BACH’S - Amazon Web Services Prelude and Scherzo, Op.11 TCHAIKOVSKY (arr. strings) Souvenir de...

BACH’S CHRISTMAS ORATORIO

The most exhilarating concert of the year. – SYDNEY MORNING HERALD

Intensely personal and poetic. – THE AUSTRALIAN

Richard Tognetti DirectorChoir of LondonNicholas Mulroy Evangelist

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3 – 10 DECEMBERMelbourne, Brisbane, Canberra, Sydney

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TBM0008 ACO FPC 240x150 v09.indd 1 19/01/2017 12:35 pm

BACH’S CHRISTMAS ORATORIO

The most exhilarating concert of the year. – SYDNEY MORNING HERALD

Intensely personal and poetic. – THE AUSTRALIAN

Richard Tognetti DirectorChoir of LondonNicholas Mulroy Evangelist

TICKETS FROM $59*

3 – 10 DECEMBERMelbourne, Brisbane, Canberra, Sydney

*Booking fee of $7.50 applies to all bookings

JWS & THE ACO:CONTINUALLY REACHING NEW HEIGHTS

Overseas model shown

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8 Australian Chamber Orchestra

Message from the Managing Director

Richard Tognetti and Pekka Kuusisto offer completely different approaches to directing the orchestra, however both strive to achieve perfection as they coax colour, emotion and energy from the ACO and ACO Collective forces.

The program you are reading tonight serves to introduce you to two final concerts at the magnificent Melbourne Recital Centre for 2017, the ACO in Souvenir de Florence, and ACO Collective in Night Music. Both of these programs are a wonderful contrast to one another, and a perfect way to complete another year of ACO music-making in Victoria.

Souvenir de Florence covers ACO heartland repertoire: from Olli Mustonen’s lyrical Nonet No.2 to Shostakovich’s Prelude and Scherzo, Op.11, a musical obituary to a dear friend; from Richard Tognetti’s stunning arrangement Beethoven’s epic Grosse Fuge, to Tchaikovsky’s musical postcard, a fresh and tuneful tribute to Florence.

And Night Music, as the name suggests, is about works either composed for the evening or thereabouts with music by Dvorák, Mozart and Peteris Vasks. This concert also showcases the dazzling talent of some Australia’s brightest young stars at the beginning of their careers. Standing alongside their ACO mentors, ACO Collective takes to the stage, under the stewardship of Pekka Kuusisto, now in his second year as Collective’s Artistic Director.

The ACO’s tour of Europe in November sees the Orchestra playing in Dubai, London, Helsinki, Espoo, Munich, Zurich and Vienna, culminating in a performance for His Royal Highness Prince Charles at Buckingham Palace. I’d like to thank the unstinting support from our staff and supporters who worked to make this trip so uniquely successful.

I thank Virgin Australia, the ACO’s Principal Partner, whose extraordinary generosity and vision continues to ensure our national orchestra remains just that: equipped to travel all over the country and around the globe. Similarly, I acknowledge Wesfarmers Arts, longstanding supporters and now in their second year as Principal Partner of ACO Collective. Thanks to them both for their passion and commitment to the Arts, and specifically the Australian Chamber Orchestra.

If you are yet to buy a subscription and tickets for friends for 2018, I suggest you get on to that straight away. I look forward to seeing you all in the New Year.

Richard Evans

2017 National Concert Season 9

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An adventure to be shared this festive season

Melissa Barnard – Cello


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“I’m all for giving beautiful experiences. After all, how many of us need more trinkets or ties come Christmas time?”

– MELISSA BARNARD

*Prices vary according to venue and price reserve. Booking fee of $7.50 applies for every transaction. Subject to availability.

An adventure to be shared this festive season

Melissa Barnard – Cello

Wednesday 25 October

Souvenir de Florence

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

Richard Tognetti Director & Violin

Australian Chamber Orchestra

OLLI MUSTONEN Nonet No.2 I. Inquieto II. Allegro impetuoso III. Adagio IV. Vivacissimo

BEETHOVEN (arr. Richard Tognetti) Grosse Fuge, Op.133 Overtura. Allegro – Meno mosso e moderato – Allegro. Fuga

I N T E RVA L 2 0 M I N U T ES

SHOSTAKOVICH Prelude and Scherzo, Op.11

TCHAIKOVSKY (arr. strings) Souvenir de Florence, Op.70 I. Allegro con spirito II. Adagio cantabile e con moto III. Allegretto moderato IV. Allegro vivace

APPROXIMATE DURATION (MINUTES)

15

16

| |

34

10

The concert will last approximately one hour

and 45 minutes, including a 20-minute interval.



aco.com.au/flexi

*Prices vary according to venue and price reserve. Booking fee of $7.50 applies for every transaction. Subject to availability. Timo-Veikko Valve – Principal Cello


aco.com.au/flexi

*Prices vary according to venue and price reserve. Booking fee of $7.50 applies for every transaction. Subject to availability. Timo-Veikko Valve – Principal Cello

MOZART Eine kleine Nachtmusik, K.525I. Allegro II. Romance: Andante III. Menuetto: Allegretto IV. Rondo: Allegro

DVORÁK Serenade for Strings in E major, Op.22I. Moderato II. Tempo di Valse III. Scherzo.Vivace IV. Larghetto V. Finale. Allegro vivace

I N T E RVA L 2 0 M I N U T ES

DVORÁK Nocturne in B major, Op.40

PETERIS VASKS Concerto for Violin and String Orchestra Distant Light

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

Night Music

Pekka Kuusisto Director & Violin

ACO Collective

Wednesday 6 December

APPROXIMATE DURATION (MINUTES)

16

27

| |

32

7

The concert will last approximately one hour

and 50 minutes, including a 20-minute interval.


The Program

SOUVENIR DE FLORENCEThis concert is quintessential ACO. From contemporary to classical, from swoonful to energetic, this is the Orchestra performing its core repertoire.

Tchaikovsky’s last chamber work, the string sextet Souvenir de Florence, is an energetic and typically tuneful tribute to the Tuscan city of Florence. The combination of Italianate charm and Russian vigour make it, in this realisation, one of the great showpieces of the string orchestral repertoire.

Olli Mustonen, a regular guest and one of the ACO’s most popular performers, is now equally admired as a composer. His Nonet No.2 was given its first performance by the ACO in 2001 and it became an instant hit.

Rounding out the program is Shostakovich’s Prelude and Scherzo, a wistful and heartfelt tribute to his friend, the poet Volodya Kurchavov; and Beethoven’s monumental Grosse Fuge (Great Fugue).

‘Great’ doesn’t seem to fully articulate what this fugue is. At the time of its composition, such was its ‘greatness’ that Beethoven was persuaded by his publisher, along with many critics, that it was too much and that he needed instead something far less intense and elaborate. So, for many years, his string quartet, Op.130, had a more conventional finale.

In her poem, “Little Fugue”, Sylvia Plath wrote about the Grosse Fuge:

He could hear Beethoven: Black yew, white cloud, The horrific complications. Finger-traps—a tumult of keys.

While Plath’s poem is about relationships and our perception of them, ‘horrific complications, ‘finger traps’, ‘a tumult of keys’ are perfect words to describe Beethoven’s Grosse Fuge.

PICTURED: Olli Mustonen

PICTURED: Ludwig van Beethoven

PICTURED: Dmitri Shostakovich

PICTURED: Pyotr Ilyich Tchaikovsky


PICTURED: Olli Mustonen

Photos by Outi Montosen

The Music

OLLI MUSTONEN Born Helsinki 1967

NONET NO.2

Composed 2000

I. Inquieto II. Allegro impetuoso III. Adagio IV. Vivacissimo

Olli Mustonen’s music has attracted all the labels that tonal composers usually have plastered upon them, at various times being classified as neo-baroque, neo-classical and neo-romantic! But these attempts to fit him to a convenient category miss the point altogether: Mustonen’s motivation to compose stems from a desire to make connections – with the musicians who perform his music, the audiences who hear it and with the great tradition of composers of the past.

Mustonen’s personal sense of this tradition extends – like a ‘red cord’ – from the central inspiration of JS Bach, whose artistic mastery of contrapuntal invention has given impetus to innumerable creative musicians over centuries. This compelling force attracts Mustonen to composers such as Hindemith, Stravinsky and Shostakovich, with whom he shares an appreciation of the continuing power, and seemingly endless capacity for renewal, of tonality and the polyphonic tradition. Between such figures, with their vivid contrasts of personality and style, a sense of unity may be found, expressed in a conversation in which each composer draws in elements of contemporary style and expression, but never conceals or discards a deep feeling for the endless fascination of tonality.

To this tradition, Mustonen brings a sensibility that is born from his ‘very Finnish’ personal identity. Finland’s natural world, language and culture provide Mustonen with his sense of place – deeply connected with nature’s presence but at the same time relishing the comforts and pleasures of community. Finns feel ‘surrounded by wilderness, but also not far from the settled world,’ and in this sense, we Australians may feel a recognition too, surrounded as we are by a vast wilderness, but clinging to the comforts and security of our urban environment.


Mustonen has worked with orchestras including the Berlin Philharmonic, Chicago Symphony, Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra and the Royal Concertgebouw; and with conductors including Ashkenazy, Barenboim, Berglund, Boulez, Dutoit, Eschenbach, Harnoncourt, Salonen, Saraste, Tennstedt, and Vegh. In recital, he frequently plays in the world’s music capitals including London, Vienna, Paris, Tokyo and Berlin, and enjoys significant chamber collaborations with partners including Steven Isserlis and Pekka Kuusisto.

One of the world’s finest pianists, Olli Mustonen is also a prominent composer, who studied in his native Finland with Einojuhani Rautavaara. His musical language is firmly diatonic, and his preferred forms are those that hark back to

PICTURED: Olli Mustonen is one of the world’s finest pianists.


the 18th and 19th centuries. He began his studies in piano, harpsichord and composition at the age of five. His first piano teacher was Ralf Gothoni and he subsequently studied piano with Eero Heinonen and composition with Einojuhani Rautavaara.

Olli Mustonen has gained much attention as an idiosyncratic performer, taking a highly individual approach to well-known works. His compositions reflect a similar balance between tradition and innovation – old music done in a new way, perhaps, or familiar techniques put in a new light.

It’s tempting to hear much of this Nonet through a gauze of earlier composers, because their influences are overt. The Nonet No.2 dates from 2000 and is in four movements.

The opening is dominated by urgent repeated figures, with restless, pulsing rhythms and lines of angular lyricism that support increasingly extended lines. The second movement, Allegro impetuoso, is far more outspoken in terms of expression; and, as every Finnish composer is inevitably scrutinised for hints of Sibelius, it is in this movement that the older musician’s musical logic comes to the fore, in compound metre, perhaps evokes a folki-dance.

The slow movement, as long as the other three combined, achieves, like that of Schubert’s String Quintet, an almost immobile state with gently throbbing siciliana rhythms. This is dispelled by the fast finale, which begins with driving repeated notes in the upper strings. There is an abundance of vibrant echoes of folk instruments, folk rhythms and bells set against a background that may suggest the ‘white nights’ of a northern summer.

Mustonen dedicated Nonet No.2 to his parents, and it was first performed by the Tapiola Sinfonietta in a concert celebrating the tenth anniversary of the Tampere Hall (Finland).

