C O N C E R T F O U R 9 – 17 November 2014

Welcome

Welcome to our final concert for the 2014 National Season. Over the past few months, we have been on the road performing in China with the support of the University of Adelaide’s Elder Conservatorium of Music and Rio Tinto, shared the stage with some of Australia’s leading artists for our Margaret River Weekend of Music, and delivered an engaging program of performances and workshops at the University of Adelaide.

Our Relativity program commences with Fanny Mendelssohn’s rarely heard String Quartet in E-flat major. As a young lady of society, Fanny was not permitted by her father to perform outside the family home in Berlin. As a result of this 19th century formality, the popular and respected musical gatherings in the Mendelssohn salon became her only outlet. These evening concerts resurrected Baroque and Classical composers alongside new works including some 400 of her own works, and of course, those of her younger brother Felix. Our concert program continues the spirit of these events, presenting two quartet works from the Mendelssohns’ alongside Australian contemporary works for string quartet and soprano.

We are delighted to welcome soprano Greta Bradman to present Paul Stanhope’s Sea Chronicles, a song cycle for soprano and string quartet which celebrates Australia’s unique coastal environment. This work replaces Brett Dean’s newly co-commissioned work,

And once I played Ophelia, which has been rescheduled for Australian premiere in 2015 for the ASQ’s 30th Anniversary Year. The late Peter Sculthorpe’s 13th String Quartet, Island Dreaming, draws together words compiled from old and modern Torres Strait Islander songs and is a poignant reminder of the remarkable contribution that Sculthorpe has made to the Australian soundscape.

Please make welcome our friends Adam Chalabi and Graeme Jennings who join us as guest violinists for the Relativity tour, following the recent departure of ASQ violinists Kristian Winther and Ioana Tache. Kristian and Ioana have been valued members of the ASQ family and we offer them both our best wishes for their future endeavours.

In 2015, we are excited to welcome some of Australia’s finest chamber musicians to share our 30th Anniversary Year celebrations and we look forward to announcing the full program on the 1 December 2014.

Thank you for joining us.

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The Elder Conservatorium of Music is one of Australia’s oldest and most distinguished tertiary music schools. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts.

Home to the ASQ—our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.

Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts.

Visit our website to learn more about the program of events, and comprehensive range of undergraduate and postgraduate degrees available in a wide variety of specialisations.

music.adelaide.edu.au

Elder Conservatorium of Music

Delivering over 130 years of music excellence

Program

Dates

F A N N Y M E N D E L S S O H N String Quartet E-flat major P A U L S T A N H O P E Sea Chronicles P E T E R S C U L T H O R P E String Quartet no 13 Island DreamingF E L I X M E N D E L S S O H N String Quartet in A minor op 13

with guest artists Adam Chalabi, violin* Graeme Jennings, violin** Greta Bradman, soprano

P E R T H

Sunday 9 November St Hilda’s Anglican School for Girls

A D E L A I D E

Tuesday 11 November Adelaide Town Hall Pre-concert speaker Richard Chew

M E L B O U R N E Wednesday 12 November Melbourne Recital Centre, Southbank Pre-concert speaker Alistaire Bowler

S Y D N E Y Thursday 13 November City Recital Hall Angel Place Pre-concert speaker David Garrett

C A N B E R R A Sunday 16 November Gandel Hall, National Gallery of Australia

B R I S B A N E Monday 17 November Conservatorium Theatre, South Bank Pre-concert speaker Gillian Wills

* Appears courtesy of the University of Queensland and Tinalley String Quartet.** Appears courtesy of the Queensland Conservatorium, Griffith University.

The members of the Australian String Quartet are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts. The instruments are currently on loan to the Australian String Quartet from Ulrike Klein, Maria Myers and Ngeringa Arts.

In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity.

Already through the generosity of the Klein Family and other donors, Ngeringa Arts has acquired the viola. Its next priority is the cello, which is the most valuable of the set. Crafted in 1743 it is one of his finest and was featured in an international exhibition in Parma, Italy to celebrate the 300th anniversary of Guadagnini’s birth.

