.42 and No.49 have been played, strangely tonight’s work was missed in that sequence.

Haydn was hugely prolifi c and highly infl uential, his output encompassing almost every form of music, sometimes to an extreme degree (over 100 symphonies, over 60 string quartets). The link in the chain between Bach and Mozart, the Classical era would be unimaginable without him.



The Sturm und Drang symphonies have been repeatedly recorded – a good set is that by Trevor Pinnock and the English Concert (Archiv 463731).

Endless words have been written about Haydn’s life, many of them in H.C. Robbins Landon’s staggering 5-volume Haydn: Chronicle and Works (Thames and Hudson, 1976–80). A more portable handbook is The Cambridge Companion to Haydn, edited by Caryl Clark (Cambridge UP, 2005). Charles Rosen’s The Classical Style: Haydn, Mozart, Beethoven (Norton, 1998) is one of the major works on the overall period.

Haydn in that key – B major was unusual for the time,

and is one of many hallmarks stamped onto the symphony

that underlines its Sturm und Drang nature. Other

features of this style – all of which are evident in this work

– are the use of a loud unison opening theme followed

by a sudden quiet continuation; an increased use of

dynamics, particularly the crescendo; the use of silence

as a dramatic device; bold reliance on counterpoint; and

a fi ercely intense and original use of the instruments of

the orchestra (the occasionally screamingly high horn

parts are a particularly audible Haydnesque fi ngerprint).

Haydn’s aim is to present dramatic music that is by turns

tempestuous, quirky, and humorous. What marks Haydn

out as a symphonic composer of genius is that, for all the

volatility and unpredictability of his musical ideas, there is

an inevitability about the working out of each of the four

movements. Haydn’s sobriquet ‘Father of the Symphony’ is

well deserved.

Prince Nicolaus Esterházy

“My Prince was always satisfi ed with my works; I had the encouragement of constant approval…”

HAYDN

Counterpoint is the art of combining two different but simultaneous melodic lines — anybody who has ever sung a descant to Happy Birthday has improvised their own counterpoint.


GRIEG

String Quartet in G minor, Op.27

(Composed 1877–8)

Arr. Tognetti

Un poco Andante – Allegro molto ed agitato

Romanze

Intermezzo

Finale

Grieg lived at an important time in his country’s history.

Norway’s four-hundred-year union with Denmark had

ceased in 1814, just thirty years before Grieg was born. An

urban, middle-class Norwegian family, such as the one in

which Edvard Grieg grew up, still looked to Denmark for

its cultural and linguistic anchors. When he was fi fteen,

the budding composer met the charismatic virtuoso

violinist Ole Bull, who insisted that Grieg be sent to the

Leipzig Conservatory for his musical education, although

Grieg complained bitterly about his early instruction

for the rest of his life. Grieg’s attitude to his formative

professional training was, frankly, churlish. Certainly

the teenager did not see eye to eye with his fi rst piano

teacher at the Leipzig Conservatory, but after a year the

opinionated prodigy was allowed to transfer to the class

of Ernst Wenzel (who had known Schumann as a close

personal friend), thence to the class of the legendary

Moscheles, and latterly to study composition with Carl

Reinecke, who steered Grieg’s tortuous path through

the writing of his earliest string quartet (now, perhaps

fortunately, lost). Scathing though Grieg may have been

about the allegedly pedantic and reactionary teaching that

he received in Germany, this early sojourn in continental

Europe forced the immature composer to acquire a solid,

Austro-German technique on which to graft his individual

voice.

Grieg returned to his home town of Bergen shortly before

his nineteenth birthday; there he started seriously to

seek out specifi cally Norwegian culture, rather than that

of Denmark with which he had been brought up. In the

summer of 1864, Grieg renewed his acquaintance with Ole

Bull: “He played for me the trollish Norwegian melodies

that so strongly fascinated me, and awakened the desire to

have them as the basis for my own melodies. He opened

my eyes to the beauty and originality in Norwegian music.

Th rough him I became acquainted with many forgotten

folk songs, and above all, with my own nature.”