…as every Finnish composer is inevitably scrutinised for hints of Sibelius, it is in this [second] movement that the older musician’s musical logic comes to the fore…

Mustonen’s compositions reflect a similar balance between tradition and innovation – old music done in a new way, perhaps, or familiar techniques put in a new light.


LUDWIG VAN BEETHOVEN Born Bonn 1770 Died Vienna 1827

GROSSE FUGE, OP.133

Arranged for strings by Richard Tognetti

Composed 1825

Just as Beethoven’s working life has been customarily packaged into three neat periods – unsurprisingly, early, middle and late – so too did his attention to the string quartet medium divide into three discrete phases. His set of six quartets, Op.18 was composed between 1798 and 1800, and the three Op.59 Razumovskys; the ‘Harp’ Op.74 and the ‘Serioso’ Op.95 came between 1805 and 1810.

Beethoven returned to quartet writing after a 12-year gap in response to an unassuming note from the Russian Prince Nikolas Galitzin, a young amateur cellist who had got to know the music of Haydn, Mozart and Beethoven when

PICTURED: Ludwig van Beethoven by Ferdinand Waldmuller, 1823.


PICTURED: Prince Nikolas Galitzin

briefly resident in Vienna. In a letter from St Petersburg on 9 November 1822, he enquired whether Beethoven would consider writing ‘one, two or three new quartets, for which labour I shall be glad to pay you what you think proper.’ He duly obliged with the full three, once the Ninth Symphony was complete: Op.127 in E-flat, written between 1822–5, Op.132 in A minor (late 1824–July 1825), and, the third to be written but with a lower opus number, the work in question here.

Op.130 was composed between August and November 1825, but a new finale was written a year later (it was to be his last completed work), and the quartet in its final form was only performed after Beethoven’s death, on 22 April 1827. For this concert, we are performing the ‘Grosse Fuge’, the original last movement of Beethoven’s Quartet Op.130, that was published separately by Matthias Artaria just weeks after Beethoven’s death, both as Op.133, and in a four-hands version as Op.134. Both were dedicated to the composer’s friend, patron and pupil, the Imperial Archduke Rudolph – the recipient previously of other dedications

‘I shall be glad to pay you what you think proper.’PRINCE NIKOLAS GALITZIN


…the medium gradually acquired a more public, professional profile.

PICTURED: Detail from the title page of the first edition of the Grande Fugue, published in Vienna by Matthias Artaria in 1827 (in French, using Beethoven’s French name ‘Louis’).

in significant works such as the ‘Emperor’ concerto, the ‘Archduke’ Trio and the Missa Solemnis.

Beethoven’s late quartets were written for a performance medium in a state of flux. The string quartet’s early history, from Papa Haydn and Mozart to Beethoven’s earlier sets, was firmly established in a private, amateur, music-for-chamber context. From 1823, with the afternoon concerts in Vienna’s ‘Zum Roten Igel’ tavern by Ignaz Schuppanzigh and his quartet, the medium gradually acquired a more public, professional profile. Accessibility increased exponentially with the quartet’s reputation as the most impressive vehicle for rational dialogue and compositional sophistication.

Interestingly, Beethoven wrote of the earlier Op.95 quartet (1810) to the British conductor-impresario Sir George Smart: ‘NB. The Quartet is written for a small circle of connoisseurs and is never to be performed in public’ – a somewhat extreme instruction, and one which has (happily) been consistently disobeyed since.

The shift of the string quartet’s status coincided with – and was affected by – the growing popularity of the piano. With its mechanical reliability and pivotal social function as an entertainment tool, this instrument effectively took over in the early-19th century as the main means and provider of amateur chamber music. Four-hand arrangements were made of quartets, in order that a new bourgeois musical public could absorb and replicate what was being


performed by the likes of Schuppanzigh’s quartet. And by return, a further demand for performances of the ‘real thing’ was set up.

Needless to say, Beethoven’s late quartets, after their initial performances, enjoyed almost total obscurity. Their sheer technical difficulties and ambitious designs gained them a reputation as being the incomprehensible, aberrant and disjointed finales of a man whose genius had taken him beyond his listeners’ capabilities. The words of Goethe in January 1827, just weeks before Beethoven’s death, sum this feeling up well:

It is amazing where the newest composers are heading, with technical and mechanical dimension raised to the very highest levels; their works end up no longer being music, for they go beyond the scope of human emotional responses and one cannot add anything more to such works from one’s own spirit and heart… For me, everything just remains stuck in my ears.

Put another way, Goethe was expressing the concerns linked to a period undergoing significant cultural transition; the shift from classicism’s harmonious, balanced relationship with itself and with nature, to one of asymmetry, subjectivity and romantic rebellion from nature. A quartet such as Op.130 was clearly ‘ahead of its time’, and its very modernity ushered in a previously undeveloped notion of progress and innovation per se in music. Beethoven delivered something marvellous and ungraspable; and it

PICTURED: A page from the lost manuscript of the Grosse Fuge in the composer’s version for piano four-hands, Op.134, written during Beethoven’s last summer in 1826.

PICTURED: Johann Wolfgang von Goethe by Stieler, 1828


was only decades later, when the myth of Beethoven as the ‘prophet’ of the 19th century, as the father of romanticism, was in full swing, that the late quartets became a shining beacon of progressiveness. With Wagner proclaiming them as the prototypes for a new means of musical and narrative space (thus implying the intensely dramatic, theatrical qualities of this supposedly ‘pure’ medium), the mystical reverence accorded to these works was never subsequently to be disputed.

Op.130 is the most structurally audacious of the three Galitzin quartets, with the original Op.133 Grosse Fugue to conclude the work, it is a six-movement work of hugely varying character. The massive Fugue – coming in at just under 20 minutes – brings the work to order with the severe authority one might expect of a work which brilliantly fuses ancient fugal practice with up-to-the-minute techniques of thematic transformation (in anticipation of the Romantic symphonic poem).

The French subtitle of the Grosse Fuge reads ‘Grande Fugue, tantôt libre, tantôt recherchée’ – in part free, in part studied or worked. The detail of this contrapuntal tour de force is of course utterly worked; and the overall design is rigorous, yet entirely free in its surging bounty of invention. In the way it grows from a theatrical ‘overtura’ to the jagged, quasi-baroque ‘fuga’, then relaxes somewhat in the moderato section, only to re-energise for the 6/8 Allegro – stuffed with key and further tempo changes and the pervasive trill motif – this Grosse Fuge virtually redefines all notions of how grand and imposing a finale can be. Like the last movement of the Ninth Symphony, an overall structure breaks down into linked substructures, making it here a colossal fugal concerto for strings.

Those at the March 1826 premiere failed to cope with its dimensions, and Beethoven was persuaded, somewhat unusually, to replace it with a more modest finale. Only in the last 100 years or so has the Grosse Fuge been reintegrated in performance with its sibling movements; and with full string forces in this arrangement, its powerful dimensions can be fully, justly realised.

PICTURED: Karl Holz, violinist and confidante of Beethoven. Holz was second violinist in the quartet that debuted the Grosse Fuge, and was charged with the task of convincing Beethoven to separate the fugue from the rest of the quartet, Op. 130.

...the mystical reverence accorded to these works was never subsequently to be disputed


DMITRI SHOSTAKOVICH Born St Petersburg 1906 Died Moscow 1975

PRELUDE AND SCHERZO, OP.11

Composed 1924–5

Though Shostakovich’s legacy as a composer of chamber music rests largely on his 15 string quartets, which have enshrined him as one of the few great quartet composers of the 20th century, his first work in the genre did not come until 1938, when he was 32 years old and already recognised as a major composer on the strength of several symphonies and various works for the stage. But Shostakovich demonstrated an interest and facility in chamber music much earlier in his career, writing three pieces for small forces during the first half of the 1920s while still in his student years at the Leningrad Conservatory: the Piano Trio No.1, Three Pieces for Cello and Piano (now lost), and the present Prelude and Scherzo, Op.11.

PICTURED: Dmitri Shostakovich


Opus 11 owes its unusual form and format to the indecision of its composer and the halting nature of its composition. In December 1924, in the midst of his work on the Symphony No.1, Shostakovich received word that his close friend Volodya Kurchavov had died of typhoid fever. In response, the teenage composer set aside his symphony to write the Prelude, which he dedicated as a memorial to Kurchavov. Shostakovich also began a fugue that was to follow the Prelude as part of a five-movement suite, but before getting any farther, he changed his focus back to the symphony. He finally returned to his chamber piece only after completing the First Symphony the following summer, and by this time the idea of a lengthy suite no longer appealed to him. He scrapped the fugue and paired the Prelude with a new Scherzo, allowing the two movements to stand on their own.

Composed for string octet (in the double-quartet instrumentation familiar from Mendelssohn’s own Octet), the Prelude and Scherzo, though brief, are highly energetic and emotionally intense, filled with incisive rhythms and sweeping gestures.

The Prelude, as befits its inspiration, is passionately mournful, moving quickly through a series of episodes divided into three sections. Tragic chords give way to descending melodies, eerie triplets, and hushed pizzicato, eventually ushering in the restless tossing and turning of the middle section. An earnest, despairing solo for violin begins the closing segment, reaching an emotional climax before the quietly dejected atmosphere of the opening returns to conclude the movement. In contrast, the Scherzo is all swirling motion and sharp edges. This is the music of Shostakovich the deliberate modernist, packed with dissonance and unusual effects, but still with a firm sense of drama and organisation. The composer was very happy with the Scherzo, calling it shortly after its completion ‘the very best thing I have written’.

…the Prelude and Scherzo, though brief, are highly energetic and emotionally intense, filled with incisive rhythms and sweeping gestures.


PYOTR ILYICH TCHAIKOVSKY Born Kamsko-Votkinsk 1840 Died St Petersburg 1893

SOUVENIR DE FLORENCE, OP.70

Composed 1890

Arranged for string orchestra

I. Allegro con spirito II. Adagio cantabile e con moto III. Allegretto moderato IV. Allegro vivace

The String Sextet Souvenir de Florence was Tchaikovsky’s last chamber work, and came a decade or more after his three String Quartets (1891, 1874 and 1878) and the much-loved Serenade for Strings (1880). An initial sketch was made between 13 and 30 June 1890, at the time that he was orchestrating his penultimate opera The Queen of Spades. A play-through in St Petersburg in November that year caused Tchaikovsky to rework the scherzo and finale in two successive periods over the next two years – at his home near Klin, 80 kilometres west of Moscow, and in Paris. The first ‘real’ performance was in St Petersburg on 6 December 1892, a fortnight before the premiere of the ballet The Nutcracker in the same city.

PICTURED: View of Florence, Italy


In a letter to his patron and friend-by-correspondence Nadezhda von Meck, Tchaikovsky said of the sextet that he ‘wrote it with the greatest enthusiasm and without the least exertion’ – light relief, apparently, from his efforts on The Queen of Spades. This idea of a work idly dashed off is rather at odds with some comments to his brother Modest in a letter written on 15 June 1890, two days into the work’s composition. He was, apparently, ‘writing with difficulty, handicapped by lack of ideas and the new form. One needs six independent but at the same time homogenous voices. This is frightfully difficult. Haydn never managed to conquer this problem and never wrote anything but quartets [for chamber music].’