The Klein Family Foundation has pledged $640,000 and the James and Diana Ramsay Foundation a further $510,000 over three years and a group of donors have so far contributed $87,000. This leaves a further $593,000 to be raised in order to reach the purchase price of $1.83M. History-making endeavors like this are born from passion. To succeed, Ngeringa Arts needs the involvement of visionaries who understand the significant cultural value in a collection of this calibre. The Board of Ngeringa Arts recognizes and thanks the following patrons who have each made a significant contribution to this project

Klein Family Foundation

James and Diana Ramsay Foundation

Diana McLaurin

Joan Lyons

Mrs F.T. MacLachlan OAM

Mr H.G. MacLachlan

Hartley Higgins

David and Pam McKee

Ian and Pamela Wall

Richard Harvey

Jill Russell

Mrs S.T. McGregor

Lyndsey and Peter Hawkins

Jari and Bobbie Hryckow

Anonymous (1)

Please join Ngeringa Arts in building this extraordinary musical legacy. To donate go to www.ngeringaarts.com

For more information contactAlison BeareGeneral Manager, Ngeringa ArtsP (08) 8227 1277E Alison@ngeringaarts.com

Guadagnini Quartet Project

With a rich history spanning 29 years, the Australian String Quartet (ASQ) has established a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad.

One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years. The Quartet is frequently broadcast on ABC Classic FM and records regularly for public release.

The Quartet’s performance calendar for 2014 has comprised its National Season featuring four unique concert programs presented in Adelaide, Brisbane, Melbourne, Perth and Sydney; its own flagship festivals in the Southern Grampians and Margaret River; regional touring and prestigious invitations to collaborate with leading artists and organisations including a performance earlier this year with the Sydney Symphony Orchestra’s premiering of John Adams Absolute Jest at the Sydney Opera House.

Australian String Quartet

As advocates for Australian music, the Quartet delivers an annual forum for emerging composers and regularly commissions, showcases and records new Australian work. Its education program extends beyond workshops and masterclasses to include the Quartet Project – a national mentoring program for emerging quartets.

The members of the ASQ are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite Italian instruments were brought together through the vision of Ulrike Klein. The instruments are on loan to the Australian String Quartet for their exclusive use through the generosity of Ulrike Klein, Maria Myers and a group of donors who have supported Ngeringa Arts to acquire the viola.

Due to unforeseen circumstances, violinists Kristian Winther and Ioana Tache are unable to continue performing with the ASQ. We are pleased to confirm that ASQ violist Stephen King and cellist Sharon Draper will be joined by leading guest violinists for the quartet’s forthcoming concert programs, ahead of the ASQ’s appointment of its new members.

Graeme Jennings, violin

Australian violinist, violist, conductor, improviser and educator, Graeme Jennings is a former member of the legendary Arditti String Quartet (1994-2005). He has toured widely throughout the world, made more than 80 CDs, given over 300 premieres and received numerous accolades including the prestigious Siemens Prize (1999) and two Gramophone awards. Active as a soloist, chamber musician, ensemble leader and conductor, his repertoire ranges from Bach to Boulez and beyond. He has worked with and been complimented on his interpretations by many of the leading composers of our time. Graeme is a member of Australia’s internationally acclaimed new music ensemble ELISION as well as the San Francisco Contemporary Music Players, the Lunaire Collective and the Kurilpa String Quartet. He has performed as Guest Concertmaster of the Adelaide and Melbourne Symphony Orchestras and Guest Associate Concertmaster with the Sydney Symphony. He has also appeared as guest with the Kreutzer Quartet, the New Zealand String Quartet and the del Sol Quartet.

Having previously served on the faculties of Mills College, UC Berkeley and Stanford University, he was appointed Senior Lecturer in violin and viola at the Queensland Conservatorium Griffith University in 2009.

