GOLDBERG VARIATIONS - au-com-aco … · Giuseppe Guarneri del Gesù violin kindly on loan from an...

PRINCIPAL PARTNERNATIONAL TOUR PARTNER

A Great Relief

Romy Ash speaks to composer Thomas Adès

p.20

Travelling Around Space

Martin McKenzie-Murray on the Goldberg Variations

p.24

Three Pieces

Bernard Rofe on the music of Stravinsky

p.36

GOLDBERG VARIATIONS

AUGUST 2018

WelcomeFrom the ACO’s Managing

Director Richard Evansp.3

ProgramListing and

concert timingsp.4

MusiciansPlayers on stage for

this performancep.10

Program in Short

Your five-minute read before lights down

p.14

Goldberg History

Follow the story of the Goldbergs through time

p.18

A Great Relief

Romy Ash speaks to composer Thomas Adès

p.20

Travelling Around Space

Martin McKenzie-Murray on the Goldberg Variations

p.24

Three Pieces

Bernard Rofe on the music of Stravinsky

p.36

Coming Up

Upcoming events to add to your calendar

p.42

Inside you’ll find features and interviews that shine a spotlight on our players and the program you are about to hear. Enjoy the read.

INSIDE:

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NATIONAL CONCERT SEASON 2018COVER PHOTOS. DANIEL BOUD | PRINTED BY. PLAYBILL PTY LTD

Welcome to our celebration of JS Bach’s Goldberg Variations, a wonderful and enduring piece of music which has been reinterpreted in so many ways over so many years.

Richard Tognetti and the ACO are renowned the world over for their innovative and insightful interpretations of Bach’s music. In this series of concerts we are delighted to present Canadian conductor Bernard Labadie’s visionary string arrangement of the Goldberg Variations in Australia’s concert halls for the very first time.

Originally written for a two-manual harpsichord in 1741, and more commonly performed on the piano today, this arrangement for strings examines the work in a new form, supported by the verve of the ACO.

This year we also celebrate a milestone anniversary with the Commonwealth Bank of Australia, our National Tour Partner for these concerts. Thirty years ago, the Commonwealth Bank and the ACO forged a partnership that has since grown to become one of the longest and most successful of its kind in the country. We are exceptionally grateful to the Commonwealth Bank for their ongoing support, in particular for the loan of the exquisite 1759 Guadagnini violin, played by our Principal Violin Helena Rathbone.

We are delighted to present Bach’s iconic Goldberg Variations for the first time. I hope you find the concert an illuminating and uplifting experience.

WELCOME

Richard EvansManaging Director

Join the conversation #ACO18

TRANSFORMING STRAUSS & MOZART8 – 19 SEPTEMBERAdelaide, Canberra, Melbourne, Sydney, Wollongong

Tickets from $49*

PRINCIPAL PARTNERGOVERNMENT PARTNERSNATIONAL TOUR PARTNERBOOKINGS

*Booking fee of $7.50 applies. Prices vary according to venue and reserve.

An intimate and emotional program featuring music by Richard Strauss, Mozart and Wagner, curated by our Principal Cello Timo-Veikko ‘Tipi’ Valve.

Helena Rathbone ViolinAiko Goto ViolinStefanie Farrands ViolaNicole Divall ViolaTimo-Veikko Valve CelloMelissa Barnard CelloMaxime Bibeau Double Bass

NATIONAL CONCERT SEASON 2018

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PROGRAM

ACO concerts are regularly broadcast on ABC Classic FM. Goldberg Variations will be broadcast on ABC Classic FM on Saturday 18 August at 12 noon.

Richard Tognetti Violin

Erin Helyard Keyboards

Australian Chamber Orchestra

PRE-CONCERT 45 minutes prior to the performance mins TALK See page 51 for details

STRAVINSKY (arr. strings) Three Pieces for String Quartet 7

I. [Danse] II. [Eccentrique] III. [Cantique]

THOMAS ADÈS (arr. strings) The Four Quarters, Op.28: I. Nightfalls 7

BACH (arr. Richard Tognetti) Canons on a Goldberg Ground, BWV1087 10

I. Canon simplex II. All’ roverscio III. Beede vorigen Canones zugleich, motu recto e contrario IV. Motu contrario e recto V. Canon duplex à 4 VI. Canon simplex über besagtes Fundament à 3 VII. Idem à 3 VIII. Canon simplex à 3, il soggetto in Alto IX. Canon in unisono post semifusam à 3 X. Alio modo, per syncopationes et per ligaturas à 2 XI. Canon duplex übers Fundament à 5 XII. Canon duplex über besagte Fundamental – Noten à 5 XIII. Canon triplex à 6 XIV. Canon à 4 per Augmentationem et Diminutionem

INTERVAL 20

BACH (arr. Bernard Labadie) Goldberg Variations, BWV988 70

Aria Variatio 1. a 1 Clav. Variatio 2. a 1 Clav. Variatio 3. Canone all’Unisono. a 1 Clav. Variatio 4. a 1 Clav. Variatio 5. a 1 ô vero 2 Clav. Variatio 6. Canone alla Seconda. a 1 Clav. Variatio 7. a 1 ô vero 2 Clav. al tempo di Giga Variatio 8. a 2 Clav. Variatio 9. Canone alla Terza. a 1 Clav. Variatio 10. Fughetta. a 1 Clav. Variatio 11. a 2 Clav. Variatio 12. a 1 Clav. Canone alla Quarta in moto contrario Variatio 13. a 2 Clav. Variatio 14. a 2 Clav. Variatio 15. Canone alla Quinta. a 1 Clav.: Andante Variatio 16. Ouverture. a 1 Clav. Variatio 17. a 2 Clav. Variatio 18. Canone alla Sesta. a 1 Clav. Variatio 19. a 1 Clav. Variatio 20. a 2 Clav. Variatio 21. Canone alla Settima Variatio 22. a 1 Clav. alla breve Variatio 23. a 2 Clav. Variatio 24. Canone all’Ottava. a 1 Clav. Variatio 25. a 2 Clav.: Adagio Variatio 26. a 2 Clav. Variatio 27. Canone alla Nona. a 2 Clav. Variatio 28. a 2 Clav. Variatio 29. a 1 ô vero 2 Clav. Variatio 30. a 1 Clav. Quodlibet Aria da Capo

The concert will last approximately two hours, including a 20-minute interval.The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

NATIONAL CONCERT SEASON 2018AUSTRALIAN CHAMBER ORCHESTRA

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Celebrating 30 years of partnershipThis year marks 30 years of partnership between the Commonwealth Bank and the Australian Chamber Orchestra, the cornerstone of which has been this rare Guadagnini violin, handmade in 1759.

We are delighted to be able to share this special instrument with audiences across Australia, played by Helena Rathbone, the ACO’s Principal Violin.

This year marks the 30th anniversary of the partnership between Commonwealth Bank and the ACO. We are passionate about our investment in the arts and the role we play in bringing world-class concerts and performances to the communities in which we live and work.

Our support also includes the loan of our rare 1759 Guadagnini violin to ACO’s Principal Violin, Helena Rathbone.

Our long association has given us the privilege of watching the ACO grow into the world class orchestra that it is today. In this milestone year, we are excited to be the 2018 National Tour Partner for Goldberg Variations, a Bach celebration that brings together the old and the new – in a unique and illuminating way.

I hope you enjoy this special performance of Goldberg Variations.

NATIONAL TOUR PARTNER

Matt Comyn Chief Executive Officer of Commonwealth Bank of Australia

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Photo. George Voulgaropoulo / OCULI

Julian ThompsonCello

Julian plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesú, kindly donated to the ACO by Peter Weiss ao. His Chair is sponsored by The Grist & Stewart Families.

Satu Vänskä Principal Violin

Satu plays the 1726 ‘Belgiorno’ Stradivarius violin kindly on loan from Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis. Her Chair is sponsored by Kay Bryan.

Richard Tognetti Director and Violin

Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. His Chair is sponsored by Wendy Edwards, Peter & Ruth McMullin, Louise & Martyn Myer ao, Andrew & Andrea Roberts.

Stefanie FarrandsGuest Principal Viola

Chair sponsored by peckvonhartel architects.

Stefanie appears courtesy of Tasmanian Symphony Orchestra.

Alexander McFarlane Viola

Erin Helyard Guest Principal Harpsichord & Piano

Erin plays a Ruckers Double Harpsichord by Carey Beebe, 2003. Supplied & prepared by Carey Beebe.

Erin appears courtesy of Melbourne Conservatorium of Music

Axel WolfGuest Principal Theorbo

The musicians on stage for this performance.

MUSICIANS

Aiko GotoViolin

Aiko plays her own French violin by Jean-Baptiste Vuillaume. Her Chair is sponsored by Anthony & Sharon Lee Foundation.