It is interesting that the composer isolates Haydn, and doesn’t mention the distinguished efforts of others writing string chamber music for more than four players: the quintets of Mozart and Schubert, Mendelssohn’s Octet, the

PICTURED: Pyotr Ilyich Tchaikovsky

PICTURED: Tchaikovsky’s patron, Nadezhda von Meck

‘It is due to Mozart that I devoted my life to music. He gave me the first impulse in my efforts, and made me love it above all else in the world.’TCHAIKOVSKY


sextets of Brahms (1860 and 1865) and Dvorák (1878). And it is neat indeed that the same decade that began with Tchaikovsky’s sextet concluded with a very different work for the same forces, Schoenberg’s dark masterpiece, Transfigured Night.

The composer knew Florence well, having made three visits there in 1877, 1879 and 1890. During the last of these, an extended period, he worked on The Queen of Spades; and it was doubtless these recent experiences in the great Tuscan city that he wished to commemorate in his sextet. There is little explicitly Italian in the work however, and the folk-like tunes in the last two movements have a markedly more Russian flavour. But in spirit, the work has a freshness and charm that could easily conjure Florentine associations. Both the first movement’s sweeping second subject, marked dolce, espressivo e cantabile, and the conversational melody for violin, viola and cello that dominates the Adagio have a serenade-like feel to them. The second of these, with its plucked accompaniment, is further suggestive of the serenader’s mandolin.

This Adagio’s lyrical repose is broken up by a brief but remarkable central passage. With the players instructed to play at the tip of the bow, a sequence of triplet semiquavers form successive, punctuated phrases. Tchaikovsky’s dynamic markings are highly specific and extreme – crescendo from ppp up to p and the like – creating a delicate texture of scuttling mysteriousness. A similar lightness of touch comes in the central section of the following movement and in much of the final Allegro vivace: vigorous accents working against skipping staccato notes, a balletic finesse converging with the stomping energy of peasant dance.

As if to rein in some of this energy, Tchaikovsky turns the main rollicking tune of this finale into a fugue subject – with a certain disciplined success, until he concludes his Florentine tribute by cranking up the tempo and the volume (to ffff), for the final ecstatic bars.

…in spirit, the work has a freshness and charm that could easily conjure Florentine associations.


The Program

NIGHT MUSICSerenades are ‘night music’. The great Joseph Haydn once earned a living by playing in an ensemble who roamed the city streets, delighting, we assume, the inhabitants with their dreamy music.

But serenades also came to mean more specifically music for entertainment and refreshment.

This program has many of the very finest examples of ‘night music’, not least of which is Wolfgang Amadeus Mozart’s Eine kleine Nachtmusik.

It almost didn’t survive. However, were it not for the quick thinking (and, of course, mercenary nature) of Mozart’s wife Constanze, Eine kleine Nachtmusik, rather than being added to a pile of rubbish, Constanze made sure it was part of a bulk lot of Mozart’s compositions for sale and/or publication and thus its preservation was secured. It has, of course, gone on to become one of the most well-known, and beloved of works.

This concert’s narrative is most certainly night time. Both Mozart’s and Dvorák’s most famous serenades were both written explicitly for evening performance and Nocturne literally means ‘for night time’.

But far from putting you to sleep, this is a concert of depth, hypnotic beauty and lilting tenderness. Peteris Vasks’ luminous violin concerto, performed by ACO Collective Artistic Director Pekka Kuusisto, and accompanied by the remarkable ACO Collective itself, is the perfect finale for this soporific night-time adventure.

PICTURED: Wolfgang Amadeus Mozart

PICTURED: Antonín Dvorák

PICTURED: Peteris Vasks

PICTURED: Detail from Carl Spitzweg’s painting, Serenade


PICTURED ABOVE: Constanze Mozart by Hanson, 1802

WOLFGANG AMADEUS MOZART Born Salzburg, 1756 Died Vienna, 1791

EINE KLEINE NACHTMUSIK, K.525

Composed 1787

I. Allegro II. Romance: Andante III. Menuetto: Allegretto IV. Rondo: Allegro

Mozart’s ‘little serenade’ hardly requires introduction or special pleading. It is simply one of the most famous and best-loved works by the most famous and best-loved of composers. Mozart himself apparently didn’t consider it worth publishing: it was sold as a mixed bag of papers by his widow Constanze in 1799 and only published in 1827. We can thank Constanze Mozart’s tireless efforts in promoting her husband’s music for Wolfgang’s ‘canonisation’; it also got her out of hock after he died.

PICTURED RIGHT: Posthumous portrait of Mozart by Barbara Krafft


Mozart had, however, bothered to enter the piece (dated 10 August, 1787) in a catalogue he’d prepared for his own reference where he gave it the Germanised title we know and love. The lilt of the phrase ‘Eine kleine Nachtmusik’ definitely adds something to the appeal of the work, and a touch of nocturnal mystery, but it would have been quite prosaic to Mozart: a short serenade, in contrast to some of his other serenades like the famous one for winds (the Gran Partita in B-flat major, K.361) which lasts about an hour. For the eighteenth-century listener, the serenade had connotations of evening time (in Italian, sera) frivolity. Mozart probably would be surprised to learn that we were sitting down politely and seriously listening to his serenades in the formal environment of a concert hall. We should be in the salon, drink in hand, enjoying it as background music at an aristocratic party.

Eine kleine Nactmusik (1943) by Dorothea TanningIt’s about confrontation. Everyone believes he/she is his/her drama. While they don’t always have giant sunflowers (most aggressive of flowers) to contend with, there are always stairways, hallways, even very private theatres where the suffocations and the finalities are being played out, the blood red carpet or cruel yellows, the attacker, the delighted victim...

At night one imagines all sorts of happenings in the shadows of the darkness. A hotel bedroom is both intimate and unfamiliar, almost alienation, and this can conjure a feeling of menace and unknown forces at play. But these unknown forces are a projection of our own imaginations: our own private nightmares.

The lilt of the phrase ‘Eine kleine Nachtmusik’ definitely adds something to the appeal of the work, and a touch of nocturnal mystery


Like Mozart’s other serenades, Eine kleine Nachtmusik is ‘occasional’ music, composed on commission for a particular event the nature of which is lost to history. Most of Mozart’s serenades are intimate and call for a relatively modest number of instruments but Eine kleine Nachtmusik is especially minimal and, unusually, scored for strings only, just two violins, viola and cello with optional double bass, so it can be played by a string quartet, quintet or orchestra. The other serenades are for winds, better suited to outdoor playing. To thicken what might be an otherwise wiry sonority, Mozart uses techniques like double and triple stopping, busy textures, and the whole group in unison in the rising arpeggio fanfares that open the piece, which also uses an attention-grabbing virtuoso gesture known as the premier coup d’archet.

The first movement unfolds in a textbook sonata form: an exposition of two contrasting themes, a tension-building move to a related key in the development (where one of the themes undergoes transformation and variation) and finally the recapitulation where both themes return and find a rapprochement. As academic as it sounds on paper, this movement is anything but in performance where its bustle and energy carry us effortlessly through the argument. The slower Romance features one of Mozart’s most beguiling tunes, and one of the few true intimations of night comes in its central C-minor passage, where a scrap of an ornamental figure is developed with a slightly obsessive quality. The courtly Frenchified Menuet uses a trick called a hemiola for a rhythmic twist, undermining the prevailing three-pulses-in-a-bar (like a waltz) with accents that make it feel like there are sometimes two pulses. In the Rondo finale, a recurring figure is interspersed with episodes of contrasting material. Mozart ties a bow around the entire serenade by using a theme derived from those arpeggios we heard right at the beginning of the first movement.

Mozart’s catalogue entry specifies five movements for Eine kleine Nachtmusik, but the second menuet is lost now. This, however, is a happy accident, for what remains is a perfect Classical symphony in miniature. Though designed to be listened to with only half our attention, it doesn’t succeed very well as wallpaper music: it’s far too captivating.

Robert Wesley Murray © 2011

Mozart uses techniques like double and triple stopping, busy textures, and the whole group in unison in the rising arpeggio fanfares that open the piece…


ANTONÍN DVORÁK Born Nelahozeves 1841 Died Prague 1904

SERENADE FOR STRINGS IN E MAJOR, OP.22

Composed 1875

I. Moderato II. Tempo di Valse III. Scherzo. Vivace IV. Larghetto V. Finale. Allegro vivace

Mozart, Schubert and Mendelssohn: they all died in their thirties, but in the short lifespans granted to them, they all managed to produce a lifetime’s worth of work. It is a fanciful notion, but it’s as if they knew their time was short – that they had to get started early.

The career trajectories of most composers, like most human beings in general, follow a more unspectacular curve, from study and apprenticeship to mid-life prime, maturity and graceful fade-out. But there are cases to contrast strongly with the fast-flame Mozarts and Mendelssohns; the late-developers, the slow ones out of the blocks. Janácek and Tippett are two from the 20th century who blossomed late and lived long. And Dvorák, in a less pronounced way, was another.

PICTURED: Antonín Dvorák, 1870


The Serenade for Strings comes from a time in Dvorák’s mid-thirties when everything started to click. Having graduated at only 18 from Prague’s Institute for Cultivation of Church Music, the young Dvorák spent his twenties as a viola player (for nine years in Prague’s new national opera at the Provisional Theatre) and as a piano teacher. His early works – symphonies, quartets, songs, operas – received local performances but did nothing to consolidate his standing as a composer. The successful 1873 premiere of his patriotic cantata Heirs of the White Mountain gave encouragement, but the rejection of his opera King and Charcoal-burner, during production rehearsals at the Provisional Theatre a few months later, was another setback. Apparent lack of confidence at the end of that year left an A minor string quartet incomplete, and led to a new year’s resolution in January 1874 to compose along more orthodox lines and to steer away from overt

PICTURED: The Serenade by Raimundo de madrazo y garretta

The Serenade for Strings comes from a time in Dvorák’s mid-thirties when everything started to click.


experimentation (up to this time, Wagner’s radical leanings were highly influential in Dvorák’s musical thinking).

Whether or not it was because of this back-to-basics resolve, 1874 became the turning-point year for Dvorák. A fourth symphony, Op.13, was composed quickly at the start. His first child, Otakar, was born in April (Dvorák had married – just six months before! – the younger sister, Anna, of Josefa Cermakova, the object of unrequited enthusiasms nearly a decade before). And from April to August, he took the extraordinary step of setting the King and Charcoal Burner libretto entirely anew, with no reference to his previously rejected version. More conventional in this second guise, it was accepted by the Provisional Theatre and premiered in Prague on 24 November 1874.

Midsummer 1874, Dvorák heard about, and decided to apply for, a new Austrian State Stipendium that was being offered by the Ministry of Education to young, poor artists in the western half of the Hapsburg Empire. The means-testing was obviously no issue, for the certificate he obtained from the Prague Town Clerk’s office clearly registered with the Education Minister Karl Stremayer in his report a few months later:

Anton Dworak of Prague, 33 years old, music teacher, completely without means… The applicant, who has never yet been able to acquire a piano of his own, deserves a grant to ease his straitened circumstances and free him from anxiety in his creative work.