Edvard Grieg(born Bergen, 1843 — died Bergen, 1907)


The ACO’s repertoire has been enlarged with its performances of adaptations of string quartets, the earliest being in 1976 with Felix Weingartner’s arrangement of Verdi’s E minor String Quartet played at the Adelaide Festival conducted by Neville Marriner. Grieg’s String Quartet now joins no less than 14 other works the ACO has made its own, in their string orchestra versions. From 1991 when the Janácek Kreutzer Sonata Quartet was fi rst played by the Orchestra, Quartet adaptations have been regular inclusions in ACO concert programs.

Grieg is Norway’s greatest composer, and the fi rst to imbue western classical music with a native Nordic sensibility. Great friends with the Australian Percy Grainger, works such as his Piano Concerto and the Holberg Suite are known and loved the world over.


Having discovered his roots, the 1870s were a musical

melting-pot for Grieg. In 1873 he attempted to write a fully

Norwegian opera, and a year later he was invited by Ibsen

to provide the music for the epic Peer Gynt. In 1876, Grieg

visited Bayreuth and witnessed the première of Wagner’s

Ring cycle. In the following winter, Grieg added a second

piano part to four of Mozart’s piano sonatas, an act which

might now be considered both tasteless and arrogant, but

which became an important landmark for Grieg’s self-

discipline as a composer. In the summer of 1877, when

Grieg was in his mid-thirties, he rented a house in Lofthus

on the Hardanger Fjord. Th ere he erected a ‘composing

hut’, and the breathtaking scenery of Western Norway was

the backdrop against which the G-minor String Quartet

was sketched: “Th ere is something that I must do for the

sake of my art. Day by day I am becoming more dissatisfi ed

with myself. It is enough to make one lose one’s mind –

but I know well enough what the problem is. It’s lack of

practice, because I have never got beyond composing by

fi ts and starts. But that is going to end. I am going to fi ght

my way through the large musical forms, cost what it may.

If I go mad in the process, now you know why.”

Far from driving Grieg mad, the composition of the

G-minor String Quartet announced the arrival of the

composer’s artistic maturity. Th ere is an autobiographical

element that runs throughout Grieg’s only surviving

complete string quartet. Grieg had in mind a poem by

Ibsen, “Minstrels”, which describes the lovelorn musings

of a musician as he walks beside a stream on a summer

evening. Th e theme that represents the musician of the

poem is heard at the very start of the quartet, fi rst slowly

and with great portent, and thereafter as the quartet’s

dreamier second subject.

Right from the start of the fi rst movement, the G-minor

String Quartet startles the listener with its Nordic

boldness. Grieg was determined to prove that he could

write a convincing large-scale sonata-form movement

– although the second subject, for instance, is preceded

by one of the most self-conscious general pauses in the

history of the form. Th ere is little in the rest of the quartet

that is any less self-absorbed. Th e mood of the serene,

waltz-like second movement is rocked by the appearance

of the musician’s theme, and the third movement opens

with the theme stated in capital letters. Th e middle section

of the third movement features a repeated fugato passage,

every bit as pedantic as one imagines Grieg’s fugue lessons

to have been when he was a student in Leipzig. Th e musician’s

theme, again, opens the fourth movement, this time in

Sonata form (See page 8)

Fugato means, simply, ‘in the style of a fugue’ — so, not a fully-formed fugue, but a passage of music in that fashion.

A Fugue is the most sophisticated form of counterpoint (see page 15) where several melodic lines (or ‘voices’) imitate each other and then expand on the theme according to a set of rules. Although its earliest development was in improvised music (eg the fugues of Bach, many of which are thought to have been improvised on the spot at the organ) it is a technique that now forms part of all compositional teaching.


refl ective mode; this mood quickly gives way to music that is

heavily infused with ‘trollish’ cavorting. Th is last movement

is assured and idiosyncratic; one of Grieg’s most impressive

musical constructions: “I have recently written a string quartet,

which I still haven’t heard. It is in G minor and is not intended

to bring trivialities to market. It strives towards breadth,

soaring fl ight and, above all, resonance for the instruments.”

Certainly the quartet is in no way trivial. And certainly it has

breadth: its gestures soar, and it is instrumentally resonant.