Glenn Christensen Violin

Glenn plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. His Chair is sponsored by Terry Campbell ao & Christine Campbell.

Mark IngwersenViolin

Mark plays a contemporary violin made by the American violin maker David Gusset in 1989. His Chair is sponsored by Prof Judyth Sachs & Julie Steiner.

Liisa Pallandi Violin

Liisa currently plays Helena Rathbone’s violin which is a c.1760 Giovanni Battista Gabrielli. Her Chair is sponsored by The Melbourne Medical Syndicate.

Discover more

Learn more about our musicians, watch us Live in the Studio, go behind-the-scenes and listen to playlists at:

aco.com.au

Ike SeeViolin

Ike plays a violin by Johannes Cuypers made in 1790 in The Hague. His Chair is sponsored by Di Jameson.

Maxime Bibeau Principal Bass

Max plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor. His Chair is sponsored by Darin Cooper Foundation.

Timo-Veikko ValvePrincipal Cello

Tipi plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund. His Chair is sponsored by Peter Weiss ao.

Nicole Divall Viola

Nikki plays a 2012 Bronek Cison viola. Her Chair is sponsored by Ian Lansdown.

PLAYERS DRESSED BY SABA PHOTOS. BEN SULLIVAN

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AUSTRALIAN CHAMBER ORCHESTRA

THE ACO“The Australian Chamber Orchestra is uniformly high-octane, arresting and never ordinary.”

– The Australian, 2017

The Australian Chamber Orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in a 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 each year. Whether performing in Manhattan, New York, or Wollongong, NSW, 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 instrumentalists, to vocalists, to cabaret performers, to visual artists and film makers.

In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Recent releases include Water | Night Music, the first Australian-produced classical vinyl for two decades, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain.

aco.com.au

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Igor Stravinsky (arr. strings)Three Pieces for String Quartet

Three Pieces for String Quartet (1914) is one of the first pieces Stravinsky composed after the premiere of The Rite of Spring, whose radical approach to form and rhythm would have an enormous impact on the direction of 20th-century music.

Three Pieces marks an important shift in Stravinsky’s style – from grand orchestral ballets like The Firebird, still rooted in late-19th-century nationalism, to the cleaner textures and experimental forms that would come to define his neoclassical and serial periods.

The first piece takes the form of a dance, featuring a folk-like melody accompanied by ostinatos, drones and other interjections. The second piece is inspired by the clown Little Tich, whose spontaneous movements – sometimes comedic, sometimes grotesque – are reflected in the changeable music. The third piece is a ghostly chant.

Three Pieces for String Quartet was premiered in 1915 by the Flonzaley Quartet in Chicago. Stravinsky would go on to arrange the pieces for full orchestra, giving them the titles “Danse”,

“Eccentrique” and “Cantique”, and adding a fourth movement, “Madrid”, arranged from his Etude for Pianola.

Thomas Adès (arr. strings)The Four Quarters, Op.28: I. Nightfalls

Written by the multi-award-winning British composer, pianist and conductor Thomas Adès in 2011, The Four Quarters is based around the metaphor of the diurnal cycle – the 24-hour rotation of the earth and each of its four movements (quarters), which personify a different time of day.

Its first movement, “Nightfalls”, evokes the unsettling mysteriousness of night. The violins open with an interplay of high, alternating pitches that seem to resemble stars and the continuous passage of time all at once. Accompanied by hushed, growling chords in the lower strings, the oscillating violin pattern makes a slow descent before rising upwards to a climax that fades back into the starry world of the opening. In this program, Adès’s eerie nocturne will be played as a prelude to Bach’s Goldberg Variations, representing the troubled, sleepless nights of the Variations’ dedicatee.

The Four Quarters was commissioned by Carnegie Hall, where it was premiered by the Emerson Quartet in 2011.

PROGRAM IN SHORTYour five-minute read before lights down.

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Whatever the truth, the work fell into relative obscurity until the 20th-century, when it re-surfaced in recordings by Wanda Landowska and Rosalyn Tureck. Glenn Gould’s iconic 1955 recording would bring the work to international attention and cemented its reputation as one of Bach’s great masterpieces.

The work itself is the most ambitious solo keyboard work written before Beethoven. It opens with a gentle sarabande Aria adorned in French ornaments, followed by 30 extremely diverse variations – not on the Aria’s melody, but over its bass line. Of the 30 variations, every third is a canon at an increasing interval, and musicologists have identified a multitude of patterns in the work’s structure.

In the final variation, Bach quotes two German folk songs: “Ich bin so lang nicht bei dir gewest” and “Kraut und Rüben haben mich vertrieben”, demonstrating that the variations, far from being a compositional exercise, are firmly rooted in the idea that music should be enjoyed. For all their complexity, the variations flow with a unique sense of coherence and inevitability, and possess an emotional depth that transcends all analysis.

Bach was a serial rearranger of his music, a common and important practice in his time. Bernard Labadie’s arrangement for string orchestra and continuo takes the intricate counterpoint of Bach’s keyboard masterpiece and shares it between the strings, illuminating it in new and exciting ways. Dazzling and colourful, whilst remaining true to the Baroque orchestral style, one could be forgiven for thinking Bach had arranged it himself.

Johann Sebastian Bach (arr. Richard Tognetti)Canons on a Goldberg Ground, BWV1087

In 1974, Bach’s personal copy of the Goldberg Variations was discovered in Strasbourg. It contains his own handwritten corrections to the score and, inside the back cover, 14 canons based on the first eight notes of the Goldberg bass line.

The exact date of these canons isn’t known, but they appear to be from around the time of the Musical Offering (1747), when Bach was immersed in canonic experimentation. Canon is the strictest form of contrapuntal writing: like an intricate ‘Row, row, row your boat’, a single melody must imitate itself after a specified duration, sometimes higher or lower than its first statement, and even upside down or back to front.

As with those in the Musical Offering, these canons have no specified instrumentation and are written in a kind of shorthand, like riddles. Only a few short bars of music are given, and a clue as to how the puzzle is to be solved.

Richard Tognetti’s playful arrangement for strings and piano evokes the energetic Baroque spirit of harpsichordist Richard Egarr, the rhythmic vitality of jazz pianist Jacques Loussier, the bold orchestrations of Leopold Stokowski, as well as the translucent clarity and quiet candour of György Kurtág’s Bach transcriptions.

Johann Sebastian Bach (arr. Bernard Labadie)Goldberg Variations, BWV988

This “Aria with diverse variations for harpsichord with two manuals” constitutes the monumental conclusion of Bach’s four-volume Clavier-Übung series (which literally translates as “Keyboard Practice”). Today, the variations are universally known by their more personal nickname: the Goldberg Variations.

The nickname arose from the now famous story of Count Keyserling, Russian ambassador to the Saxon court, who suffered from insomnia. As the story goes, Bach wrote a set of variations for Keyserling’s court musician, Johann Gottlieb Goldberg, to play to him in order to cheer him up on his sleepless nights.

Various scholars have brought this delightful anecdote, recounted by Bach’s biographer Johann Nikolaus Forkel, into question. They reason that Forkel was writing half a century after Bach’s death using second-hand information, as well as Goldberg’s tender age of 14, and the omission of Keyserling’s name in the published score – an act of tactless ingratitude Bach is unlikely to have committed. However, Goldberg was one of Bach’s great pupils, and it is possible that Bach simply gave Keyserling a copy of the score rather than writing it specifically for him.

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Early 1700s

GOLDBERG HISTORY

1685

1974

1947

17412013

1725

1997

Johann Sebastian Bach is born in Eisenach, Germany.

Bach’s own copy of the first edition of the

Goldberg Variations is discovered in

Strasbourg by French musicologist Olivier

Alain. This edition contains Bach’s own

handwritten corrections, as well as 14 additional canons

on the Goldberg ground bass.

The Australian Chamber Orchestra first performs the 14 Canons on

a Goldberg Ground together with American pianist Jeremy Denk, in an

arrangement by Richard Tognetti.

Count Hermann Karl von Keyserling is born. A Russian diplomat, he is said to have often stopped in Leipzig to receive musical instruction from Bach.

As the story goes, Count Keyserling, ill and suffering from insomnia, asks Bach to write some music for Goldberg to play to him in order to cheer him up on his sleepless nights. Bach answers the Count’s request with the Goldberg Variations. The Australian Chamber Orchestra, led

by Richard Tognetti, will perform Bach’s Goldberg Variations for the first time, in Bernard Labadie’s arrangement.

Glenn Gould makes his second recording of the Goldberg Variations. To this day, listeners debate which of his two recordings is the greater.