Stremayer also reported on the views of the stipendium’s judges, who included Brahms and the notorious music critic Eduard Hanslick. The symphonies and overtures that Dvorák had submitted in his application displayed ‘an undoubted talent, but in a way which as yet remains formless and unbridled’, but the songs from the Drur Kralove manuscript showed his talent in ‘a much purer and more pleasing manner.’

The award of 400 gulden was a substantial boost for Dvorák, and it led to further bursts of creativity in 1875 – in addition to the Serenade for Strings, composed within a fortnight that May, there was a string quintet, a piano trio and quartet, the Moravian Duets and the fifth symphony. Dvorák applied for the stipend – an early and significant example of state subsidy of the arts – for the next three successive years, and only failed to get it in 1876.

‘The applicant, who has never yet been able to acquire a piano of his own, deserves a grant…’KARL STREMAYER

PICTURED: Dvorák with his wife in London


The support of Brahms and Hanslick was crucial at this time. From 1878, a number of Dvorák’s works were published by Brahms’ own publisher Simrock, and Bote and Bock, and this led to a proliferation of performances around Europe and in North America. Dvorák’s international reputation was sealed from this time, and the Serenade for Strings became one of the most popular works of his early maturity.

The easy-going, undemanding connotations of the title ‘Serenade’ – music for entertainment – are well met in this five-movement work. The contentment that came with financial stability, high-level recognition from Vienna, and a new wife and child, gives an overall warmth and benign glow to Dvorák’s melodic invention. And his experience in writing string chamber music up to this date, combined with his own expertise as a viola player, make for highly idiomatic, comfortable string writing.

Leisurely, ambling material, such as the opening Moderato theme or the Trio section of the Waltz, contrasts with more lively, sprung figures – such as the Moderato’s B section or much of the final Allegro. Folk-like accents on offbeats come in the secondary material of the Waltz (the sixth and last quaver of the bar) and in the fanfare opening of the Finale, where the fourth and last quaver of each bar lifts and jabs out of synch.

Here, and at other significant moments of the two preceding movements, Dvorák works his melodies in canon – one instrument imitating another invariably a bar later. This is most clearly heard at the start of the brisk Scherzo, where the first violins follow the cellos, and the Finale, where unison violins take the lead on the lower strings. In this movement, Dvorák brings back moments from previous movements as contrasting episodes to his main opening rondo material.

First, we hear in the cellos the Larghetto’s sweet melody, after a strangely angular reduction of the texture to colliding semitones on E and D sharp in the first violin and cello. And close to the end, the first movement’s opening returns in slightly wistful guise, as a counterbalance to the vigorous Presto close.

PICTURED: The notorious music critic, Eduard Hanslick

…the Serenade for Strings became one of the most popular works of his early maturity.


DVORÁK

NOCTURNE IN B MAJOR, OP.40

Published 1895

Dvorák’s remarkable slow movement, the Nocturne in B major has been called his Grosse Fuge, because, like Beethoven,the composer couldn’t find a place for it and was ultimately obliged to let it stand alone.

It could also be called Dvorák’s Siegfried Idyll – because it is idyllic, just for the strings, like Wagner’s work unique among his compositions. And it does betray the unmistakable influence of Wagner.

The young Dvorák was far from alone in being swept up in the general 19th-century enthusiasm for Wagner and the ‘music of the future’. In 1863, aged 21 and not long a member of the Provisional (Czech) Theatre Orchestra in Prague, Dvorák experienced the thrill of playing viola in a concert of Wagner’s compositions under the baton of the master himself. (He had also played under Liszt in 1858.)

Dvorák’s often naïve attempts to emulate Wagner are apparent in his compositions throughout the 1860s – the operas Alfred (of the burnt cakes) and The King and the Charcoal-burner, the early symphonies (nos 2 to 4) and three string quartets (nos 2 to 4).

The fourth String Quartet in E minor, completed in 1870, is an extended, highly Romantic work in which Dvorák’s cataloguer, Jarmil Burghauser, finds clear harmonic echoes of Tristan. It was from this quartet, later disowned, unpublished (though it has survived and been performed in modern times), that Dvorák thought the second movement, Andante religioso, worth salvaging. It was to become – much more concisely – the basis of the present Nocturne. In the meantime, he had used it in the String Quintet with double bass (B.49, 1875), only to withdraw it as superfluous. When he eventually turned it into an independent piece for string orchestra and published it as Nokturno (1883), he also made a version for violin and piano (B.48).

In the meantime, too, the realisation had struck Dvorák that Wagnerism was not his natural bent. Turning to a naturally melodious, more Czech style, he made a new version of The King and the Charcoal-burner – not just a revision but a completely new opera. With this, despite an irredeemable

PICTURED: Antonín Dvorák, 1868


libretto, and his first Czech cantata, Heirs of the White Mountain, Dvorák began to win performances.

A hint of plainchant in the solemn introduction to the Nocturne, by unison cellos and basses, does not explain the religioso marking on Dvorák’s original quartet movement. The introduction is, in fact, new in the orchestral version. The original melody appears at the fourth bar, over a continuous low pedal note in the cellos, as fragment piled upon fragment inexorably builds an imposing musical and emotional structure – one which is extraordinary and unique in all of Dvorák’s music. Suddenly, however, the music breaks free from the hypnotic pedal note, gaining brightness and mobility through a reduction in note values and lively pizzicato support from the basses. As he turns from his youthful vision, Dvorák becomes at once more conventional; also the more open-hearted Czech musician we know and love.

At the end, the music reverts to slower motion, molto tranquillo, and expires, after a few uncertain pizzicato notes, on a single bowed chord, pianissimo.

Anthony Cane © 1995

PICTURED: Postcard of Dvorák, 1897


PETERIS VASKS Born Aizpute 1946

CONCERTO FOR VIOLIN AND STRING ORCHESTRA DISTANT LIGHT

Composed 1996-97

For 35 years now, orchestral repertoire has been replenished by Eastern European and Baltic composers. Latvian Peteris Vasks became known in the West in the 1980s, and he was contracted by German publisher Schott in 1990, the year before Latvian independence from the Soviet Union. Vasks studied double bass in Latvia and Lithuania and performed with major Latvian ensembles before turning to composition.

US radio presenter Daniel Stephen Johnson said, ‘The rough outlines of Peteris Vasks’ work and career might have a familiar ring to them: born in Soviet Latvia, Vasks endured government repression not only for his aesthetics but for his Christian faith, and emerged in the late 1970s with a pared-down compositional style heavily influenced by sacred themes.’ Endurance of the human spirit against

PICTURED: Distant Light


the brutality of a monolithic oppressor might describe the Symphony No.1; later works sometimes put us in mind of the sacred music of Estonian Arvo Pärt, but the influence of earlier models, the Poles Lutosławski and Penderecki endures, particularly in moments of ‘indeterminacy’. Vasks’ later works are concerned with broader questions of the soul (he is the son of a clergyman). Some works are offered almost as artefacts of faith that we can escape the self-annihilation inherent in our hostile relationship with nature.

Distant Light was first performed by Gidon Kremer (its dedicatee) and the Kremerata Baltica at the 1997 Salzburg Festival. On a more prosaic level, this most ‘ethereal’ of violin concertos was inspired by reading Kremer’s autobiography, Childhood Fragments. Vasks realised that he and Kremer had, unknowingly, gone to the same school. ‘Distant Light is nostalgia with a touch of tragedy. Childhood memories, but also the glittering stars millions of light-years away.’

The work has its own unique single-movement structure. Beginning with atmospheric sounds (the soloist, for example, is asked to play an arpeggio of unspecified, ‘bird-like’

Gidon Kremer’s autobiography, Kindheitssplitter (Childhood Fragments).

PICTURED: Peteris Vasks


harmonics), the work soon introduces a broad, lyrical melody. The passion rises (and it is possible to talk of passion in Vasks’ music), and then the soloist launches into the first of three cadenzas that will define the structure. Out of glacially-moving lower strings, a new lyrical section emerges and builds toward a folk-like dance (with glints of waltz) leading to the second cadenza. After more dance-like music, silence – and then slow music resumes. The aspiring lyricism of this work is won against genuine intrusion of drama; there are what sound like apprehensions of alarm and then the most intense of the cadenzas takes place, before the brief, lumbering return of dance music. Recollection of the opening melodic material suggests that we may have been listening all this time to a highly interesting arch structure; the return of atmospheric sounds supports this.

‘Nostalgia with a touch of tragedy’ partly explains the emotional appeal of this work. But it could also be explained by the prevailing singing style ‘through which I express my ideals’. Overall, Vasks asks listeners to hold out against the darkness and focus on the ‘distant light’.

Vasks’ father was a Baptist minister – to most of us, an unremarkable profession. But in Latvia under Soviet rule, it had significant consequences for his son who wanted to follow a musical career. Vasks was denied entry to the composition course at the Conservatory for years, although he was able to work as an orchestral double-bassist in neighbouring Lithuania. Only in the 1970s was he admitted to Valenzius Utkin’s composition class at the Latvian Academy of Music in Riga. Since then, his relatively small but important output of works has been welcomed around the world.

Vasks’ music is often compared to his northern colleagues Giya Kancheli (Georgia), Górecki (Poland) and Arvo Pärt (Estonia). There is an immediate beauty about most of his works, reflecting his belief in ‘art for the people’; yet there is also a firm sense of structure and textural contrast which lifts it beyond the directionless prettiness that can sometimes afflict music of the so-called New Tonality style. Comparisons have also been drawn with Witold Lutoslawski, and another Iron Curtain composer, Shostakovich.

Given Vasks’ background as a bassist, it is unsurprising that so many of his works feature string instruments.

‘Nostalgia with a touch of tragedy’ partly explains the emotional appeal of this work. But it could also be explained by the prevailing singing style ‘through which I express my ideals’. VASKS


There is also a substantial amount of exquisite choral music, appropriate to a composer from the region which staged its ‘Singing Revolution’ for independence in 1988. The political importance of music and the arts continues to be a strong theme in Vasks’ œuvre, whose titles often carry a message (as with the First Symphony, Voices) and whose use of Latvian folk-music characteristics is substantial.

Michael Kube quotes Vasks’ own description of the work:

‘[It is] a concerto, in single-movement form, with contrasting episodes and three cadenzas for the soloist. A song, coming from silence and floating away into silence, full of idealism and love, at times melancholy and dramatic. The first notes arise slowly, without haste, and then finally we hear the bright yet sad cantilena. After the first cadenza, chords from the basses introduce a sweeping song that gradually increases in power and intensity. The next episode begins with a sudden change of tempo and character; here I have used a musical style that resembles Latvian folk music. The second cadenza brings a rather different character to the lively music, although this is submerged by an energetic tutti from the soloist and orchestra. After this violent outburst, the voices of silence return. The violin sings on; constantly growing more intense, it moves into the second dramatic episode. The third cadenza and the aleatory passage that follows form the climax of the entire concerto. The aleatory chaos is interrupted by a robust, even aggressive waltz rhythm. In the reprise, musical figures from the beginning are heard again. Although for a moment it sounds full of pain, the concerto ends in a mood of bright sadness. Once again, we hear the waltz, this time as a reflection of distant memories.’

All notes by Australian Chamber Orchestra © 2017, unless otherwise indicated.