Th ese full textures proved problematic, in that Grieg’s

normally supportive publisher regarded the piece as too

orchestral and initially refused to publish the work. Th is

concert’s solution is to make a virtue out of that supposed

defect by scoring the work for string orchestra, in which

version the rich textures become more credibly part of a

larger ensemble.


Grieg started (but never fi nished) a second string quartet: you can hear a speculative completion of it, alongside a terrifi c recording of the G-minor Quartet, played by the Chilingirian Quartet on Hyperion Records (CDH55299).

Grieg also left behind him a fascinating array of personal documents which shed much light on his life and music. Of particular interest are his Letters to Colleagues and Friends, collected and edited by Finn Benestad (Peer Gynt Press, 2000) and his Diaries, Articles and Speeches, also edited by Benestad (Peer Gynt Press, 2001).

Minstrels (Spillemænd)

My thoughts were with her every summer-light night, but the path led to the river in the bedewed alder thicket.

Hey, if you knew terror and songs, you could bewitch the beautiful one’s mind, so that in great churches and halls she would think to follow you!

I conjured the water-sprite from the deep; he played to me straight from God; but by the time I had become his master, she was my brother’s bride.

In great churches and halls I play by myself, and the sprite’s terror and songs are never out of my mind.

HENRIK IBSEN

English translation © BERYL FOSTER 2008

Beryl Foster is the author of Th e Songs of Edvard Grieg (Scolar Press,

1990; revised edition Boydell & Brewer, 2007). Ms Foster is Vice

President of the International Grieg Society (www.griegsociety.org)

and Chairman of Th e Grieg Society of Great Britain (griegsociety.

co.uk). www.berylfoster.com

“I have recently written a string quartet, which I still haven’t heard.

GRIEG

PROGRAM NOTES BY JEREMY SUMMERLY © 2010

Jeremy Summerly is the Sterndale Bennett Lecturer in Music at the

Royal Academy of Music, London.


RICHARD TOGNETTIARTISTIC DIRECTOR, ACO

Australian violinist and conductor 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 returned to

lead several performances of the ACO, and in November

was appointed as Leader. He was subsequently appointed

Artistic Director of the Orchestra.

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 a soloist Richard Tognetti has appeared on many

occasions with the ACO and with the major Australian

symphonies, including the Australian premiere of Ligeti’s

Violin Concerto with the Sydney Symphony in 1998.

He has collaborated with colleagues from across various

art forms and artistic styles, including Joseph Tawadros,

Dawn Upshaw, James Crabb, Emmanuel Pahud, actor

Jack Th ompson, singers Peter Garrett, Neil Finn, Tim

Freedman and Paul Capsis, photographer Bill Henson and

poet/cartoonist Michael Leunig. He is currently Artistic

Director of the Maribor Festival: the fi rst festival under

his leadership was held in September 2008 and featured

collaborations with European and Australian musicians

and the European premiere of Luminous.

A passionate advocate for music education, Tognetti

established the ACO’s Education and Emerging Artists

programs in 2005 and toured regional Australia with a

concert based on the inspiring documentary fi lm, Musica

Surfi ca (recently awarded at surf fi lm festivals in the USA,

France, South Africa and Brazil).

Richard Tognetti 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, made available exclusively 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)

Select Discography

As soloist:

BACH Sonatas for Violin and KeyboardABC Classics 476 5942

2008 ARIA Award WinnerBACH Violin ConcertosABC Classics 476 5691

2007 ARIA Award WinnerBACH Solo Violin Sonatas and Partitas

ABC 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:

VIVALDI Flute Concertos, Op.10Emmanuel Pahud, FluteEMI Classics 0946 3 47212 2 6Grammy Nominee

PIAZZOLLA Song of the AngelChandos CHAN 10163

ScenesFeaturing music by Corelli, Bach, Elgar, Mahler, Rodrigo and SibeliusSony SK63160

All available from aco.com.au/shop


‘Listening to the Australian Chamber Orchestra is like taking a swig of a vitamin drink. Suddenly: pow! The music certainly feels stronger, muscled, hot from the gym… If that’s what Australia does for you, I’m also emigrating.’