Adam Chalabi, violin

Adam Chalabi is currently first violinist of the Tinalley String Quartet and Associate Professor of Violin at the University of Queensland. Previously he held the role of Concertmaster of Orchestra Victoria before becoming its Artistic Director in 2013. In 2012, Adam held the position of Head of Strings at the Australian National Academy of Music.

Born in 1977, Adam completed his studies at the Royal Northern College of Music in Manchester under the tutelage of Maciej Rakowski.

Adam has performed in the Zuerich Chamber Orchestra, Camerata Bern and Orchestre de la Suisse Romande and more recently as Guest Concertmaster of Tasmanian Symphony Orchestra, Symphonieorchester Vorarlberg in Austria and the Suedwestdeutsches Kammerorchester Pforzheim in Germany.

Adam has performed the Bach, Vivaldi and Schnittke Concerti as a soloist with the Zuerich Chamber Orchestra as well as the Nielsen Violin Concerto and the Alban Berg Chamber Concerto.

Adam plays on an 1805 Joseph Panormo violin. He is also very grateful to have been supported by the Countess of Munster, Ian Fleming and Lawrence Atwell Charitable Foundations. He appears by kind permission of the University of Queensland and Tinalley String Quartet.

Guest artists

Susan Dimasi, designer

ASQ cellist Sharon Draper and guest soprano Greta Bradman are dressed courtesy of MaterialByProduct for the Relativity tour.

Established in 2003 by Designer & Artisan Susan Dimasi, MaterialByProduct (MBP) is a Luxury Goods House with an iconic language that occupies a unique position at the nexus of fashion, art, design and culture. Highly sought after, envied and even copied, MBP has compiled an impressive inventory of collaborations, commissions and exhibitions that have cultivated a cult like following of cultural influencers and engaged patrons of fashion.

Central to the House is the MBP Enactment, a proprietary performance experience that presents seasonal collections within private spaces, art galleries, museums and major institutions around the world. MBP Enactments engage a select and highly curated group of guests to participate in a ritualised routine of dressing and undressing that draws upon choreography, film and the spoken word to deliver an immersive sensorial experience.

“If I wasn’t a fashion designer I would be a musician. I love the ephemeral nature of music. I think that is why I am more satisfied by seeing my fashion on the moving body than on a hanger.” Susan Dimasi

Greta Bradman, soprano

Greta Bradman is an award-winning Australian soprano, known for her unique sound, extraordinary range and captivating, effortless performances on the concert and opera stage. She has recorded for Sony Music, ABC Classics and independently, is an ARIA nominee and a 2013 recipient of the Australian International Opera Award. Other recent awards include being second prize winner at the 2013 Barry Alexander International Vocal Competition (NYC), critics’ choice awards including APRA/AMCOS and Limelight awards.

Greta has completed a Bachelor of Music Degree at the Elder Conservatorium, a fellowship from the Australian National Academy of Music and will study at the Wales International Academy of Voice under the tutorage of Dennis O’Neill.

Alongside a passion for grand opera and symphonic and ensemble works and with a vast existing repertory, Greta is an ardent supporter of contemporary Australian composers; many have chosen to write for her including Peter Sculthorpe, Ross Edwards, Betty Beath, Paul Stanhope, Katy Abbott, Calvin Bowman, Carl Crossin and Quentin Grant.

Fanny Mendelssohn (1805-1847) String Quartet in E flat Adagio ma non troppo Allegretto Romanze Allegro molto vivace

Four years older than her brother Felix, Fanny Mendelssohn also enjoyed the advantages of her father’s support, playing along with Felix in the concerts at the Mendelssohns’ Berlin home, that their father had instituted in 1822, and which featured musicians from the Court Orchestra. Like Felix, Fanny was encouraged to compose; as children they made a game of composing ‘songs without words’, which would of course become a trademark genre of Felix. But Fanny was, needless to say, disadvantaged by virtue of being female, and it was clearly understood that a professional career in music would be expected of Felix, but forbidden to her.