‘[It is] a concerto, in single-movement form, with contrasting episodes and three cadenzas for the soloist. A song, coming from silence and floating away into silence, full of idealism and love…’MICHAEL KUBE QUOTES VASKS


Photo by Jack Saltmiras

Richard Tognetti

Richard Tognetti is Artistic Director of the Australian Chamber Orchestra. He has established an international reputation for his compelling performances and artistic individualism.

Richard began his studies in his home town of Wollongong 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.

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 the major Australian symphony orchestras, most recently as soloist and director with the Melbourne and Tasmanian Symphony Orchestras. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutosławski’s Partita. In November 2016, he became the Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall in London. Richard created the Huntington Festival in Mudgee, New South Wales and was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015.

Richard was the 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 Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd. Most recently, Richard collaborated with Director Jennifer Peedom and Stranger Than Fiction Films to create the film Mountain for the ACO.

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.

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

Artistic Director & Lead Violin


Pekka KuusistoArtistic Director, ACO Collective & Lead ViolinPekka Kuusisto is renowned for his fresh approach to repertoire and his flair in directing ensembles from the violin. He is Artistic Partner with The Saint Paul Chamber Orchestra and Artistic Director of ACO Collective. After a longstanding creative collaboration with the ensemble, this year Pekka became Artistic Best Friend of Die Deutsche Kammerphilharmonie Bremen. In 2018 he will be Guest Artistic Leader of the Norwegian Chamber Orchestra. Other directing engagements include the Tapiola Sinfonietta and the Swedish and Mahler chamber orchestras.

This season he appears with the Concertgebouw Orchestra, Orquestra Sinfônica do Estado de São Paulo, Orchestre de Paris and Helsinki Philharmonic Orchestra. He also undertakes a European tour with the Philharmonia Orchestra and appears with the Orchestra throughout the season; he play-directs the Karajan-Akademie der Berliner Philharmoniker with tenor Mark Padmore; and takes up a mini-residency at Pierre Boulez Saal with REDDRESS, a collaborative project with South-Korean artist Aamu Song.

Pekka is an enthusiastic advocate of contemporary music, including premieres of new works by Daníel Bjarnason, Sauli Zinovjev, Andrea Tarrodi, Anders Hillborg and Thomas Dausgaard. As a composer, together with Samuli Kosminen, Pekka is composing, performing and recording music for a new animated television series of Tove Jansson’s Moomin stories.

Kuusisto is a gifted improviser. Recent projects include collaborations with Hauschka and Kosminen, Dutch neurologist Erik Scherder, pioneer of electronic music, Brian Crabtree, eminent jazz-trumpeter Arve Henriksen, juggler Jay Gilligan and accordionist Dermot Dunne. He is Artistic Director of the award-winning annual ‘Our Festival’, in Sibelius’ hometown, Järvenpää.

Recent concerto appearances include the Edinburgh International Festival with the Minnesota Orchestra and Osmo Vänskä, the London BBC Proms with the BBC Scottish Symphony Orchestra and Thomas Dausgaard, as well as concerts with the Seattle, Cincinnati, Finnish Radio symphony orchestras. A keen chamber musician, regular chamber partners include Nicolas Altstaedt, Anne Sofie von Otter, Simon Crawford-Phillips, Alexander Lonquich and Olli Mustonen.

Pekka’s extensive recording catalogue includes Erkki-Sven Tüür’s Noesis, Concerto for Violin and Orchestra, and Sebastian Fagerlund’s violin concerto Darkness in Light. In 2018 he will record Hillborg’s Bach Materia and Bach’s Brandenburg Concertos No.3 and 4 with the Swedish Chamber Orchestra and Thomas Dausgaard.

Pekka Kuusisto plays a Stradivarius violin kindly on loan from the Beares International Violin Society.

Photo by Kaapo Kamu

‘One-of-a-kind.’THE GLOBE AND MAIL


Australian Chamber OrchestraThe Australian Chamber Orchestra travels a remarkable road. Founded by cellist John Painter in November 1975, this 17-piece string orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in history but always looking to the future, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations.

Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts across Australia each year. This intrepid spirit isn’t confined to the country they call home, as the Orchestra maintains an international touring schedule that finds them in many of the world’s greatest concert halls including Amsterdam’s Concertgebouw, London’s Barbican Centre and Royal Festival Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. Whether performing in Manhattan, New York, or Wollongong, New South Wales, the ACO is unwavering in their commitment to creating transformative musical experiences.

The Orchestra regularly collaborates with artists and musicians who share their ideology: from Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Olli Mustonen, Brett Dean and Ivry Gitlis, to Neil Finn, Jonny Greenwood, Katie Noonan, Barry Humphries and Meow Meow; to visual artists and film makers such as Michael Leunig, Bill Henson, Shaun Tan, Jon Frank, and Jennifer Peedom, who have co-created unique, hybrid productions for which the ACO has become renowned.

In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Their recordings of Bach’s violin works won three consecutive ARIA Awards. Recent releases include Mozart’s Last Symphonies, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. Documentaries featuring the ACO have been shown on television worldwide.

aco.com.au

‘The Australian Chamber Orchestra is uniformly high-octane, arresting and never ordinary.’THE AUSTRALIAN

Richard Tognetti Artistic Director & Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Maja Savnik Violin Ike See Violin Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass

PART-TIME MUSICIANS

Zoë Black Violin Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello


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

2 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.3 Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.4 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund.5 Nicole Divall plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor.6 Timo-Veikko Valve plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund.7 Julian Thompson plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his

son, Giuseppe Guarneri del Gesù, kindly donated to the ACO by Peter Weiss ao.8 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.

Musicians on StageSouvenir de Florence Players dressed by

Willow and SABA

Ilya Isakovich ViolinChair sponsored by The Humanity Foundation

Liisa Pallandi ViolinChair sponsored by The Melbourne Medical Syndicate

Mark Ingwersen ViolinChair sponsored by Julie Steiner & Judyth Sachs

Aiko Goto ViolinChair sponsored by Anthony & Sharon Lee Foundation

Julian Thompson 7 CelloChair sponsored by The Grist & Stewart Families

Maxime Bibeau 8 Double BassChair sponsored by Darin Cooper Foundation

Melissa Barnard Cello

Timo-Veikko Valve 6 Principal CelloChair sponsored by Peter Weiss ao

Maja Savnik 4 ViolinChair sponsored by Alenka Tindale

Ike See ViolinChair sponsored by Di Jameson

Nicole Divall 5 ViolaChair sponsored by Ian Lansdown

Caroline Henbest Viola

Richard Tognetti 1 Leader & Violin Chair sponsored by the late Michael Ball am & Daria Ball, Wendy Edwards, Peter & Ruth McMullin, Andrew & Andrea Roberts

Satu Vänskä 3 Principal ViolinChair sponsored by Kay Bryan

Helena Rathbone 2 Principal ViolinChair sponsored by Kate & Daryl Dixon

Glenn Christensen Violin Chair sponsored by Terry Campbell ao & Christine Campbell

Christopher Moore Guest Principal Viola Courtesy of Melbourne Symphony Orchestra Chair sponsored by peckvonhartel architects

Benjamin Caddy ViolaCourtesy of West Australian Symphony Orchestra


ACO Collective

Ten years ago, ACO Collective began its musical journey across the country. Since then, the Ensemble has performed in more than 85 regional centres in every state and territory, all of Australia’s state capitals, and has toured internationally to Japan. Now, the Orchestra celebrates its 10th anniversary touring regional Victoria, New South Wales and Queensland, as well as performing in one of the Australian Chamber Orchestra subscription series concerts at the Melbourne Recital Centre.

ACO Collective (formerly known as AcO2) is the ACO’s critically acclaimed 17-piece string ensemble which delivers the ACO’s regional touring and education programs Australia-wide. The Ensemble combines musicians of the ACO with Australia’s most talented young professional musicians at the outset of their careers, creating an orchestra with a fresh, energetic performance style.

2017 marks not only the 10th anniversary of the Ensemble, but also the second year of the brilliant violinist Pekka Kuusisto as its Artistic Director. ACO Collective, under Kuusisto’s direction, opened the ACO’s 2016 National Subscription season with an 11-concert tour of Sydney, Melbourne, Brisbane, Canberra, Adelaide and Newcastle.

In 2018 ACO Collective will join forces with renowned charity, The Hush Foundation, and will record a CD called ‘Hush 18’. The launch concert will take place at the Melbourne Recital Centre on Monday 17 September, featuring music by Matthew Hindson, Paul Stanhope, Stuart Greenbaum and Katia Beaugeais.

ACO Collective is proudly supported by Principal Partner, Wesfarmers Arts.

PRINCIPAL PARTNER: ACO COLLECTIVE


Players dressed by Willow and SABA

1 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

Musicians on StageACO Collective

Natalia Harvey ViolinEmerging Artist 2017

Kyla Matsuura-Miller* ViolinEmerging Artist 2017

Rollin Zhao ViolinEmerging Artist 2017

Aiko Goto ViolinChair sponsored by Anthony & Sharon Lee Foundation

Pekka Kuusisto Leader & ViolinChair sponsored by Horsey Jameson Bird

Helena Rathbone 1 Principal ViolinChair sponsored by Kate & Daryl Dixon

* Courtesy of ANAM

Melissa Barnard Cello

Caroline Henbest Principal Viola

Justin Julian ViolaEmerging Artist 2017

Jack Ward ViolaEmerging Artist 2017

John Keene Double BassEmerging Artist 2017


BOARD

Guido Belgiorno-Nettis am Chairman Liz Lewin Deputy Bill Best John Borghetti ao Judy Crawford John Kench Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner John Taberner Nina Walton Peter Yates am Simon Yeo

ARTISTIC DIRECTOR

Richard Tognetti ao

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Richard Evans Managing Director Alexandra Cameron-Fraser Chief Operating Officer Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

ARTISTIC OPERATIONS

Luke Shaw Director of Artistic Operations Anna Melville Artistic Administrator Lisa Mullineux Tour Manager Ross Chapman Touring & Production Coordinator Nina Kang Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

EDUCATION

Phillippa Martin ACO Collective & ACO Virtual Manager Vicki Norton Education Manager Caitlin Gilmour Education Coordinator

FINANCE

Fiona McLeod Chief Financial Officer Yvonne Morton Financial Accountant & Analyst Dinuja Kalpani Transaction Accountant Samathri Gamaethige Business Analyst

DEVELOPMENT

Anna McPherson Director of Corporate Partnerships Jill Colvin Director of Philanthropy Tom Carrig Corporate Partnerships Manager Sarah Morrisby Philanthropy Manager Sally Crawford Patrons Manager Lillian Armitage Capital Campaign Manager Yeehwan Yeoh Investor Relations Manager Jen Sanford Acting Events Manager Camille Comtat Corporate Partnerships Executive Belinda Partyga Researcher Kay-Yin Teoh Corporate Partnerships Administrator Max Stead Development Executive

MARKETING

Antonia Farrugia Director of Marketing Caitlin Benetatos Communications Manager Rory O’Maley Digital Marketing Manager Cristina Maldonado Marketing & Communications Executive Shane Choi Marketing Coordinator Hilary Shrubb Publications Editor Dean Watson Customer Relations & Access Manager Colin Taylor Ticketing Sales & Operations Manager Gene Smith Ticketing Officer Christina Holland Office Administrator Robin Hall Archival Administrator

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 Australia

Telephone (02) 8274 3800 Box Office 1800 444 444

Email [email protected]

Web aco.com.au

ACO Behindthe Scenes


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–178 — 18206 — 1/300917

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWINOVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au

Chairman & Advertising Director Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music David Cooper

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.