THE TIMES

Select Discography

Bach Violin ConcertosABC 476 5691

Vivaldi Flute Concertoswith Emmanuel PahudEMI 3 47212 2

Bach Keyboard Concertoswith Angela HewittHyperion SACDA 67307/08

Tango Jamwith James CrabbMulberry Hill MHR C001

Song of the AngelMusic of Astor Piazzollawith James CrabbChandos Chan 10163

Sculthorpe: works for string orchestra including Irkanda I, Djilile and Cello DreamingChandos Chan 10063

Giuliani Guitar Concertowith John WilliamsSony SK 63385

Scenes: music by Corelli, Rodrigo, Beethoven, SibeliusSony SK 63160

These and more ACO recordings are available from our online shop: aco.com.au/shop or by calling 1800 444 444.

AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI, ARTISTIC DIRECTOR

Th e Australian Chamber Orchestra was founded by John

Painter 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.

Richard Tognetti was appointed Lead Violin in 1989

and subsequently appointed Artistic Director. Under his

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 performs on a

priceless 1743 Guarneri del Gesù, on loan to him from an

anonymous Australian benefactor. Principal Cello Timo-Veikko

Valve plays on a 1729 Giuseppe Guarneri fi lius Andreæ cello,

also on loan from an anonymous benefactor, and Principal

Second Violin Helena Rathbone plays a 1759 J.B. Guadagnini

violin on loan from the Commonwealth Bank Group.

Regular international tours to Asia, Europe and the USA have

drawn outstanding reviews for the ACO’s performances

at many of the world’s prestigious concert halls, including

Amsterdam’s Concertgebouw, London’s Wigmore Hall,

New York’s Carnegie Hall and Lincoln Center, Vienna’s

Musikverein, Birmingham’s Symphony Hall and Washington

DC’s Kennedy Center.

In recent years, the ACO has made critically-acclaimed

recordings for labels including Sony, BIS, Hyperion, EMI,

ABC Classics, Chandos and Orfeo. Th ese recordings include

Bach’s Keyboard Concertos with Angela Hewitt, Vivaldi’s

Flute Concertos with Emmanuel Pahud and Bach’s Violin

Concertos with Richard Tognetti, which won the ACO its

second ARIA award. Th e ACO also features in the television

series Classical Destinations II.

In 2005, the ACO inaugurated an ambitious national Education

Program, with outreach activities and mentoring programs for

outstanding young musicians, and the formation of ACO2,

an elite training orchestra, which tours regional centres. For

more information visit aco.com.au/education-programs.


MUSICIANS Photos: Tanja Ahola

ALICE EVANSViolinChair sponsored by Jan Bowen, Jo McKenzie

& Scott Davies, and Th e Sandgropers

ILYA ISAKOVICHViolinChair sponsored by Melbourne Community

Foundation – Connie & Craig Kimberley Fund

MARK INGWERSENViolinChair sponsored by Runge

CAROLINE HENBESTGuest Principal Viola

MAXIME BIBEAUPrincipal BassChair sponsored by John Taberner &

Grant Lang

NICOLE DIVALLViolaChair sponsored by Ian & Nina Lansdown

TIMOVEIKKO VALVEPrincipal CelloChair Sponsored by Mr Peter Weiss AM

MELISSA BARNARDCelloChair sponsored by Th e Bruce & Joy Reid

Foundation

RICHARD TOGNETTIArtistic Director and Lead ViolinChair sponsored by Michael Ball AM &

Daria Ball, Joan Clemenger, Wendy Edwards,

Prudence MacLeod

SATU VÄNSKÄAssistant LeaderViolinChair sponsored by Robert & Kay Bryan


MUSICIANS

BOARD

Guido Belgiorno-Nettis AM(Chairman)

Angus James

(Deputy Chairman)