Glenn Gould makes his legendary debut recording, electing to record the Goldberg Variations. His recording would bring the Goldberg Variations to international attention, and they have since been widely performed and recorded.

American pianist Rosalyn Tureck releases the first recording of the Goldberg

Variations on modern piano.

As part of a 20th-century revival of the work, which had languished in obscurity for over 160 years, Polish-French harpsichordist Wanda Landowska makes the first recording of the Goldberg Variations.

Johann Gottlieb Goldberg is born. A musician in the service of Count Keyserling, Goldberg is probably the first performer of the Goldberg Variations, which are now named after him.

The Notebook for Anna Magdalena Bach, a compilation of pieces for domestic use by the

Bach family, is started. Among the various pieces inside is the ‘Aria’ for the Goldberg

Variations. Copied into the book by Bach’s wife Anna Magdalena around 1740, this is the

only manuscript score that exists of any part of the Goldberg Variations.

Bach’s Goldberg Variations are first

published. Nineteen copies of this first

edition survive today.

Leading Canadian Baroque conductor Bernard Labadie premieres his

orchestral arrangement of the Goldberg Variations in Quebec City with his

period ensemble Les Violons du Roy.

1697

2018

1981

1955

1933

1727


1918

Thomas Adès, the composer, conductor and pianist, is speaking

from his home and studio in Los Angeles. He is talking about “Nightfalls”, the first movement excerpted from his string quartet, The Four Quarters. He is excited by the character he expects it will have when played by the Australian Chamber Orchestra. “I hope it will sound very beautiful,” he says. “String orchestras are a very special medium and [this performance] will give it amplitude in the sound. It’s a little like when you play something, or sing something, in a cathedral acoustic: it has more depth and space somehow. I think it will bring out the epic.”

Adès describes the movement as being about the magic of it becoming night, which he refers to as, “The special time in the day.” He says, “Of course, that’s what nightfall is, but I wanted it to be as if it’s only that moment, one day

Romy Ash speaks to composer Thomas Adès.

A Great Relief

PHOTO. BRIAN VOCENATIONAL CONCERT SEASON 2018AUSTRALIAN CHAMBER ORCHESTRA

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“It’s that atmosphere of the end of the day, the twilight, and at the end of piece, the stars come out.”

everything falls into place, and it can’t really move again; it doesn’t want to move again. I mean, every piece is very different and every time I start one I feel like I’m a beginner, but that moment – I’m familiar with that happening almost every time, as the piece – it’s almost as if it sets into a –” he searches for the right word: “shape.”

“Some quite surprising things can happen. You realise that something joins up with something else that you’d never noticed before and it literally seems to have a life and a mind of its own, which is a weird moment. I imagine it might be like, I hear, what friends of mine who have children say; that strange moment when you realise that they’re different from you and that they’ve got their own personalities. I’m not sure if I’m getting that right, but it’s a strange, magical moment. And it’s really a great relief.”

Adès says he has been composing in some form or another since he was 10 years old. He wrote his first opus at 18, which he called Opus 1, Five Eliot Landscapes, and from there, there was no turning back. He speaks about learning and growing as a composer in the public eye, an incredibly privileged place to be, but with its own set of problems. Some of his early work he later withdrew from publication. He composed his first opera at 24, Powder Her Face. He’s spoken of composing as a compulsion. “I do it because I don’t have a choice, if I didn’t do it I’d – I don’t know what I’d do. I’d become a headline, of some kind,” he laughs. “A bad headline. No. I can’t not do it. I think if you – famously somebody said – if you can stop, you should. But I can’t.”

paper. “At the moment,” he says, “there are hundreds of pieces of paper covered in scribbles of different colours, some of them pinned to the wall, some of them all over the table and the floor. Out of that apparent chaos something, we hope, eventually emerges.”

Looking across the studio, he settles on the piano. “The piano is a cross between a table and something that…” he pauses, then: “I suppose it’s like a kind of a palette. It’s not quite the right description.” He releases a laugh, the first of many.

Adès has a warm voice and a serious way of speaking about his work. He matches this with a humble, self-deprecating humour. He half jokes about the piano, “it’s somewhere to put

your pencils”, but goes on to say, “it also helps you keep, in the music, a sense of proportion. In places where I’ve not had a piano and I’ve been trying to write, it’s like things get too long or too short. The proportions get a little harder to judge. I don’t know why. I can use other instruments. I sometimes have little toy instruments, little toy violins, or things that I can hit, just to give myself a little – to get out of my own brain,” he explains, laughing.

Of the composition process, Adès says: “In my experience it usually settles into itself and things that seem to be problems or conflicting possibilities, or versions of things, suddenly start to interlock. Something happens where

after another. As if that’s the only moment the day consists of. And you hear it in the music. It’s always endings. It’s as if you always just see the sun disappearing and then you hear that happen … in a way, it means that the music is always, if you like, going west. It’s that atmosphere of the end of the day, the twilight, and at the end of piece, the stars come out.”

Adès speaks about the movement and the way it is composed as if on two separate planes that eventually “link hands”. He says: “The violins at the start are one plane. It’s like a cycle and if you imagine the night sky turning, it’s always fixed – the notes are fixed and the relationship – but it turns, like a slowly turning cosmos. And underneath

are the lower strings. They are the other plane, which is a very slow, sort of sighing, melody underneath. It’s always falling. Some of it climbs and then falls. They really turn into one breath, into one movement. In fact, in a way, the whole movement actually describes the process where they link hands and become one thing.”

“Nightfalls” will be played as a prelude to Bach’s Goldberg Variations, which as the story goes, was composed for a count who had insomnia. In both pieces, Adès says, there’s an

“awareness of the cyclical nature of time”.In Adès’s studio, there’s a piano, a

table and, depending on the stage of the piece he’s writing, a lot of pieces of

Top. Adès says he has been composing in some form or another since he was 10 years old. Above. Front cover of the score, which uses four paintings representing the four time phases of the day.

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TRAVEL LING

SPACEAROUND

Photo. George Voulgaropoulo / OCULI

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Martin McKenzie-Murray discusses the Goldberg Variations with Richard Tognetti and Bernard Labadie.

Bernard Labadie knows precisely when and why he wanted to

become a musician. “Bach was the reason,” he says. “Some time in December 1974 or ’75. The dead of winter. It was a Christmas concert with the Quebec Symphony Orchestra and choir. The first piece of the program was the first cantata of the Christmas Oratorio, and I’ll never forget the impression the chorus made on me. It changed my life completely. I got so excited. Bach absolutely nailed me. I knew this is what I wanted to do.”

The day I speak with Labadie is the first day in months — the very first morning — that the renowned conductor has been able to read. Like Bach, Labadie developed cataracts. Unlike Bach, he hasn’t fatally suffered from their removal. Labadie says the hostile frosting is “the last gift of my cancer in 2014 — induced from all the medication I received, mostly cortisone. Now I need two more laser surgeries and after that everything will be perfect. I can literally see the light at the end of the tunnel. I couldn’t help reflecting on the fact that if Bach, or Handel, had known my doctor, they’d be in great shape.”

In 2014, Labadie was diagnosed with lymphoma. Its work was aggressively swift, and he was placed for a month in a medically induced coma. In that

time, Labadie’s body atrophied — his muscle weight halved. Once emerged from his deathly suspension, he had to relearn how to walk. When he resumed conducting, he did so from a chair.

The fact he resumed is telling. Labadie never stopped thinking about music. Death’s hand reordered his perspective — “I’m living much more in the present time” — but the pleasure and purpose of music remained. So, too, the centrality of Bach. Labadie speaks as effusively of the composer’s talent as he ever has. “The Goldberg Variations are like the Earth spinning on an orbit,” he says. “The sun rises at the beginning, and the end. It’s like the seasons’ cycle. If you know in advance the structure, you can guess what kind of music will come. It’s like the planets in revolution.”

Labadie’s analogy of cosmic harmony isn’t whimsy. For centuries, Bach’s work has astonished musicians with its logical purity and fastidious grammar. Bach’s scores are often examples of music talking to itself — themes are introduced, elaborated, reversed, inverted. A theme’s spawn will diverge, then triumphantly integrate. With the Goldberg Variations, Bach’s theme is elegantly exhausted — it becomes a self-contained cosmos.

Which might suggest that Bach is bloodlessly intellectual — a musical mathematician. He isn’t. Bach treated music, in the words of critic Alex

“The Goldberg Variations are like the Earth spinning on an orbit,” he says. “The sun rises at the beginning, and the end...”

Canadian conductor, Bernard Labadie.

Photo. Dario Acosta

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Ross, as a “vessel of divinity” and he worked the laws of music much like those who designed the grand Gothic churches worked laws of engineering and aesthetics — paths to heavenly communion were paved with rules. And yet, the listener needn’t possess knowledge of these laws to enjoy the work.