Tour Dates &Venue SupportPre-concert talks take place 45 minutes before the start of every concert.Please share our concert program with your companion/s, where possible – one between two. Our programs are also available on our website for download.

SOUVENIR DE FLORENCEWed 25 Oct, 7.30pm Melbourne Recital Centre

Pre-concert talk by John Weretka

NIGHT MUSICWed 6 Dec, 7.30pm Melbourne Recital Centre

Pre-concert talk by Peter Clark

Pre-concert speakers are subject to change.

In case of emergencies…

Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.

MELBOURNE RECITAL CENTRE

31 Sturt Street, Southbank,

Melbourne VIC 3006

Telephone +613 9699 3333

Email [email protected]

Web melbournerecital.com.au

Kathryn Fagg Chair

Euan Murdoch Chief Executive Officer


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

MEDICI PATRON

The late Amina Belgiorno-Nettis

PRINCIPAL CHAIRS

Richard Tognetti ao Artistic Director & Lead Violin The late Michael Ball ao & Daria Ball Wendy Edwards Peter & Ruth McMullin Andrew & Andrea Roberts

Helena Rathbone Principal Violin Kate & Daryl Dixon

Satu Vänskä Principal Violin Kay Bryan

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 Terry Campbell ao & Christine Campbell

Aiko Goto Anthony & Sharon Lee Foundation

Mark Ingwersen Julie Steiner & Judyth Sachs

Ilya Isakovich The Humanity Foundation

Liisa Pallandi The Melbourne Medical Syndicate

Maja Savnik Alenka Tindale

Ike See Di Jameson

VIOLA

Ripieno Viola Philip Bacon am

Nicole Divall Ian Lansdown

CELLO

Melissa Barnard

Julian Thompson The Grist & Stewart Families

ACO COLLECTIVEPekka Kuusisto Artistic Director & Lead Violin

Horsey Jameson Bird

GUEST CHAIRSBrian Nixon Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICIMr R. Bruce Corlett am & Mrs Annie Corlett am

ACO Bequest Patrons

The late Charles Ross AdamsonThe late Kerstin Lillemor AndersenThe late Mrs Sybil BaerThe late Prof. Janet CarrThe late Mrs Moya CraneThe late Colin Enderby

The late Neil Patrick GilliesThe late John Nigel HolmanThe late Dr S W Jeffrey amThe late Pauline Marie JohnstonThe late Mr Geoff Lee am oam

The late Shirley MillerThe late Josephine PaechThe late Richard PonderThe late Mr Geoffrey Francis ScharerThe late Scott Spencer

The ACO would like to thank the following people, who remembered the Orchestra in their wills.Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Director of Philanthropy, on 02 8274 3835.

IBMMr Robert Albert ao & Mrs Libby AlbertMr Guido Belgiorno-Nettis amMrs Barbara Blackman ao

Mrs Roxane ClaytonMr David Constable amMr Martin Dickson am & Mrs Susie DicksonThe late John Harvey ao

Mrs Alexandra MartinMrs Faye ParkerMr John Taberner & Mr Grant LangMr Peter Weiss ao

ACO Life Patrons


ACO Continuo Circle

ACO Excellence Fund Patrons

Dr Jane CookRobert & Jennifer GavshonCarole A.P. GraceRohan HaslamDoug Hooley

Mike & Stephanie HutchinsonGeoff & Denise IllingBaillieu Myer ac

David ShannonJ SkinnerChristina Scala & David Studdy

Mike ThompsonDr Jason WenderothAnonymous (3)

ACO Excellence Fund Patrons enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

Steven BardyRuth BellDavid BeswickDr Catherine Brown-Watt &Mr Derek WattSandra CassellMrs Sandra Dent

Peter EvansCarol FarlowSuzanne GleesonLachie HillDavid & Sue HobbsPenelope HughesToni Kilsby & Mark McDonald

Mrs Judy LeeSelwyn M OwenMichael Ryan & Wendy MeadIan & Joan ScottCheri StevensonLeslie C Thiess

Ngaire TurnerG.C. & R. WeirMargaret & Ron WrightMark YoungAnonymous (15)

The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Director of Philanthropy, on 02 8274 3835 for more information. Every gift makes a difference.

ACO Reconciliation CircleContributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Jill Colvin, Director of Philanthropy, on 02 8274 3835.

Colin & Debbie Golvan Patterson Pearce FoundationKerry Landman Sam Ricketson & Rosie AytonPeter & Ruth McMullin

Clare Ainsworth HerschellLucinda BradshawJustine ClarkeAmy DenmeadeJenni Deslandes & Hugh MorrowMandy DruryAnthony Frith & Amanda Lucas-Frith

Shevi de SoysaRebecca Gilsenan & Grant MarjoribanksRuth KellyAaron Levine & Daniela GavshonRoyston LimGabriel LopataRachael McVean

Carina MartinBarry MowzsowskiJames OstroburskiNicole Pedler & Henry DurackMichael RadovnikovicJessica ReadLouise & Andrew SharpeEmile & Caroline Sherman

Tom SmythMichael SouthwellHelen TelferKaren & Peter TompkinsNina Walton & Zeb RicePeter Wilson & James EmmettThomas WrightAnonymous (1)

ACO Next is an exciting philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

MEMBERS

ACO Next


Peter Weiss ao PATRON, ACO Instrument Fund

BOARD MEMBERS

Bill Best (Chairman)

Jessica Block

John Leece am

Julie Steiner

John Taberner

PATRONS

VISIONARY $1m+

Peter Weiss ao

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,999

The late 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

Leslie C. Thiess

Anonymous (1)

SOLO $5,000 – $9,999

PATRON $500 – $4,999

In memory of Lindsay Cleland

Merilyn & David Howorth

Luana & Kelvin King

John Landers & Linda Sweeny

Bronwyn & Andrew Lumsden

Peter McGovern

John & Virginia Richardson

Peter & Victoria Shorthouse

Robyn Tamke

Anonymous (2)

INVESTORS

Stephen & Sophie Allen

John & Deborah Balderstone

Guido & Michelle Belgiorno-Nettis

Bill Best

Benjamin Brady

Sam Burshtein & Galina Kaseko

Carla Zampatti Foundation

Sally Collier

Michael Cowen & Sharon Nathani

Marco D’Orsogna

Dr William Downey

Garry & Susan Farrell

Gammell Family

Daniel & Helen Gauchat

Edward Gilmartin

Tom & Julie Goudkamp

Philip Hartog

Peter & Helen Hearl

Brendan Hopkins

Angus & Sarah James

Paul & Felicity Jensen

Daniel & Jacqueline Phillips

Ryan Cooper Family Foundation

Andrew & Philippa Stevens

Dr Lesley Treleaven

The late Ian Wallace & Ms 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 Maja Savnik. The Fund’s third asset is the 1616 ‘ex-Fleming’ Antonio and Hieronymus Amati Cello, played in this concert by Principal Cello Timo-Veikko Valve. For more information, please call Yeehwan Yeoh, Investor Relations Manager on 02 8274 3878.

ACO Instrument Fund

ACO Trusts and Foundations

Holmes à Court Family Foundation The Ross Trust


Philippa & John Armfield

Walter Barda & Thomas O’Neill

Steven Bardy & Andrew Patterson

Chris & Katrina Barter

Russell & Yasmin Baskerville

David Bohnett & Maria Bockmann

Paula Bopf & Robert Rankin

Paul Borrud

Craig & Nerida Caesar

Terry Campbell ao & Christine Campbell

Michael & Helen Carapiet

Stephen & Jenny Charles

Andrew Clouston & Jim McGown

John Coles

Robin Crawford am & Judy Crawford

Graham & Treffina Dowland

Dr William F Downey

Vanessa Duscio & Richard Evans

Terry & Lynn Fern

Fitzgerald Foundation


Robert & Jennifer Gavshon

Nick & Kay Giorgetta

Colin Golvan qc & Debbie Golvan

John Grill ao & Rosie Williams

Tony & Michelle Grist

Eddie & Chi Guillemette

Liz Harbison

Paul & April Hickman

Catherine Holmes à Court-Mather

Simon & Katrina Holmes à Court Family Trust

Jay & Linda Hughes

Di Jameson

Andrew & Lucie Johnson

Simon Johnson

Steve & Sarah Johnston

Russell & Cathy Kane

John & Lisa Kench

Wayne Kratzmann

Dr Caroline Lawrenson

John Leece am & Anne Leece

David & Sandy Libling

Patrick Loftus-Hills & Konnin Tam

Dr Wai Choong Lye & Daniel Lye

Christopher D. Martin & Clarinda Tjia-Dharmadi

Janet Matton & Robin Rowe

Julianne Maxwell

Nicholas McDonald & Jonnie Kennedy

Andrew & Cate McKenzie

Peter & Ruth McMullin

Jim & Averill Minto

Rany & Colin Moran

Usmanto Njo & Monica Rufina Tjandraputra

Dr Eileen Ong

James Ostroburski

Susan Phillips

Simon Pinniger & Carolyne Roehm

Andrew & Andrea Roberts

The Ryan Cooper Family Foundation

Carol Schwartz am & Alan Schwartz amRosy Seaton & Seumas Dawes

Jennifer Senior & Jenny McGee


Hilary Stack

Jon & Caro Stewart

John Taberner

Jamie & Grace Thomas

Alenka Tindale

Dr Lesley Treleaven

Beverley Trivett & Stephen Hart

Phillip Widjaja & Patricia Kaunang

Simon & Jenny Yeo

2017 EUROPEAN TOUR PATRONS

Executive Producer

Martyn Myer ao

Major Producers

Janet Holmes à Court ac

Warwick & Ann Johnson

Producers

Richard Caldwell

Warren & Linda Coli

Anna Dudek & Brad Banducci

Wendy Edwards

David Friedlander

Tony & Camilla Gill

John & Lisa Kench

Charlie & Olivia Lanchester

Rob & Nancy Pallin



Alden Toevs & Judi Wolf

Supporters

Andrew Abercrombie

Joanna Baevski

Ann Gamble Myer

Gilbert George

Charles & Cornelia Goode Foundation

Charles & Elizabeth Goodyear

Phil & Rosie Harkness

Peter & Janette Kendall

Andy Myer & Kerry Gardner

Sid & Fiona Myer

Allan Myers ac

The Penn Foundation

Peppertree Foundation

The Rossi Foundation

Shaker & Diana

Mark Stanbridge

Kim Williams am

Peter & Susan Yates

ACO MOUNTAIN PRODUCERS’ SYNDICATE

The Australian Chamber Orchestra would like to thank the following people for their generous support of Mountain:

ACO Special Projects


SPECIAL COMMISSIONS PATRONS

Peter & Cathy Aird

Josephine Kay & Ian Bredan

Mirek Generowicz

Anthony & Conny Harris

Rohan Haslam

Bruce Lane

David & Sandy Libling

Robert & Nancy Pallin

Team Schmoopy

Rebecca Zoppetti Laubi

INTERNATIONAL TOUR PATRONS

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

Linda & Graeme Beveridge

Anthony & Sharon Lee Foundation

Doug Hooley

Professor Anne Kelso ao

Bruce & Jenny Lane

Delysia Lawson

Friends of Jon & Caro Stewart

Mike Thompson

Oliver Walton

Anonymous (1)