Nonetheless, after marrying the Prussian court painter Wilhelm Hensel in 1829, she presided over, and performed in, a musical salon at her home, for which much of her music was composed. She, also like Felix, was interested in reviving older music, and often featured work by then unfashionable composers such as Mozart and Handel.

Her 1834 String Quartet immediately declares its allegiance to the Baroque world of Handel in rejecting the accepted Viennese design of fast outer movements with a songful adagio and dance-like

Fanny Mendelssohn

scherzo within. This work, rather, derives from the Baroque sonata da chiesa. Despite its name (‘church sonata’) such works had no religious connotations, but they did use movement-titles descriptive of their tempo, rather than the secular dance forms of the sonata da camera (chamber sonata).

Mendelssohn’s musical language is by no means archaic, but nevertheless shows profound gratitude for the music of the past. The Adagio begins with brooding harmonies but soon unfolds in a leisurely counterpoint that comes from Handel via Mozart. The Allegretto has a scherzando feel to it at first, with numerous witty touches, but soon begins a febrile counterpoint featuring neo-Baroque harmonic sequences and a wide range of contrasts of colour. It is deliberately inconclusive, leading straight into the Romanze; the title refers to a song whose subject was usually love (requited or otherwise), or an instrumental work, such as either of Beethoven’s Romances for violin and orchestra, that cultivates a similar atmosphere. The ‘narrative’ is often expressed by the free movement of the music between major and minor modes. The energetic finale evokes both the Beethovenian scherzo and the Gigue with which so many Baroque suites conclude. It has a wild momentum and uses a forceful rhetoric of percussive repeated notes and a complex chromatic harmony.

© Gordon Kerry 2014

2014 International Touring Partner of the Australian String Quartetriotinto.com

Paul Stanhope (b.1969) Sea Chronicles (1998) Five Songs for soprano and string quartet Song I – The Nightingale / Sea Chronicles Song II – By the SeaSong III – Life SaverSong IV – UntitledSong V – The Swimmer

Sea Chronicles is a song cycle for soprano and string quartet which celebrates various dimensions of our coastal environment. For Australians, the coast and ocean have an iconic place in our collective conscience with associations of leisure, relaxation, open-ness and possibility and also of terrifying power. Most of the texts in this piece (all by Australian poets) emphasize the celebrative and reflective qualities of the sea rather than following the European tradition of the sea as a metaphor for human struggle.

Paul Stanhope

Most of the songs simply present images of the sea – pictures, in fact, for contemplation. The text of the central third movement, while also painting a vivid picture, has a stronger sense of narrative than the other texts: it plays out the drama of a Lifesaver who dies in the course of rescuing others. The Lifesaver can be viewed as a Christ-like figure (suggested by a veiled reference to the Bach chorale “O Sacred Head Sore Wounded” in the central slow section) who sacrifices himself as an upholder of the Australian coastal lifestyle. Sea Chronicles thus examines the notion of danger as being an essential part of the beauty and attraction of the sea.

© Paul Stanhope 2008

2014 International Touring Partner of the Australian String Quartetriotinto.com

Peter Sculthorpe (1929 - 2014) String Quartet no 13 Island Dreaming for mezzo-soprano and string quartet

It was only in 1989, after completing his major orchestral work Kakadu (1988), that Sculthorpe paid his first actual visit to Kakadu National Park (named after the Indigenous Gagudju people) in the far north of Australia’s Northern Territory. He wrote soon afterward: ‘Looking out across the great floodplains there, I could see abandoned sites of early white settlement, the Arafura Sea, Torres Strait, and, in my imagination, the islands of Indonesia. The musics of these places, and of Kakadu itself, fused in my mind.’ This visit to Kakadu and important Indigenous cultural locations within it – Nourlangie, Ubirr, and Jabiru – inspired a new series of works related by their buoyant tempos and ritual-like rhythmic structures, including the guitar concerto Nourlangie (1989) and the String Quartet no 11 Jabiru Dreaming (1990).