“We were playing a concert,” Richard Tognetti says, “and my brother, who is not musical, he said afterwards, ‘Bach is best, isn’t he?’ And he wasn’t identifying with the symmetry. He didn’t know what was under the bonnet. What’s incredible is that you can create great mathematical notation that means nothing. But Bach operates on all those levels: under the bonnet, the mechanic can dig around and be amazed by how it’s all put together; or you can just sit back as someone who knows nothing at all and let it wash over you.”

It’s no different for Labadie. Like Tognetti, he has a rarefied appreciation of Bach’s composition — the exquisite geometry beneath the bonnet — but he knew none of this when he first heard Bach one Christmas in Quebec. It was a subverbal astonishment.

“When you’re 11-years-old, you don’t understand architecture,” he says. “But there was something overwhelming about it that made an impression on me without having the keys to

understand it. I was feeling it in my body. But understanding doesn’t take the magic away; it actually enhances it.”

In many of Bach’s scores, duelling elements resolve themselves — but in the centuries since his death, there have been morphing, unresolved disputes as to how best to interpret him. And a question emerges: Does reverence inhibit modern interpreters?

Like Shakespeare, little is known biographically about Bach. We know the depth of his faith — he left a busily annotated Calov Bible, the most explicit expression of his Lutheran thought. We know of his commitment to his craft — he trekked 400 kilometres through snow to watch the famed organist Dietrich Buxtehude play in Lubeck. We know of his influence — Beethoven and Mozart were taking notes, and Goethe said of him that it was “as if the eternal harmony were communing with itself, as might have happened in God’s bosom shortly before the creation of the world”.

Together, this may lead us to wonder where the line exists between a healthy respect for Bach’s mastery and dull fetishisation of his gifts. Like most endeavours filled with passionate people, baroque and classical music has its turf wars. Matters of interpretation have long

Photo. Jack Saltmiras

ACO Artistic Director, Richard Tognetti.

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Top. Johann Nikolaus Forkel, 1790 by German artist and copperplate engraver, Christian Heinrich Schwenterley. Above. Johann Sebastian Bach (aged 61) in a portrait by Elias Gottlob Haussmann.

his death was. Gould died from a stroke at 50. Before he died, he reclusively wrote essays and recorded radio shows. In the years he did perform publicly, his concerts became known for his tics — humming; gloves and coat, lest he catch a cold; the same squeaky chair. Beneath his feet, he habitually placed a worn square of carpet. Most memorable, though, was his singular, unabashed flamboyance.

But myth follows mastery, for Tognetti. Gould’s tics didn’t obscure his talent — we are, he says, conscious of them because of it. “He was the great romantic,” Tognetti says. “Throwing himself into it. The mythology is because of the music. With some artists it’s all hype. But Gould was the first great, quirky, romantic pianist with the technique of Horowitz. Mind-blowing. One of the great pianists of all time.”

Today, it’s still hard to avoid Gould’s 1955 recording of the Goldberg Variations when discussing the piece, a bestseller that repopularised Bach and established Gould’s celebrity. It is fast — very fast — and played with a “fanatically crisp articulation”. Tognetti tells me that audiences in the past have criticised performances of it because they’ve measured it against the only recording they’ve heard: Gould’s.

Labadie and Tognetti are world-class. They’ve become so with talent. With both, an early, tender and inarticulate passion later resolved itself into rarefied

“The script really is worth revering if you think it works. But that doesn’t mean the script can’t be adapted, and that you can’t make it sing and zing for other people who might enjoy it more if it’s adapted.”

know what he is and what he means in the history of music. But any 18th-century musician would not have been inhibited by that feeling. Handel borrowed to light the fire. Bach was doing the same thing — he was borrowing from his family, other composers, he was doing it throughout his whole career.

“Bach had no inhibition — his purpose was always to sound as idiomatic as possible. He can make some striking transformations, but not always. Sometimes the music can be transcribed as is. It really depends upon the material in his hands. But there’s no reference to ‘authenticity’. That was something invented in the 20th century. The idea of authenticity, of going back to the roots — they were the roots, they just didn’t care. They didn’t have this idea that they can’t touch what we have. For them, music was a living material which they could transform whenever they thought it was needed.”

Glenn Gould touched what he had — his professional life was bookended by recordings of the Goldberg Variations, the first a bestseller that critics still say is smudged by his strange fingerprints. Born in Toronto in 1932, Gould was composing and touring before puberty. So young was he when he began his career that his retirement from public performance at 32 might not be considered early. But

been political. How should one arrange Bach? Transliterate him? Modernise him? Should one? How much does reverence inspire — and how much does it inhibit? I spoke with both arrangers about the idea of “authenticity” — and its parallel with the United States constitution.

For decades now, the question of interpreting the US constitution has, broadly speaking, yielded two groups: originalists, who stress unbending fidelity to its authors’ words and intentions; and those who argue that their founding document should be respected in its fundamentals, but also treated as a “living, breathing document”.

“People talk about authenticity,” Tognetti says. “‘Just what the composer intended.’ Excuse me? We have no idea what the composer intended. You know, there are people who claim they can work out how certain words were pronounced at the time of Shakespeare’s performances at the Globe — ‘historical pronunciation’. We have that in music, too.

“How I look at it is: not for one second would I ever change the gift that Bach’s given us. I’m an originalist, actually. The script really is worth revering if you think it works. But that doesn’t mean the script can’t be adapted, and that you can’t make it sing and zing for other people who might enjoy it more if it’s adapted.”

Labadie suggests that the insistence on musical “authenticity” is, ironically, confected. “One has to understand the concepts of arrangement for a musician in the 18th century,” he says. “It’s very, very different to how we see it nowadays. Somehow we’ve been contaminated by the certain rigour that comes with the utmost respect for Bach. Because we

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Glenn Gould In the CBS studio, New York, ca.1955.

“And we, those without their skills, might find pleasure in knowing that music can still remain, even for the globally renowned, a matter of taste and splintering interpretations. ”

miraculously retained — scribbled down the chords under the working title

“Scrambled Eggs”. McCartney loves the story and so, I think, do we. Perhaps the story’s popularity owes to our pleasure in contemplating some music as magically conceived — and pleasure in thinking of McCartney as a smiling genius for whom even unconsciousness cannot subsume the Muse.

McCartney charmingly shrugs when telling the story — the musician as grateful servant of inscrutable forces. But the story as told ignores individual intelligence and effort. It ignores the fact that inspiration is often the intuitive, subliminal adoption of things already heard — that talent first passionately immerses itself in others’ work, before creating its own. But do we care? The pleasure of the story remains, but what matters most is the song itself.

The myth of the Goldberg Variations is different: a wealthy patron makes an eccentric commission. The foundation for this story is found in an early biography of Bach, written by Johann Nikolaus Forkel 50 years after his subject’s death. For the existence of the Goldberg Variations, Forkel writes, “we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Keyserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical

skill. But they respectfully disagree on Gould — and other matters. And we, those without their skills, may find pleasure in knowing that music can still remain, even for the globally renowned, a matter of taste and splintering interpretations.

“I’ve never been able to get through the whole thing once,” Labadie tells me of Gould’s ’55 recording of the Variations.

“For me, it’s unbelievably fascinating, but it sounds more like Gould than it sounds like Bach. It certainly doesn’t sound like 18th-century music. This love of short notes, of hyper-articulation. It doesn’t sound natural. It’s a re-creation by someone with an agenda.”

Tognetti says the first Gould recording of the Variations he heard was the later one — the one recorded not long before Gould’s death. “That’s the one I grew up with,” he says. “I gazed first into the beguiling world of Goldberg and Gould, and it was later I heard the ’55 and thought, ‘That sounds too fast.’”

It might be reassuring to know that the bias of a first encounter exists among the most talented.

We love myths of creation. Stories that adorn our most cherished songs. A popular one is that Paul McCartney wrote the melody of “Yesterday” in his sleep and on waking — the melody

Photo. Dan Weiner. Courtesy of Sandra Weiner and Canadian Museum of History.

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where do you put the Goldbergs? “Sure, [Bach says], ‘I’ll write something

to send people to sleep.’ But he can’t deny his own genius doing it. So we can study every note, analysing it and pulling it apart, but here’s this humble and anti-artistic positioning as to be a bit of a joke. And I love that, I love that dilemma.”

There’s scholarly doubt about it ever happening. But Tognetti laughs mischievously when he says that perhaps “some myths shouldn’t be debunked” — for him they’re still instructive, despite the literal truth, or for the fact that, simply, they’re too much fun.