JEWISH MUSEUM PATRONS

LEAD PATRON PATRONS

Marc Besen ac & Eva Besen ao

SUPPORTERS

The Ostroburski Family

Julie Steiner

FRIEND

Leo & Mina Fink Fund

EMANUEL SYNAGOGUE PATRONS

CORPORATE PARTNERS

Adina Apartment Hotels

Meriton Group

LEAD PATRON

The Narev Family

PATRONS

David Gonski ac

Leslie & Ginny Green

The Sherman Foundation

Justin Phillips & Louise Thurgood-Phillips

ACO COLLECTIVE QUEENSLAND REGIONAL TOUR

Lead Patrons

Philip Bacon am

Andrew Clouston

Dr Ian Frazer ac & Mrs Caroline Frazer

In memory of Lady Maureen Schubert– Marie-Louise Theile & Felicity Schubert

Urbane Restaurant Group

Patrons

Cass George

Shay O’Hara Smith

Syd Williams qc

Hamilton Wilson

ACO UK SUPPORTERS

Ambassadors

Brendan & Bee Hopkins

Friends

John & Kate Corcoran

Hugo & Julia Heath

John Taberner

Patricia Thomas

Supporters

John Coles

Isla Baring

ACO Special Projects

Peer Review PanelsZoe Arthur

John Benson

Helen Champion

Jane Davidson

Jared Furtado

Theo Kotzas

Lyn Williams oam

EDUCATION PEER REVIEW PANEL

Yarmila Alfonzetti

Elaine Armstrong

Toby Chadd

Jane Davidson

Alan Dodge

Melissa King

Jim Koehne

Siobhan Lenihan

Marshall McGuire

Katie Noonan

John Painter am

Anthony Peluso

Mary Vallentine ao

Lyn Williams oam

ARTISTIC PEER REVIEW PANEL


ACO NationalEducation Program

PATRONS

Marc Besen ac & Eva Besen ao

Janet Holmes à Court ac

EMERGING ARTISTS & EDUCATION PATRONS $10,000 +

Mr Robert Albert ao & Mrs Libby Albert

Geoff Alder

Australian Communities Foundation – Ballandry Fund

Steven Bardy & Andrew Patterson

Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis

Rod Cameron & Margaret Gibbs

Michael & Helen Carapiet

Stephen & Jenny Charles

Rowena Danziger am & Ken Coles am

In memory of Wilma Collie

Irina Kuzminsky & Mark Delaney

Kate & Daryl Dixon

Eureka Benevolent Foundation

Mr & Mrs Bruce Fink

Dr Ian Frazer ac & Mrs Caroline Frazer


Kimberley Holden

Catherine Holmes à Court-Mather

Di Jameson

John & Lisa Kench

Miss Nancy Kimpton

Liz & Walter Lewin

Andrew Low

Anthony & Suzanne Maple-Brown

Jim & Averill Minto

Servcorp

Louise & Martyn Myer Foundation

Jennie & Ivor Orchard

James Ostroburski & Leo Ostroburski

The Bruce & Joy Reid Trust


Margie Seale & David Hardy

Rosy Seaton & Seumas Dawes

Tony Shepherd ao

Anthony Strachan

Leslie C. Thiess

David & Julia Turner

Shemara Wikramanayake

Libby & Nick Wright

E Xipell

Peter Yates am & Susan Yates

Peter Young am & Susan Young

Anonymous (4)

DIRETTORE $5,000 – $9,999

Jon & Cheyenne Adgemis

Geoff Ainsworth & Jo Featherstone

David & Helen Baffsky

Walter Barda & Thomas O’Neill

The Belalberi Foundation

Helen Breekveldt

Veronika & Joseph Butta

Suellen & Ron Enestrom

Paul & Roslyn Espie

Bridget Faye am

JoAnna Fisher & Geoff Weir

Angelos & Rebecca Frangopoulos

Vivienne Fried

Liz Harbison

Annie Hawker

I Kallinikos

The Key Foundation

Kerry Landman

Anthony & Sharon Lee Foundation

In memory of Dr Peter Lewin

Lorraine Logan

Macquarie Group Foundation

David Maloney & Erin Flaherty

The Alexandra & Lloyd Martin Family Foundation

Libby & Peter Plaskitt

John Rickard

Greg Shalit & Miriam Faine


Sky News Australia

Petrina Slaytor

Jeanne-Claude Strong

Tamas & Joanna Szabo

Alenka Tindale

Ivan Wheen

Simon & Amanda Whiston

Cameron Williams

Woods Foundation

Anonymous (4)

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 Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

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 Jill Colvin on (02) 8274 3835 or [email protected]

Donor list current as at 4 October 2017


MAESTRO $2,500 – $4,999

Jennifer Aaron

Annette Adair

David & Rae Allen

Stephen & Sophie Allen

Will & Dorothy Bailey Charitable Gift

Brad Banducci & Anna Dudek

The Beeren Foundation

Neil & Jane Burley

Caroline & Robert Clemente

Laurie & Julie Ann Cox

Carol & Andrew Crawford

Anne & Tom Dowling

Ari & Lisa Droga

Maggie & Lachlan Drummond

John & Jenny Green

Warren Green

Peter & Helen Hearl

Ruth Hoffman & Peter Hastead

John Griffiths & Beth Jackson

Jennifer Senior & Jenny McGee

Jane Morley

Jenny Nicol

OneVentures

David Paradice & Claire Pfister

Sandra & Michael Paul Endowment

Prof David Penington ac

Kenneth Reed am

Patricia H Reid Endowment Pty Ltd

Ruth & Ralph Renard

Mrs Tiffany Rensen

Fe & Don Ross

D N Sanders

Paul Schoff & Stephanie Smee & Friends

Maria Sola

Howard & Hilary Stack

Josephine Strutt

Susan Thacore

Nicky Tindill

Ralph Ward-Ambler am & Barbara Ward-Ambler

Westpac Group

Don & Mary Ann Yeats

Professor Richard Yeo

William & Anne Yuille

Anonymous (4)

VIRTUOSO $1,000 – $2,499

Barbara Allan

Jane Allen

Andrew Andersons

In memory of Anne & Mac Blight

David Blight & Lisa Maeorg

Lyn Baker & John Bevan

Adrienne Basser

Doug & Alison Battersby

Robin Beech

Berg Family Foundation

Graeme & Linda Beveridge

Jessica Block

Dr David & Mrs Anne Bolzonello

In memory of Peter Boros

Brian Bothwell

Vicki Brooke

Diana Brookes

Dr Catherine Brown-Watt psm & Mr Derek Watt

Stuart Brown

Sally Bufé

Gerard Byrne & Donna O’Sullivan

Ian & Brenda Campbell

Ray Carless & Jill Keyte

Ann Cebon-Glass

Dr Peter Clifton

John & Chris Collingwood

Angela & John Compton

Leith & Darrel Conybeare

R & J Corney

Gay Cruickshank

Peter & Penny Curry

Ian Davis & Sandrine Barouh

Michael & Wendy Davis

Martin Dolan

In memory of Ray Dowdell

Dr William F Downey

Emeritus Professor Dexter Dunphy

Carmel Dwyer

Wendy Edwards

Peter Evans

Julie Ewington

Penelope & Susan Field

Elizabeth Finnegan

Jean Finnegan & Peter Kerr

Don & Marie Forrest

Chris & Tony Froggatt

Anne & Justin Gardener

Kay Giorgetta

Brian Goddard

Grussgott Trust

In memory of Jose Gutierrez

Kingsley Herbert

Jennifer Hershon

Christopher Holmes

Doug Hooley

Michael Horsburgh am & Beverley Horsburgh

Penelope Hughes

Professor Emeritus Andrea Hull ao

Stephanie & Mike Hutchinson

Owen James

Anthony Jones & Julian Liga

Brian Jones

Bronwen L Jones

Mrs Angela Karpin

Airdrie Lloyd

Gabriel Lopata

Garth Mansfield oam & Margaret Mansfield am

Mr & Mrs Greg & Jan Marsh

Janet Malton & Robin Rowe

Jane Tham & Philip Maxwell

Kevin & Deidre McCann

In memory of Rosario Razon Garcia

Helen & Phil Meddings

Jim Middleton

Peter & Felicity Mitchell

Nola Nettheim

Barry Novy & Susan Selwyn

Paul O’Donnell

Fran Ostroburski

Mimi Packer

Leslie Parsonage

Dr S M Richards am & Mrs M R Richards

Em Prof A W Roberts am

Richard & Sandra Royle

J Sanderson

In Memory of H. St. P. Scarlett

Lucille Seale

Mr John Sheahan qc


Diana & Brian Snape am

Dr Peter & Mrs Diana Southwell-Keely

Keith Spence

Jim & Alice Spigelman

Harley Wright & Alida Stanley

Caroline Storch

Andrew Strauss

Charles Su & Emily Lo

David & Judy Taylor

Rob & Kyrenia Thomas

Anne Tonkin

Ngaire Turner

Kay Vernon

Prof Roy & Dr Kimberley MacLeod

Jason Wenderoth

Kathy White

Rebecca Zoppetti Laubi

Anonymous (20)

CONCERTINO $500 – $999

Mr & Mrs HT Apsimon

Juliet Ashworth

Elsa Atkin am

Rita Avdiev

Christine Barker

In memory of Hatto Beck

Mrs Kathrine Becker

Ruth Bell

Lynne & Max Booth

Carol Bower

Denise Braggett

Mrs Ann Bryce

Henry & Jenny Burger

Mrs Pat Burke

Helen Carrig

Connie Chaird

Angela & Fred Chaney

Colleen & Michael Chesterman

Richard & Elizabeth Chisholm

Stephen Chivers

Mrs Alison Clugston-Cornes

Richard Cobden sc

Sally Collier

Dr Jane Cook

Annabel Crabb

Nevarc Inc.