Unique in Sculthorpe’s 18 quartets, this 13th String Quartet adds a fifth vocal part to the usual string foursome (as does Schoenberg’s Second Quartet). The single-movement work was first performed in Paris in December 1996 by the London-based Brodsky Quartet, who commissioned it, with Swedish mezzo-soprano Anne Sofie von Otter. She was there to sing Sculthorpe’s setting of words compiled from old and modern Torres Strait Islander songs. Like many of the Indigenous work songs of the islands, its subject is the reefs and boats, as well as the winds and stars,

Peter Sculthorpe

both of which are used in navigation. With its invocations of the morning star, Venus (Waia!), coming ‘home from windward’ (i.e. rising in the east), precursor of the sun, it is also a type of dawn song. Sculthorpe sets these words to two different types of music. Opening the song, and again forming a contrasting central episode, are short minor-sounding ‘night’ sections marked misterioso, with the voice low and darkly coloured, and beginning with words in one of the traditional languages: ‘I-ma-na-we Ma-lu’. The upper strings play insect and bird (gull-like) sounds and the cello sets up a strange, unsettled ostinato in 10/8 time. Both misterioso sections lead into longer major-sounding ‘dawn’ sections. In the first of these, marked Poco estatico, the voice sings the faster moving melody while the first violin plays a slower moving sustained descant that drifts above. Then, in the second, marked Molto estatico, the roles are reversed, and the first violin plays the melody and the voice sings the soaring descant, while the lower strings carry on their hypnotic ostinato pattern-making below.

See, the dark water! See, the deep water! The morning star, shines from afar: Waia! The morning star, home from windward, Shines from afar, home from windward, Waia! Come, let us row, where waters run! Come, let us go, to reef and sun. Low tide, tide low, high tides soon flow. Waia!

© Graeme Skinner 2014

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Felix Mendelssohn (1809 - 1847) String Quartet in A minor op 13 Adagio - allegro vivace Adagio non lento Intermezzo: allegretto con moto - allegro di molto Presto - adagio non lento

In his book of the same title, Charles Rosen calls them the ‘Romantic Generation’: Mendelssohn, Schumann and Chopin, all born – in very different circumstances – within a year of each other. Mendelssohn was the eldest, born in1809 to a wealthy Jewish banker (who later converted to Lutheran Christianity). Mendelssohn’s love of the Baroque and classical periods would have far reaching effects on his own music and his career as a conductor, and make him seem, misleadingly, the most conservative of the Romantic Generation.

Keen to support the musical talents of his children, in 1822 Abraham Mendelssohn initiated a series of Sunday concerts at the family home where Felix and his brilliant sister Fanny would perform with paid members of the Court Orchestra; the young composer thus had a laboratory for developing his precocious compositional talent as well.

The String Quartet op 13 was written in 1827 during his summer vacation from the University of Berlin, where his mother hoped he would get an education ‘so rare in musicians’. Beethoven had recently

Felix Mendelssohn

died, and Mendelssohn had obviously understood the importance of the late Beethoven quartets more than many of his contemporaries. This work shows a number of subtle influences from Beethoven’s opp 95, 74, 130 and 132 without, however, sounding derivative. Like Beethoven, Mendelssohn is able to create moments of extraordinary grace out of seemingly no material, and as in late Beethoven there is a fruitful tension between the popular and the ‘learned’. Mendelssohn shows his mastery of fugue, for instance, but can then write the simplest melody and accompaniment as in the Intermezzo, which is itself balanced by a shimmering Trio section that recalls the fairy music from the ‘Dream’ overture. The whole work, more interestingly, is derived from the melody of his song ‘Frage’, Op.9 No.1, known also as Ist es wahr? – Is it true?. The first three notes of the song form a characteristic ‘motto’ theme like Beethoven’s ‘Muss es sein?’ which is heard, transformed, in all four movements.