Myths blossom around genius; so, too, debates about its interpretation. But for both Tognetti and Labadie, Bach remains as beguiling as when they first heard him. “What Bach means to me, in a very direct and objective sense,” Tognetti says, “is that he’s the most travelled composer — even though he’s one of the least travelled in a physical sense. His music has even ventured beyond the realm of our solar system via the Voyager spacecraft, which has travelled farther than anyone or anything in history.”

Labadie shares a quote he loves — even if he remains sceptical of it. “Someone said that Bach was such a complete universe that had he not existed the history of music would have been exactly the same,” he says.

“Isn’t that fabulous? But impossible.”

instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia …

“Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfil this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation.”

Which is strange: the saintly Bach, who wrote so much music to awaken others to the glory of God — whose Variations have, for centuries, dynamically implored the genius of his various interpreters — employed to put an ailing count to sleep. The insomnia myth is, in part, about genius servicing banality, of a historically enlivening talent used to render one rich man unconscious.

For Tognetti, the contrast is amusingly subversive. “My attraction to [this story] is that insomnia is the last thing you’d imagine the great Bach would put his mind to — sending people to sleep. The uber-sophisticates like Ricardo Muti — he had a little Euro hissy fit because he was listed in the Chicago Tribune under the entertainment section. Okay,

“the saintly Bach, who wrote so much music to awaken others to the Glory of God – whose Variations have, for centuries, dynamically implored the genius of his various interpreters – employed to put an ailing Count to sleep”

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Performance at the highest level is critical in business and the concert hall.

We are dedicated supporters of both.

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Bernard Rofe on the music of Stravinsky.

Portrait of Igor Stravinsky, 1915 by Jacques-Emil Blanche.

Three Pieces

Top. The music hall comedian Little Tich on stage at the Phono-Cinéma-Théatre, France performing his “big boot dance”. Above. A posed group of dancers in the original production of Igor Stravinsky's ballet The Rite of Spring, showing costumes and backdrop by Nicholas Roerich.

composer who had received much adulation and notoriety for his colourful and groundbreaking large-scale works. But Stravinsky was never one to meet the expectations of concert-going public.

Stravinsky was born into Tchaikovsky’s Russia, whose musical landscape was already being drastically transformed by The Five – a “Mighty Handful” of musical nationalists who counted Stravinsky’s teacher Nikolai Rimsky-Korsakov among its members. The young Stravinsky harnessed this nationalist approach in his early ballets – all of which are based on Russian folk material – but by 1913 he had all but exhausted the possibilities of 19th-century romanticism.

The year that followed The Rite’s premiere represents a turning point in history: it was the year of the assassination of Archduke Franz Ferdinand of Austria and the beginning of World War I. The Russian Revolution of 1917 saw Stravinsky’s estate confiscated and his income from Russian publishers cut off. Effectively exiled from Russia, Stravinsky’s creative impulses moved away from the folk music of his homeland and towards the classical influences that would come to define his neoclassical period, in works such as Pulcinella (1920), the Violin Concerto (1931) and the Symphony in C (1940).

In this light, Three Pieces for String

“Three Pieces shows us a Stravinsky eager to reinvent the rules – a deep impulse that would have a lasting impact on the direction of 20th-century music.”

C lassical music is rife with examples of pieces that have

become associated, in the public consciousness, with a single, famed event.

Look no further than the last item on this program for a work that has become so inexplicably linked with one pianist’s landmark 1955 recording as to be defined by it. Perhaps the most famous example of this kind of association is Stravinsky’s Rite of Spring, which caused such a scandal at its 1913 premiere that, more than 100 years later, tales of the “riot” it ignited are permanently ingrained into the narrative of 20th-century music.

Listeners will be most familiar with Stravinsky through his three early ballets for Sergei Diaghilev’s Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). In the decades that followed, however, Stravinsky would become something of a musical chameleon, thanks to his unique ability to take influences from different musical styles – from folk, Baroque and Classical, to jazz and 12-tone – and completely reinvent them within his distinct and hugely influential musical language.

Three Pieces for String Quartet of 1914 is one of the first works Stravinsky composed after the premiere of The Rite of Spring. One could be forgiven for thinking that these short, peculiar pieces are quite unexpected from a

Quartet represents the most important turning point in Stravinsky’s stylistic development, bridging his Russian period – borne out of the nationalist sentiments of The Five – and his more innovative periods of neoclassicism and serialism, both of which exemplify major musical movements of the 20th century.

The first piece is like a merry dance for clockwork musicians. Its melody is not unlike those found in Petrushka, but the other components have their own rhythmic impulses and seem to have little to do with one another. The second piece is inspired by the clown Little Tich, who Stravinsky saw perform in 1914. Little Tich’s jerky, balletic movements fascinated dancers as eminent as Vaslav Nijinsky, and the sudden changes in the music, which reflect the performer’s movements, have more in common with a Webern miniature than Russian folk music. The third piece is entirely homophonic, with Stravinsky writing that the last 20 measures were “some of my best music of that time”. Stravinsky would later rearrange all three for full orchestra, giving them the evocative titles

“Danse”, “Eccentrique” and “Cantique”.Three Pieces, premiered in 1915

by the Flonzaley Quartet in Chicago, shows us a Stravinsky eager to reinvent the rules – a deep impulse that would have a lasting impact on the direction of 20th-century music.

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Photo. David Maurice Smith / OCULI

SEPTransforming Strauss & Mozart

8–19 SeptemberAdelaide, Canberra, Melbourne, Sydney, and WollongongAn emotional, moving program featuring music by Strauss, Mozart and Wagner stripped back to its powerful core. Curated by our Principal Cello Timo-Veikko ‘Tipi’ Valve.

ACO Collective at Crescendo

9 SeptemberSydney Opera HouseMatthew Truscott directs ACO Collective for Sydney Opera House’s Crescendo, a celebration of Australia’s emerging classical artists.

Hush 18 Launch

16–17 SeptemberMelbourne and SydneyACO Collective come together for concerts in Sydney and Melbourne to celebrate the release of our collaborative CD with charity, The Hush Foundation.

Upcoming events to add to your calendar.

COMING UP AT THE ACO

SEP/OCTIlya Gringolts Plays Paganini

30 September – 8 OctoberAdelaide, Brisbane, Melbourne, Perth and SydneyRussian violin prodigy Ilya Gringolts directs the ACO through a virtuosic display featuring music by Vivaldi and Paganini.

NOVTognetti’s Beethoven

8 – 21 NovemberAdelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney Richard Tognetti directs our monumental season finale, featuring Beethoven’s Violin Concerto and Fifth Symphony.

OCT2018 Barbican Residency

22 – 24 OctoberLondon, EnglandThe first of three ACO seasons at London's Barbican Centre as International Associate Ensemble at Milton Court.

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One great performance deserves another.With 99% coverage of the Australian population,the Telstra Mobile Network performs for the ACO in more places than any other.

Find out more at telstra.com or call 13 2200.

THINGS YOU NEED TO KNOW: The spectrum device and ™ are trade marks and ® are registered trade marks of Telstra Corporation Limited, ABN 33 051 775 556.

BoardGuido Belgiorno-Nettis amChairmanLiz LewinDeputyBill BestJohn Borghetti aoJudy CrawfordJohn KenchAnthony LeeMartyn Myer aoJames OstroburskiHeather Ridout aoCarol Schwartz amJulie SteinerJohn TabernerNina WaltonSimon Yeo

Artistic DirectorRichard Tognetti ao

Administrative Staff Executive OfficeRichard EvansManaging Director

Alexandra Cameron-FraserChief Operating Officer

Katie HeneberyExecutive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

Claire DimentHR Manager

Artistic OperationsLuke ShawDirector of Artistic Operations

Anna MelvilleArtistic Administrator

Lisa MullineuxTour Manager

Ross ChapmanTouring & Production Coordinator

Nina KangTravel Coordinator

Bernard RofeLibrarian

Joseph NizetiMultimedia, Music Technology& Artistic Assistant

Learning & Engagement

Tara SmithLearning & Engagement Manager

Caitlin GilmourEmerging Artists and Education Coordinator

Stephanie DillonAssistant to the Learning & Engagement and Operations Teams

FinanceFiona McLeodChief Financial Officer

Yvonne MortonFinancial Accountant & Analyst

Dinuja KalpaniTransaction Accountant

Samathri GamaethigeBusiness Analyst

DevelopmentLeigh Brezler Director of Partnerships

Jill ColvinDirector of Philanthropy

Tom TanseyEvents & Special Projects Manager

Penny CooperCorporate Partnerships Manager

Sarah MorrisbyPhilanthropy Manager

Lillian ArmitageCapital Campaign Manager

Yeehwan YeohInvestor Relations Manager

Camille ComtatCorporate Partnerships Executive

Kay-Yin TeohCorporate Partnerships Administrator

MarketingAntonia FarrugiaDirector of Marketing

Caitlin BenetatosCommunications Manager

Rory O’MaleyDigital Marketing Manager

Christie BrewsterLead Creative

Cristina MaldonadoCRM and Marketing Executive

Shane ChoiMarketing Coordinator

Colin TaylorTicketing Sales & Operations Manager

Dean WatsonCustomer Relations & Access Manager

Mel PiuBox Office Assistant

Christina HollandOffice Administrator

Robin HallArchival Administrator

Australian Chamber OrchestraABN 45 001 335 182Australian Chamber OrchestraPty Ltd is a not-for-profit companyregistered in NSW.