Ken Allen AM

Bill Best

Glen Boreham

Liz Cacciottolo

Chris Froggatt

Brendan Hopkins

Philip Latham

Christine Rothauser

Tony Shepherd

Peter Yates

MANAGEMENT

EXECUTIVE OFFICE

William A Gillespie OAMGeneral Manager

Jessica BlockDeputy General Manager and Development

Manager

Michelle Kerr

Executive Assistant to

Messrs Gillespie and Tognetti

ARTISTIC

Richard TognettiArtistic Director

Michael StevensArtistic Administrator

FINANCE

Steve Davidson Chief Financial Offi cer

Shyleja PaulAssistant Accountant

DEVELOPMENT

Kate BilsonEvents Manager

Alana ClarkeDevelopment Executive

Lillian ArmitagePatrons Manager

Laura Milner

Patrons Administrator

Liz D’Olier

Development Coordinator

OPERATIONS

Damien LowArtistic Operations

Manager

Gabriel van AalstOrchestra Manager

Erin McNamara

Deputy Orchestra Manager

Vicki Stanley

Education and Emerging Artists Manager

Amandine PetitLibrarian

Sarah ConolanEducation and Operations Assistant

MARKETING

Georgia RiversMarketing Manager

Rosie RotheryMarketing Coordinator

Chris Griffi thBox Offi ce Manager

Mary Stielow

National Publicist

Dean Watson

Customer Relations Manager

Olivia ArtigasOffi ce Administrator and Marketing Assistant

INFORMATION

SYSTEMS

Martin KeenSystems and Technology Manager

Emmanuel EspinasNetwork Infrastructure

Engineer

ARCHIVES

John HarperArchivist

AUSTRALIAN CHAMBER ORCHESTRA

ABN 45 001 335 182

Australian 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 1225

Telephone: (02) 8274 3800

Facsimile: (02) 8274 3801

Box Offi ce:

1800 444 444

Email: [email protected]

aco.com.au

BEHIND THE SCENES

Players dressed by

AKIRA ISOGAWA

ZOË BLACKViolin

MADELEINE BOUDViolinChair sponsored by Terry Campbell AO &

Christine Campbell

MYEE CLOHESSY Violin

VERONIQUE SERRETViolin

PAUL WRIGHT *Violin

JACQUELINE CRONIN Viola

DANIEL YEADONCello

ANNA STARRPrincipal Oboe

JOEL RAYMONDOboe

JANE GOWERPrincipal Bassoon

ANNEKE SCOTTPrincipal Horn

KATHRIN WILLINERHorn

* Courtesy of ANAM teaching faculty


Th e ACO receives around 50% of its income from the box offi ce, 35% from the business

community and private donors and less than 15% from government sources. Th e private

sector plays a key role in the continued growth and artistic development of the Orchestra.

We are proud of the relationships we have developed with each of our partners and would like

to acknowledge their generous support.

ACO PARTNERS

FOUNDING PARTNERFOUNDING PARTNER

NATIONAL TOUR PARTNERS

PRINCIPAL INNOVATION PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES AND WA REGIONAL TOUR PARTNER

QLD/NSW REGIONAL TOUR PARTNER

CONCERT AND SERIES PARTNERS

GOVERNMENT SUPPORT ACCOMMODATION AND EVENT SUPPORT

BILSON’S RESTAURANT BAR CUPOLASWEENEY RESEARCH

Department of the Arts, Sport and Recreation


STACCATO: ACO NEWS

PROFILE: JOHN AND PATTI DAVIDJohn and Patti David’s discovery of the ACO was

a step by step journey.

During the late 1980s and throughout the 1990s

John and Patti David were Qantas Frequent Flyers.

When they disembarked in Asia, Europe or USA

they were given CDs. Richard Tognetti’s recordings

were amongst those CDs they most enjoyed.

Th e Davids’ longstanding friends, Daria and

Michael Ball, invited them to attend a Bowral

performance by the ACO. Imagine their

excitement that night when they discovered

Richard Tognetti was the Artistic Director and

Lead Violin of the ACO!