Just how Beethovenian the second Quartet is was brought home to the composer some years later when he attended a performance of the work in Paris. The man next to him at one point said ‘He has that in one of his symphonies.’ When asked ‘Who?’ the man replied ‘Beethoven, the composer of this quartet’. In a letter home Mendelssohn described it as ‘a very dubious compliment.’

© Gordon Kerry 2009

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PROUD SPONSORS OF THE AUSTRALIAN STRING QUARTET

Experience the exceptional comfort of the Mercure Perth and ibis Perth hotels, both conveniently located within Perth’s vibrant city centre.Turn your evening into an occasion with great value rates at accorhotels.com

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ASQ Festivals

M A R G A R E T R I V E R W E E K E N D O F M U S I C

Fri 17 – Sun 19 April 2015

D U N K E L D F E S T I V A L O F M U S I C

Fri 10 – Sun 12 April 2015Sun 12 – Tue 14 April 2015

For more information visit asq.com.au or call on 1800 040 444

Escape to the truly magical surrounds of Dunkeld in the Southern Grampians of Victoria or the Margaret River region in Western Australia for three days of exquisite chamber music, indulgent dining and fine wines.

The ASQ’s flagship regional festivals present the Quartet alongside leading guest artists in a diverse program of chamber music. Set in charming regional venues and complemented by the regions finest fare, these festival events are a highlight in the Australian String Quartet’s calendar.

Make an ASQ festival part of your travel plans for 2015 and savour the music.

$350,000+Allan Myers AO & Maria Myers AO$250,000+Klein Family Foundation$50,000+Clitheroe FoundationRichard & Tess Harvey AMLyndsey & Peter HawkinsHunt Family FoundationNorma LeslieMichael LishmanThe Ian Potter Foundation$30,000+Mr Philip BaconNicholas & Elizabeth CallinanJanet & Michael HayesDavid & Pam McKeePeter & Pamela McKeeThyne Reid Foundation$15,000+Mrs Diana McLaurinWright Burt Foundation$10,000+Josephine DundonAngela FlanneryJoan LyonsMacquarie Group FoundationP. M. MenzRobert Salzer Foundation$5,000+Berg Family FoundationJohn ClaytonHilmer Family FoundationKeith Holt & Anne FullerM & F Katz Family FoundationMr Robert KenrickKevin Long

Skye McGregorThe Late Elisabeth Murdoch AC DBEJohn O’HalloranMrs Jane PorterTony & Joan SeymourPeter & Melissa SlatteryNigel Steel ScottGary & Janet Tilsley$2,000+Don & Veronica AldridgePeter AllanBernard & Jackie BarnwellGraham & Charlene BradleyHillier Carter PropertiesRic Chaney and Chris HairJohn & Libby ClappGeoff ClarkDr Peter CliftonDavid Constable AMMaurice & Tess CrottiDr Neo DouvartzidisMichael J DrewMargaret FlatmanJohn Funder & Val DiamondDr E.H & Mrs A. HirschAnita Poddar & Peter HoffmannJanet Holmes à Court ACLynette and Gregory JaunayMr S JohnsRenata & Andrew KaldorKevin & Barbara KaneMichael & Susan KiernanThe Hon Christopher Legoe QC & Jenny LegoeHugh & Fiona MacLachlan

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David & Kate BullenPam CaldwellCaptain & Mrs D P ClarkeNo AcknowledgementPeter Clemenger AO & Joan ClemengerCaroline & Robert ClementeIan CochraneDavid CookeColin & Robyn CowanRobin Crawford & Judy JoyeMarie DalzielJiri & Pamela FialaPhilip Griffiths ArchitectsProfessor Keith HancockDr Penny Herbert in memory of Dunstan HerbertHiggins Coatings Pty LtdJim & Freda IrenicKevin & Barbara JarryNeil J JensBrian L Jones OAMRod & Elizabeth KingHon Diana Laidlaw AMKeith & Sue LangleyDavid & Anne MarshallHE & RJ McGlashanDG & KC MorrisVictor & Barbara MulderDonald Munro AM & Jacquelyn MunroKen NielsenLady Potter ACJohn & Etelka RichardsChris & Fran RobertsJill RussellJeanette Sandford-Morgan OAMMichael & Chris Scobie

The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contribution remains anonymous. The following donations reflect cumulative donations made from 2008 onwards.