In PersonOpera Quays, 2 East Circular Quay,Sydney NSW 2000

By MailPO Box R21, Royal ExchangeNSW 1225 Australia

Telephone(02) 8274 3800Box Office 1800 444 444

[email protected]

Webaco.com.au

Behind the scenes


44

Venue Support

NEWCASTLE CITY HALLOwned and operated by the City of Newcastle290 King Street,Newcastle NSW 2300

Telephone (02) 4974 2166 (Venue & Event Coordinators) Ticketek Box Office (02) 4929 1977 Email [email protected]

ADELAIDE TOWN HALL128 King William Street,Adelaide SA 5000GPO Box 2252, Adelaide SA 5001

Venue Hire Information Telephone (08) 8203 7590 Email townhall@ adelaidecitycouncil.com Web adelaidetownhall.com.au

Martin Haese Lord Mayor Mark Goldstone Chief Executive Officer

QUEENSLAND PERFORMING ARTS CENTRECultural Precinct, Cnr Grey & Melbourne Street,South Bank QLD 4101PO Box 3567, South Bank QLD 4101

Telephone (07) 3840 7444Box Office 131 246Web qpac.com.au

Professor Peter Coaldrake ao ChairJohn Kotzas Chief Executive

AUSTRALIAN NATIONAL UNIVERSITYLlewellyn Hall School of MusicWilliam Herbert Place(off Childers Street),Acton, Canberra

Venue Hire Information Telephone (02) 6125 2527 Email [email protected]

CITY RECITAL HALL LIMITED2–12 Angel Place, Sydney NSW 2000

Administration (02) 9231 9000Box Office (02) 8256 2222Web cityrecitalhall.com

Renata Kaldor ao Chair, Board of DirectorsElaine Chia CEO

WOLLONGONG TOWN HALL

Wollongong Town Hall is managed by Merrigong Theatre Company Crown & Kembla Streets, Wollongong NSW 2500 PO Box 786, Wollongong NSW 2520

Telephone (02) 4224 5959 Email [email protected] Web wollongongtownhall.com.au

ARTS CENTRE MELBOURNE100 St Kilda Rd, Melbourne, VIC, 3004, AustraliaPO Box 7585, St Kilda Road, Melbourne VIC 8004

Telephone (03) 9281 8000Box Office 1300 182 183Web artscentremelbourne.com.au

James MacKenzie President Victorian Arts Centre TrustClaire Spencer Chief Executive Officer

SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001

Telephone (02) 9250 7111Box Office (02) 9250 7777Email [email protected] sydneyoperahouse.com

Nicholas Moore Chair, Sydney Opera House TrustLouise Herron am Chief Executive Officer

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.

HOLDING PERFORMANCE TO A HIGHER STANDARD.

*As at 31/03/2018. Issued in Australia by PIMCO Australia Pty Ltd (ABN 54 084 280 508, AFSL 246862). This information has been prepared without taking into account your objectives, financial situation or needs, and because of this you should consider the appropriateness of the information having regard to these factors before acting on the information. All investments contain risk and may lose value. PIMCO is a trademark of Allianz Asset Management of America L.P. in the United States and throughout the world © 2018 PIMCO.

pimco.com.au

Just as a successful performance relies on an orchestra playing in harmony, successful investing requires the skills and perspectives of a diverse, global team working together.

PIMCO is one of the world’s premier fixed income investment managers, with more than 725 investment professionals and over 2,200 employees* around the world.

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Newcastle City Hall

Tanja Binggeli Thu 2 Aug, 6.45pm

Canberra, Llewellyn Hall

Vincent PlushSat 4 Aug, 7.15pm

Arts Centre Melbourne – Hamer Hall

Robert MurraySun 5 Aug, 1.45pmMon 6 Aug, 6.45pm

Adelaide Town Hall

Vincent PlushTue 7 Aug, 6.45pm

Sydney, City Recital Hall

Tanja BinggeliWed 8 Aug, 6.15pm

Toby ChaddFri 10 Aug, 12.45pmSat 11 Aug, 6.15pmTue 14 Aug, 7.15pm

Sydney Opera House – Concert Hall

Toby ChaddSun 12 Aug, 1.15pm

QPAC Concert Hall, Brisbane

Eddie AyresMon 13 Aug, 6.15pm

Wollongong Town Hall

Tanja BinggeliThu 16 Aug, 6.45pm

Pre-concert speakers are subject to change.

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

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49


ACO Medici Program

Medici PatronThe late Amina Belgiorno-Nettis

Principal Chairs

Richard Tognetti aoArtistic Director & Lead ViolinWendy EdwardsPeter & Ruth McMullinLouise & Martyn Myer aoAndrew & Andrea Roberts

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Principal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter Weiss ao

Maxime BibeauPrincipal Double BassDarin Cooper Foundation

Core Chairs

VIOLIN

Glenn ChristensenTerry Campbell ao & Christine Campbell

Aiko GotoAnthony & Sharon Lee Foundation

Mark IngwersenProf Judyth Sachs & Julie Steiner

Liisa PallandiThe Melbourne Medical Syndicate

Maja SavnikAlenka Tindale

Ike SeeDi Jameson

VIOLA

Nicole DivallIan Lansdown

Ripieno ViolaPhilip Bacon am

CELLO

Melissa BarnardDr & Mrs J Wenderoth

Julian ThompsonThe Grist & Stewart Families

ACO Collective

Pekka KuusistoArtistic Director & Lead ViolinHorsey Jameson Bird

Guest Chairs

Brian NixonPrincipal TimpaniMr Robert Albert ao & Mrs Libby Albert

ACO Bequest Patrons

We would like to thank the following people who have remembered the Orchestra in their wills. Please consider supporting the future of the ACO by leaving a gift. For more information on making a bequest, or to join our Continuo Circle by notifying the ACO that you have left a bequest, please contact Jill Colvin, Director of Philanthropy, on (02) 8274 3835.

Continuo CircleSteven BardyRuth BellDave BeswickDr Catherine Brown-Watt psm & Mr Derek WattSandra CassellSandra DentDr William F DowneyPeter EvansCarol FarlowSuzanne GleesonLachie HillDavid & Sue HobbsPatricia HollisPenelope Hughes

Toni Kilsby & Mark McDonaldJudy LeeJohn MitchellSelwyn M OwenMichael Ryan & Wendy MeadJoan & Ian ScottCheri StevensonJeanne-Claude StrongLeslie C. ThiessNgaire TurnerGC & R WeirMargaret & Ron WrightMark YoungAnonymous (17)

BequestsThe late Charles Ross AdamsonThe late Kerstin Lillemor AndersonThe late Mrs Sibilla BaerThe late Prof. Janet CarrThe late Mrs Moya CraneThe late Colin EnderbyThe late Neil Patrick GilliesThe late John Nigel HolmanThe late Dr S W Jeffrey amThe late Pauline Marie JohnstonThe late Mr Geoff Lee am oamThe late Shirley MillerThe late Geraldine Nicoll

ACO Life Patrons

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

Acknowledgments ACO Special Initiatives

The ACO thanks Dame Margaret Scott ac for establishing the Dame Margaret Scott ac Fund for International Guests and Composition

Special Commissions PatronsDarin Cooper FoundationMirek GenerowiczDavid & Sandy LiblingRobert & Nancy Pallin

ACO Academy

LEAD PATRONSWalter Barda & Thomas O’NeillLouise & Martyn Myer ao

PATRONSPeter Jopling am qcHilary GoodsonNaomi Milgrom aoTom Smyth

Thank you to the Patrons who support our partnerships with the Jewish Museum Australia and Emanual Synagogue.