Over many years, John and Patti have supported

talented young Australians involved in music,

sport and literature. Th ey have received great

satisfaction in watching them mature into

wonderful ambassadors for our country. In recent

years they have supported the ACO’s Emerging

Artists. Patti says:

“Once we understood the earnestness of the ACO

Emerging Artists Program and saw for ourselves

the enrichment the ACO gave to rural children,

how could we not be moved? To repeat the words

of Richard Tognetti, ‘wouldn’t it be wonderful if

every child had access to music education?’ ”

John and Patti David hosted a private

performance in their home in November 2009

inviting their guests to support the ACO. We

are truly grateful for their constant support.

John and Patti David

For more information about donating to the ACO, please phone Lillian Armitage on

(02) 8274 3835 or email [email protected]

Peter Yates, Shannon Bennett and Richard Tognetti

Santo Cilauro, Morena Buffon and Andrew Myer

2009 MELBOURNE EVENT

On Wednesday 28 October 2009, Richard

Tognetti and Kerry Gardner hosted a private

event at “Cranlana”, the Myer family’s historic

Melbourne home. Guests were treated to an

exclusive private performance by an ACO

quartet, led by Richard Tognetti, with repertoire

crafted specially for the occasion. Celebrity chef

Shannon Bennett of Vue de Monde created

a spectacular three-course meal, which was

accompanied by Ruinart champagne and Cape

Mentelle wines, provided by Moet Hennessy

Australia.

Th e ACO’s Spring Soirée was a sell out event.

Over $90,000 was raised from the night’s

activities, which will directly support the ACO’s

2010 Trans-Atlantic Tour.

Th e ACO would like to thank presenting partner

Tiff any & Co. and all of our 2010 Trans-Atlantic

tour patrons for their generous support.

Australian Chamber Orchestra’s Spring Soirée – presented by Tiff any & Co.


STACCATO: ACO NEWS

Wesfarmers’ association with the Australian Chamber Orchestra

goes back a long way. Twelve years after we fi rst worked together

to bring this wonderful orchestra to Perth on a regular basis,

we are now delighted to be able to help the ACO reach out into

our regional communities in Western Australia. In its fi rst ever

regional tour through Western Australia, ACO2 will perform in

seven important regional centres across our state – bringing

Australia’s fi nest musicians into our community halls and creating

once-in-a lifetime opportunities for young people in our regional

areas to hear and enjoy classes with some of this country’s most

talented and inspirational artists.

It is a privilege and a joy to support the tremendous work of the

ACO. We hope you and your family enjoy all that this world-class

orchestra has to off er both city and country audiences alike in 2010.

Richard Goyder

Managing Director

Wesfarmers


STACCATO: ACO NEWS

GIFT CERTIFICATESStuck for the perfect present? Why not give the music-lover in your life their choice of ACO concerts

or recordings? Gift certifi cates can be purchased and redeemed at aco.com.au/gift-certifi cates or

by calling 1800 444 444.

MERCHANDISE

AWARDS: MUSICA SURFICAIn recent months, the

fi lm Musica Surfi ca

has won the following

awards:

• Best Feature at the

New York Surf

Film Festival

• Best Adventure Film

at the San Francisco

Ocean Film Festival

• Best Film and Best

Soundtrack at the

Festival de Surf St

Jean de Luz, France

• Best Film at the Wavescape/Durban Film Festival,

South Africa

• Best Film at the Brasil FestivAlma Surf

Available now in the foyer and at

aco.com.au/shop or by phoning 02 8274 3800.

NEW DVD: LUMINOUSRecorded live at the State Th eatre in

Sydney, Luminous features the ACO,

Richard Tognetti, Katie Noonan and

the photographs of Bill Henson.

NEW CD: BAROQUE TROMBONEChristian Lindberg bought his

fi rst sackbut 30 years ago with

the hope of one day recording

a baroque program. Now the

opportunity to do so has arrived–

largely due to Lindberg’s

encounter with Richard Tognetti and the Australian

Chamber Orchestra. On this recording Lindberg and

ACO players Richard Tognetti, Helena Rathbone,

Timo-Veikko Valve, Maxime Bibeau and Neal Peres

Da Costa perform sonatas and canzonas by Biber,

Frescobaldi and Dario Castello.

TOGNETTI’S MOZART - InstantEncoredata.instantencore.com/pdf/1000854/ACO-101+Tour+1+RT_i...Mozart...

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