The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444.

Donors

Antony & Mary Lou SimpsonDick and Caroline SimpsonPamela and Tony SlaterCarl VineNicholas WardenTed & Robyn WatersPamela YuleFay Zaikos$500+David & Elaine AnnearTerrey & Anne ArcusProf. Margaret ArstallMrs J BeareGC Bishop & CM MoronyStephen BlockJohn & Christine ChamberlainMary Rose & Tim CooneyAlan Fraser CooperRae De TeligaRon DyerMartin DykstraMrs Helen GreensladeAngela GrutznerJean HadgesDr & Mrs G C HallGerard & Gabby HardistyTim & Irena HarringtonGraeme HarveyMary HaydockMr Hartley HigginsDr Anthony & Emily HortonAndrew & Fiona JohnstonPeter JoplingRose KempStephen & Kylie KingDavid LeeceEdwina LehmannMs Rose McAleerAlison McIntyreJohn McKay and Claire BrittainJames McLeodIan & Margaret MeakinDr Colin E MooreJenny NicolTerry & Pauline O’BrienLeon & Moira PericlesBasil PhillipsGraham & Robyn ReaneyEllen & Marietta ResekM Resek

Peter RushDeborah SchultzSandra StuartJames SymeSimon & Rosita TrincaPeter WilkinsonJenny Wily & Adrian HawkesPat & Rosslyn Zito$100+Marion R AllenJulie AlmondBill AndersonSusan ArmitageNo AcknowledgementSylvia BacheMerrawyn BagshawJohn BaldockPatricia BarkerJoy Barrett-LennardMrs Jillian BeareMr & Mrs Peter & Alison BeerWendy BirmanMichael BlandProfessor John BradleyDavid BrightMax & Elizabeth BullPip BurnettChris & Margaret BurrellAlastair & Sue CampbellTim & Lyndie CarracherDon CarrollMrs Ann CastonRichard and Lina CavillMax and Stephanie CharlesworthGreg Coulter & Carolyn PolsonMrs Margaret Daniel OAMSusan DavidsonMrs Daphne DaviesBruce DebelleMary DraperGraham DudleyDr H EastwellMrs Alexandra ElliottMrs Charlotte EnglandSusan FallawPhilip & Barbara FargherMrs Judy FlowerMr John ForsythPamela FoulkesBill & Penny Fowler

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P R O J E C T P A R T N E R S

C O R P O R A T E C I R C L E

THYNE REID FOUNDATION

SPORTSMED SA

IAN POTTER FOUNDATION

ROBERT SALZER FOUNDATION

Major Sponsor

Government Supporters

Major Patrons

Leader Sponsor Violist Sponsor Cellist Sponsors

PHOTOGRAPHY BY JACQUI WAY & ARTWORK BY SUE NINHAM COURTESY OF BMG ART

Join the Australian String Quartet for its 30th Anniversary celebrations

Full details available 1 Decemberasq.com.au

Quartet-in-Residence The University of Adelaide SA 5005 Australia

T 1800 040 444 (Freecall) F +61 8 8313 4389 E asq@asq.com.au W asq.com.au Facebook.com/AustralianStringQuartet Twitter.com/ASQuartet

A S Q B O A R D

Paul Clitheroe AM (Chair) Alexandra Burt Nicholas Callinan Janet Hayes Ulrike Klein Paul Murnane Maria Myers AO Susan Renouf Jeanette Sandford-Morgan OAM Angelina Zucco – Executive Director