2017 Jewish Museum Patrons

LEAD PATRON

PATRONSMarc Besen ac & Eva Besen ao

SUPPORTERSThe Ostroburski FamilyJulie Steiner

FRIENDSLeo & Mina Fink Fund

2018 Emanuel Synagogue Patrons

CORPORATE PARTNERAdina Apartment Hotels

LEAD PATRONThe Narev Family

PATRONSLeslie & Ginny GreenThe Sherman FoundationJustin Phillips & Louise Thurgood-Phillips

2017 European Tour PatronsPhilippa & John ArmfieldWalter Barda & Thomas O’NeillSteven Bardy & Andrew PattersonChris & Katrina BarterRussell & Yasmin BaskervilleDavid Bohnett & Maria BockmannPaula Bopf & Robert RankinPaul BorrudCraig & Nerida CaesarTerry Campbell ao & Christine CampbellMichael & Helen CarapietStephen & Jenny CharlesAndrew Clouston & Jim McGownJohn ColesRobin Crawford am & Judy CrawfordGraham & Treffina DowlandDr William F DowneyVanessa Duscio & Richard EvansTerry & Lynn FernFitzgerald FoundationDaniel & Helen GauchatRobert & Jennifer GavshonNick & Kay GiorgettaColin Golvan qc & Debbie GolvanJohn Grill ao & Rosie WilliamsTony & Michelle GristEddie & Chi GuillemetteLiz HarbisonPaul & April HickmanCatherine Holmes à Court-MatherSimon & Katrina Holmes à Court Family TrustJay & Linda HughesDi JamesonAndrew & Lucie JohnsonSimon JohnsonSteve & Sarah JohnstonRussell & Cathy KaneJohn & Lisa KenchWayne KratzmannDr Caroline LawrensonJohn Leece am & Anne LeeceDavid & Sandy LiblingPatrick Loftus-Hills & Konnin TamDr Wai Choong Lye & Daniel LyeChristopher D. Martin & Clarinda Tjia-DharmadiJanet Matton & Robin RoweJulianne MaxwellNicholas McDonald & Jonnie KennedyAndrew & Cate McKenziePeter & Ruth McMullinJim & Averill MintoRany & Colin MoranUsmanto Njo & Monica Rufina TjandraputraDr Eileen OngJames OstroburskiSusan PhillipsSimon Pinniger & Carolyne RoehmAndrew & Andrea Roberts

The Ryan Cooper Family FoundationCarol Schwartz am & Alan Schwartz amRosy Seaton & Seumas DawesJennifer Senior & Jenny McGeePeter & Victoria ShorthouseHilary StackJon & Caro StewartJohn TabernerJamie & Grace ThomasAlenka TindaleDr Lesley TreleavenBeverley Trivett & Stephen HartPhillip Widjaja & Patricia KaunangSimon & Jenny Yeo

ACO Mountain Producers’ SyndicateThe ACO would like to thank the following people for their generous support of Mountain:

EXECUTIVE PRODUCERMartyn Myer ao

MAJOR PRODUCERSJanet Holmes à Court acWarwick & Ann Johnson

PRODUCERSRichard CaldwellWarren & Linda ColiAnna Dudek & Brad BanducciWendy EdwardsDavid FriedlanderTony & Camilla GillJohn & Lisa KenchCharlie & Olivia LanchesterRob & Nancy PallinAndrew & Andrea RobertsPeter & Victoria ShorthouseAlden Toevs & Judi Wolf

SUPPORTERSAndrew AbercrombieJoanna BaevskiAnn Gamble MyerGilbert GeorgeCharles & Cornelia Goode FoundationCharles & Elizabeth GoodyearPhil & Rosie HarknessPeter & Janette KendallSally LindsayAndy Myer & Kerry GardnerSid & Fiona MyerAllan Myers acThe Penn FoundationPeppertree FoundationThe Rossi FoundationShaker & DianaMark StanbridgeKim Williams amPeter & Susan Yates


5150

ACO Instrument Fund

The Instrument Fund offers patrons and investors the opportunity to participate in the owndership of a bank of historic stringed instruments. The Fund’s assets are the 1728/29 Stradivarius violin, the 1714 ‘ex Isolde Menges’ Joseph Guarnerius filius Andreæ violin and the 1616 ‘ex-Fleming’ Brothers Amati Cello. For more information please call Yeehwan Yeoh, Investor Relations Manager on (02) 8274 3878.

PatronPeter Weiss ao

BoardBill Best (Chairman)Jessica BlockEdward GilmartinJohn Leece amJulie SteinerJohn Taberner

Founding Patrons

VISIONARY $1M+Peter Weiss ao

CONCERTO $200,000–$999,999The late Amina Belgiorno-NettisNaomi Milgrom

OCTET $100,000–$199,999John Taberner

QUARTET $50,000 – $99,999Mr John Leece am E XipellAnonymous (1)

InvestorsStephen & Sophie AllenJohn & Deborah BalderstoneGuido & Michelle Belgiorno-NettisBill BestBenjamin BradySam Burshtein & Galina KasekoCarla Zampatti FoundationSally CollierMichael Cowen & Sharon NathaniMarco D'OrsognaDr William F DowneyGarry & Susan Farrell

Gammell FamilyAdriana & Robert GardosDaniel & Helen GauchatEdward GilmartinLindy & Danny Gorog Family FoundationTom & Julie GoudkampLaura Hartley & Stuart MoffatPhilip HartogPeter & Helen HearlBrendan HopkinsAngus & Sarah JamesPaul & Felicity JensenMangala SFMedia SuperDaniel & Jacqueline PhillipsRyan Cooper Family FoundationAndrew & Philippa StevensDr Lesley TreleavenJohn Taberner & Grant LangThe late Ian Wallace & Kay Freedman

ACO Reconciliation Circle

The Reconciliation Circle directly support our music education initiatives 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 please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Colin Golvan qc & Debbie GolvanKerry Landman

Peter & Ruth McMullinPatterson Pearce Foundation

Sam Ricketson & Rosie Ayton

ACO Next

This philanthropic program for young supporters engages with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information please call Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Adrian BarrettMarc BudgeJustine ClarkeEste Darin-Cooper & Chris BurgessAnna CormackSally CrawfordShevi de SoysaAmy DenmeadeJenni Deslandes & Hugh MorrowAnthony Frith & Amanda Lucas-FrithRebecca Gilsenan & Grant MarjoribanksThe Herschell FamilyRuth Kelly

Evan LawsonAaron Levine & Daniela GavshonRoyston LimDr Caroline LiowGabriel LopataCarina MartinRachael McVeanPat MillerBarry MowszowskiLucy MyerJames OstroburskiNicole Pedler & Henry DurackKristian PithieMichael Radovnikovic

Jessica ReadRob Clark & Daniel RichardsonAlexandra RidoutEmile & Caroline ShermanTom SmythMichael SouthwellTom StackHelen TelferMax TobinKaren & Peter TompkinsNina Walton & Zeb RicePeter Wilson & James EmmettThomas WrightAnonymous (2)

Chairman’s Council

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.

Mr Guido Belgiorno-Nettis amChairman, ACO

Mr Matthew AllchurchPartner, Johnson Winter & Slattery

Mr Philip Bacon amDirector, Philip Bacon Galleries

Mr David Baffsky ao

Mr Marc Besen ac & Mrs Eva Besen ao

Mr John Borghetti aoChief Executive Officer, Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar

Mr Michael & Mrs Helen Carapiet

Mr John CasellaManaging Director, Casella Family Brands (Peter Lehmann Wines)

Mr Michael Chaney aoChairman, Wesfarmers

Mr Matt ComynChief Executive OfficerCommonwealth Bank

Mr Robin Crawford am & Mrs Judy Crawford

Rowena Danziger am & Kenneth G. Coles am

Mr Doug & Mrs Robin Elix

Mr Bruce FinkExecutive Chairman Executive Channel Holdings

Mr Angelos FrangopoulosChief Executive Officer Australian News Channel

Mr Daniel GauchatPrincipal, The Adelante Group

Mr Robert Gavshon & Mr Mark RohaldQuartet Ventures

Mr James GibsonChief Executive Officer Australia & New ZealandBNP Paribas

Mr John Grill ao & Ms Rosie Williams

Mrs Janet Holmes à Court ac

Mr Simon & Mrs Katrina Holmes à CourtObservant

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom ao

Ms Jan MinchinDirector, Tolarno Galleries

Mr Jim & Mrs Averill Minto

Mr Alf Moufarrige aoChief Executive Officer, Servcorp

Mr John P MullenChairman, Telstra

Mr Martyn Myer ao

Ms Gretel Packer

Mr Robert Peck am & Ms Yvonne von Hartel ampeckvonhartel architects

Mrs Carol Schwartz am

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyChief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd ao

Mr Peter ShorthouseSenior Partner Crestone Wealth Management

Mr Noriyuki (Robert) TsubonumaManaging Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa Wallace & Mr Alan Liddle