John Curotta

Sharlene & Steve Dadd

Marie Dalziel

Mari Davis

Rosemary Dean

In Memory of Raymond Dudley

Agnes Fan

Susan Freeman

Louisa Geddes

Paul Gibson & Gabrielle Curtin

Don & Mary Glue

Colin Golvan qc & Debbie Golvan

Ian & Ruth Gough

Mrs Megan Grace

Paul Greenfield & Kerin Brown

Annette Gross

Kevin Gummer & Paul Cummins

Hamiltons Commercial Interiors

Lesley Harland

Paul & Gail Harris

Sue Harvey

Gaye Headlam

Dr Penny Herbert in memory of Dunstan Herbert

Dr Marian Hill

Charissa Ho

Sue & David Hobbs

Geoff Hogbin

Peter & Edwina Holbeach

Dr & Mrs Michael Hunter

Caroline Jones

Irene Kearsey & Michael Ridley

Bruce & Natalie Kellett

Lionel & Judy King

Irene Ryan & Dean Letcher qc

Megan Lowe

Diana Lungren

Dr & Mrs Donald Maxwell

HE and RJ McGlashan

JA McKernan

Claire Middleton

Justine Munsie & Rick Kalowski

Andrew Naylor

G & A Nelson

Robyn Nicol

Sue Packer

Effie & Savvas Papadopoulos

Ian Penboss

Elizabeth Pender

Kevin Phillips

Michael Power

Beverly & Ian Pryer

Mandie & Andrew Purcell

Jennifer Rankin

Jedd Rashbrooke

Joanna Renkin & Geoffrey Hansen

Jennifer Royle

Trish & Richard Ryan ao

Scott Saunders

Garry Scarf & Morgie Blaxill

Carol Schwartz am & Alan Schwartz am

Marysia Segan

David & Daniela Shannon

The Sherman Foundation

Agnes Sinclair

Ken Smith

Brian Stagoll

Patricia Stebbens

Ross Steele am

Cheri Stevenson

Nigel Stoke

Douglas Sturkey cvo am

In memory of Dr Aubrey Sweet

Gabrielle Tagg

Simon Thornton

TWF Slee & Lee Chartered Accountants

Visionads Pty Ltd

Denise Wadley

Joy Wearne

GC & R Weir

Harley & Penelope Whitcombe

Sally Willis

Janie Wittey

Lee Wright

Dr Mark & Mrs Anna Yates

Michael Zimmerman

Brian Zulaikha

Anonymous (23)


Chairman’s Council

Mr Guido Belgiorno-Nettis am

Chairman,

Australian Chamber Orchestra

Mr Matthew Allchurch

Partner,

Johnson Winter & Slattery

Mr Philip Bacon am

Director,

Philip Bacon Galleries

Mr David Baffsky ao

Mr Marc Besen ac &

Mrs Eva Besen ao

Mr John Borghetti ao

Chief Executive Officer,

Virgin Australia

Mr Craig Caesar

Mrs Nerida Caesar

CEO, Veda

Mr Michael &

Mrs Helen Carapiet

Mr John Casella

Managing Director,

Casella Family Brands

(Peter Lehmann Wines)

Mr Michael Chaney ao

Chairman,

Wesfarmers

Mr & Mrs Robin Crawford am

Rowena Danziger am

& Kenneth G. Coles am

Mr David Evans

Executive Chairman,

Evans & Partners

Mr Bruce Fink

Executive Chairman,

Executive Channel Holdings

Mr Angelos Frangopoulos


Australian News Channel

Ms Ann Gamble Myer

Mr Daniel Gauchat

Principal,

The Adelante Group

Mr Robert Gavshon &

Mr Mark Rohald

Quartet Ventures

Mr James Gibson


Australia & New Zealand

BNP Paribas

Mr John Grill ao

Chairman,

WorleyParsons

Mrs Janet Holmes à Court ao

Mr Simon &

Mrs Katrina Holmes à Court

Observant

Leslie Janusz Hooker

Chairman,

LJ Hooker

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom ao

Ms Jan Minchin

Director,

Tolarno Galleries

Mr Jim &

Mrs Averill Minto

Mr Alf Moufarrige ao


Servcorp

Mr John P Mullen

Chairman, Telstra

Mr Ian Narev

Chief Executive Officer

Commonwealth Bank

Ms Gretel Packer

Mr Robert Peck am &

Ms Yvonne von Hartel am

peckvonhartel architects

Mrs Carol Schwartz am

Ms Margie Seale &

Mr David Hardy

Mr Glen Sealey

Chief Operating Officer,

Maserati Australasia & South Africa

Mr Tony Shepherd ao

Mr Peter Shorthouse

Senior Partner,

Crestone Wealth Management

Mr Noriyuki (Robert) Tsubonuma

Managing Director & CEO,

Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp

& Ms Lucy Turnbull ao

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

The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.


ACO Committees

Heather Ridout ao (Chair) Chair, Australian Super

Guido Belgiorno-Nettis am Chairman, ACO

John Kench

Jason Li Chairman, Vantage Group Asia

Jennie Orchard

Peter Shorthouse Senior Partner, Crestone Wealth Management

Mark Stanbridge Partner, Ashurst

Paul Sumner Chief Executive Officer, Mossgreen

Alden Toevs Group Chief Risk Officer, CBA

Nina Walton

SYDNEY DEVELOPMENT COMMITTEE

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

Colin Golvan qc

Peter McMullin Chairman, McMullin Group

James Ostroburski CEO, Kooyong Group

Paul Sumner Chief Executive Officer, Mossgreen

Susan Thacore

MELBOURNE DEVELOPMENT COUNCIL

Morwenna Collett CEO, Accessible Arts

Ebru Sumaktas Senior HR Officer, Department of Family and Community Services

Alexandra Cameron-Fraser Chief Operating Officer, ACO

Sally Crawford Patrons Manager, ACO

Vicki Norton Education Manager, ACO

Dean Watson Customer Relations & Access Manager, ACO

DISABILITY ADVISORY COMMITTEE

SYDNEY

Liz Lewin (Chair)

Lillian Armitage

Lucinda Cowdroy

Sandra Ferman

Eleanor Gammell

Fay Geddes

Lisa Kench

Julianne Maxwell

Karissa Mayo

Rany Moran

John Taberner

Lynne Testoni

BRISBANE

Philip Bacon

Kay Bryan

Andrew Clouston

Dr Ian Frazer ac

Mrs Caroline Frazer

Cass George

Wayne Kratzmann

Shay O’Hara-Smith

Marie-Louise Theile

Beverley Trivett

EVENT COMMITTEES

ACO Government PartnersThe ACO thanks our Government Partners for their generous support

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

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


ACO PartnersWe thank our Corporate Partners for their generous support

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A C O P A R T N E R SWE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT

39


PRINCIPAL PARTNER


NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

CONCERT AND SERIES PARTNERS

MEDIA PARTNERS EVENT PARTNERS

A C O P A R T N E R SWE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT

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PRINCIPAL PARTNER


NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

CONCERT AND SERIES PARTNERS

MEDIA PARTNERS EVENT PARTNERS

A C O P A R T N E R SWE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT

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ACO NextMELBOURNE LAUNCH

ACO Next had its Melbourne launch on Monday 2 October, hosted by Leah and Charles Justin at their home and contemporary art space, Justin Art House Museum, in Prahran.

70 guests attended the launch event, where they enjoyed canapes, Tattinger Champagne and a selection of Peter Lehmann Wines. A sextet led by Satu Vänskä treated guests to an eclectic program, including Dowland, Vivaldi, and Beethoven’s beautiful Cavatina from String Quartet in B-flat major.

ACO Next is a membership program supporting Australia’s up and coming musicians. Members access unique musical and networking experiences, including concerts in private homes and other unexpected locations. The program has been running in Sydney for two years, and we are excited to expand it to Melbourne.

Members directly support ACO Collective, the ACO’s regional touring orchestra, which features young musicians at the start of their professional careers, who play alongside ACO mentors. Member donations help support the musicians’ salaries, schools’ workshops, special projects, professional development, touring and marketing costs.

If you are interested in finding out more about ACO Next, or know of young people in Melbourne or Sydney who might be interested in joining, please visit aco.com.au/support/aco_next or contact Sally Crawford, Patrons Manager, on 02 8274 3830 or [email protected]

All photos © Zan Wimberley

Justin Art House Museum


ACO Next

Satu Vänksä with hosts Charles and Leah Justin

Pat Miller and Mark Ingwersen Jess Read and Jess Gardner with Timo-Veikko Valve, Nicole Divall and Melissa Barnard

ACO Next Sydney member Shevi de Soysa chats with guests Mark Jeanes, Timo-Veikko Valve and Kristian Pithie


ACO Next

ACO in performance

Kirsty Meathrel, Helen Tefler ACO’s Sally Crawford and Sarah Morrisby with guests Megan Stellar and Evan Lawson

Vincent Cordelise, Edward Skinner, David Henderson Jason Duke, Michael Vasta, Justin Sutclyffe, David Fiorovarth


CYANMAGENTAYELLOWBLACK

JOB DESCRIPTION Client: PIMCOHeadline: Our ViewJob Number: 420PMCCORP7-732Altair Number: B1199-002975-00Bill to Job Number: 420PMCCORP7-731Version: BAd Unit: Publication(s): Orchestra Program AdShot List: PMC-STK-CY15-0042, PMC-STK-CY15-0036, PMC-STK-CY15-0007.01, PMC-STK-

CY15-0022, PMC-STK-CY15-0043, PMC-STK-CY15-0038, PMC-STK-CY15-0030, PMC-STK-CY15-0041, PMC-STK-CY15-0048, PMC-STK-CY15-0032, PMC-STK-CY15-0033, PMC-STK-CY15-0003.01, PMC-STK-CY15-0034, PMC-STK-CY15-0039, PMC-STK-CY15-0029, PMC-STK-CY15-0031, PMC-STK-CY15-0078, PMC-STK-CY15-0064, PMC-STK-CY15-0079, PMC-STK-CY15-0035, PMC-STK-CY15-0027

Bleed size: 156 x 246Trim size: 150 x 240Safety size: 125 x 215Gutter: Vendor: Primary Color Systems Corp# of Colors: 4/cInsertion Date:

IDEA TEAM Account Executive: Taylor ToomeyProject Manager: Emily TrustyProducer 1: Lynn WelshArt Studio: Lisa ShiozakiArt Director: Nels Dielman

pimco.com.au

Our investment process is anchored by our macro outlook for the global economy, financial markets, central bank policy and geopolitical dynamics. Our understanding of these forces and their impact on the world helps position millions of investors for the opportunities and obstacles ahead.

Our view of the world helps investors see the wayforward.

All investments contain risk and may lose value. Please refer to Financial Services Guide for information on the types of financial products and financial services that PIMCO Australia is authorised to provide to retail clients. PIMCO is a trademark of Allianz Asset Management of America L.P. in the United States and throughout the world. ©2017 PIMCO.

1145959.732B_View of the World_125x215.r1.indd 1 4/21/17 9:20 PM

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When performance is your passionQueensland Conservatorium continues to produce musical theatre professionals of the highest calibre.

From 2018, we are proud to also offer a Bachelor of Acting, with study across a range of genres, ensemble work, technique classes, acting for camera, industry-led workshops and public performances.

Find your place on the world stage.

griffith.edu.au/acting | griffith.edu.au/musicaltheatre

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When performance is your passionQueensland Conservatorium continues to produce musical theatre professionals of the highest calibre.

From 2018, we are proud to also offer a Bachelor of Acting, with study across a range of genres, ensemble work, technique classes, acting for camera, industry-led workshops and public performances.

Find your place on the world stage.

griffith.edu.au/acting | griffith.edu.au/musicaltheatre

Every Sunday and Tuesday nights be transported with the best orchestral music from around the world.

Check your Foxtel guide for more details.

foxtelarts.com.au @FoxtelArts

HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD?When the violin in question is a rare Guadagnini, handmade in 1759, you celebrate by giving it the biggest possible audience you can find.

That’s why we lent ours to the Australian Chamber Orchestra.That way, thousands of people can experience its remarkable sound. After all, an instrument this special is worth celebrating.

HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD?When the violin in question is a rare Guadagnini, handmade in 1759, you celebrate by giving it the biggest possible audience you can find.

That’s why we lent ours to the Australian Chamber Orchestra.That way, thousands of people can experience its remarkable sound. After all, an instrument this special is worth celebrating.

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