Mr Rob & Mrs Jane Woods

Mr Peter Yates amDeputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young


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National Patrons’ Program

Thank you to all our generous donors who contribute to our Education, Excellence, Instrument Fund, International Touring and Commissioning programs. We are extremely grateful for the support we receive to maintain these annual programs. To discuss making a donation to the ACO, or if you would like to direct your support in other ways, please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803. Program names as at 12 July 2018

PatronsMarc Besen ac & Eva Besen aoJanet Holmes à Court ac

$20,000+Mr Robert Albert ao & Mrs Libby AlbertDr Catherine Brown-Watt psm & Mr Derek WattDaniel & Helen GauchatCatherine Holmes à Court-MatherAndrew LowJim & Averill MintoLouise & Martyn MyerThe Barbara Robinson FamilyMargie Seale & David HardyRosy Seaton & Seumas DawesTony Shepherd aoLeslie C ThiessPeter Young am & Susan YoungE XipellAnonymous (2)

$10,000–$19,999Australian Communities Foundation – Ballandry FundGeoff AlderKaren Allen & Dr Rich AllenAllens – in memory of Ian WallaceSteven Bardy & Andrew PattersonEureka Benevolent Foundation Rod Cameron & Margaret GibbsJane & Andrew CliffordIn memory of Wilma CollieTerry & Lynn FernMr & Mrs Bruce FinkDr Ian Frazer ac & Mrs Caroline FrazerRobert & Jennifer GavshonLeslie & Ginny GreenJohn Grill & Rosie WilliamsTony & Michelle GristAngus & Kimberley HoldenBelinda Hutchinson am & Roger Massy-Greene G B & M K IlettDi JamesonJohn & Lisa KenchMiss Nancy KimptonIrina Kuzminsky & Mark DelaneyAnthony & Sharon Lee FoundationLiz & Walter LewinAnthony & Suzanne Maple-BrownJennie & Ivor OrchardJames Ostroburski & Leo OstroburskiBruce & Joy Reid TrustAngela RobertsRyan Cooper Family FoundationPaul Schoff & Stephanie Smee

ServcorpJon & Caro StewartAnthony Strachan Alden Toevs & Judi WolfPamela TurnerShemara WikramanayakeCameron WilliamsAnonymous (1)

$5,000–$9,999Jennifer AaronSteve & Sophie AllenThe Belalberi FoundationWalter Barda & Thomas O'NeillCarmelo & Anne BontempoHelen BreekveldtVeronika & Joseph ButtaStephen & Jenny CharlesAnnie Corlett am & Bruce Corlett amCarol & Andrew CrawfordRowena Danziger am & Ken Coles amMaggie & Lachlan DrummondSuellen EnestromPaul R Espie aoBridget Faye amVivienne FriedCass GeorgeGilbert GeorgeWarren GreenLiz HarbisonAnthony & Conny HarrisAnnie HawkerJohn Griffiths & Beth JacksonDoug HooleyI KallinikosThe Key FoundationKerry LandmanLorraine LoganDanita Lowes & David FileMacquarie Group FoundationThe Alexandra & Lloyd Martin Family FoundationRany MoranBeau Neilson & Jeffrey SimpsonParis Neilson & Todd BuncombeK & J Prendiville FoundationLibby & Peter PlaskittJohn RickardIn Memory of Lady Maureen Schubert – Marie Louise Theile & Felicity Schubert Greg Shalit & Miriam FaineJ SkinnerSky News AustraliaPetrina SlaytorJeanne-Claude StrongTamas & Joanna SzaboVanessa TayAlenka Tindale

Simon & Amanda WhistonHamilton WilsonWoods5 FoundationAnonymous (3)

$2,500–$4,999Annette AdairPeter & Cathy AirdRae & David AllenWill & Dorothy Bailey Charitable GiftLyn Baker & John BevanThe Beeren FoundationVicki BrookeNeil & Jane BurleyCaroline & Robert ClementeLaurie Cox ao & Julie Ann Cox amAnne & Thomas DowlingElizabeth FosterAngelos & Rebecca FrangopoulosIn memory of Rosario Razon GarciaAnne & Justin GardenerPaul Greenfield & Kerin BrownNereda Hanlon & Michael Hanlon amPeter & Helen HearlRuth Hoffman & Peter HalsteadMerilyn & David HoworthWarwick & Ann JohnsonPeter & Ruth McMullinRoslyn MorganJane MorleyJenny NicholDavid Paradice & Claire PfisterSandra & Michael Paul EndowmentProf David Penington acChristopher ReedKenneth Reed amPatricia H Reid Endowment Pty LtdRalph & Ruth RenardMrs Tiffany RensenFe & Don RossD N SandersCarol Schwartz am & Alan Schwartz amKathy & Greg ShandMaria SolaEzekiel Solomon amKeith SpenceJosephine StruttSusan ThacoreRob & Kyrenia ThomasRalph Ward-Ambler am & Barbara Ward-AmblerKathy WhiteLibby & Nick WrightDon & Mary Ann YeatsAnne & Bill YuilleRebecca Zoppetti LaubiAnonymous (6)

$1,000–$2,499Barbara AllanJane AllenLillian & Peter ArmitageIn memory of Anne & Mac Blight Adrienne BasserDoug & Alison BattersbyRobin Beech Ruth BellBerg Family FoundationGraeme & Linda BeveridgeLeigh BirtlesJessica BlockIn memory of Peter BorosBrian BothwellDiana BrookesElizabeth BrownStuart BrownSally BuféGerard Byrne & Donna O'SullivanThe CainesIn memory of Lindsay ClelandRay Carless & Jill KeyteJulia Champtaloup & Andrew RotheryAlex & Elizabeth ChernovKaye ClearyDr Peter CliftonJohn & Chris CollingwoodAngela & John ComptonLeith & Darrel ConybeareAnne CraigCruickshank Family TrustJohn CurottaIan Davis & Sandrine BarouhMichael & Wendy DavisGeorge & Kathy DeutschMartin DolanIn memory of Ray DowdellDr William F DowneyPamela DuncanEmeritus Professor Dexter DunphyKaren EnthovenPeter EvansJulie EwingtonPatrick FairPenelope & Susan FieldElizabeth FinneganJean Finnegan & Peter KerrDon & Marie ForrestRon Forster & Jane ChristensenJohn FraserChris & Tony FroggattKay GiorgettaBrian GoddardJack Goodman & Lisa McIntyreIan & Ruth GoughLouise Gourlay oamCamilla & Joby GravesMelissa & Jonathon GreenPaul Greenfield & Kerin BrownGrussgott TrustIn memory of Jose GutierrezPaul & Gail HarrisLyndsey HawkinsKingsley Herbert

Jennifer HershonVanessa & Christian HolleChristopher HolmesMichael Horsburgh am & Beverley HorsburghGillian HorwoodPenelope HughesProfessor Emeritus Andrea Hull aoStephanie & Mike HutchinsonDr Anne James & Dr Cary JamesOwen JamesAnthony Jones & Julian LigaBrian JonesBronwen L JonesMrs Angela KarpinProfessor Anne Kelso aoJosephine Key & Ian BredenMichael KohnJohn Landers & Linda SweenyDelysia LawsonAirdrie LloydGabriel LopataMegan LoweDiana LungrenProf Roy & Dr Kimberley MacLeodGarth Mansfield oam & Margaret Mansfield oamMr Greg & Mrs Jan MarshJanet Matton & Robin RoweJane Tham & Philip MaxwellKevin & Deidre McCannNicholas McDonaldHelen & Phil MeddingsJim MiddletonMichelle MitchellAbby & Yugan MudaliarPeter & Felicia MitchellDr Robert MitchellBaillieu & Sarah MyerDr G NelsonNola NettheimKenichi & Jeanette OhmaeFran OstroburskiChris OxleyMimi & Willy PackerCatherine Parr & Paul HattawayLeslie ParsonageRosie PilatGreeba PritchardDr S M Richards am & Mrs M R RichardsJohn & Virginia RichardsonEm Prof A W Roberts amMark & Anne RobertsonJohn & Donna RothwellJ SandersonIn Memory of H. St. P. ScarlettMorna Seres & Ian HillDiana Snape & Brian Snape amDr Peter & Mrs Diana Southwell-KeelyKim & Keith SpenceCisca SpencerThe Hon James Spigelman ac qc & Mrs Alice Spigelman amHarley Wright & Alida StanleyDr Charles Su & Dr Emily Lo

Robyn TamkeDavid & Judy TaylorJan Tham & Philip MaxwellDr Jenepher ThomasMike ThompsonJoanne Tompkins & Alan LawsonAnne TonkinNgaire TurnerKay VernonJohn & Susan WardleSimon WatsonPeter Yates am & Susan YatesAnonymous (26)

$500–$999John AdamsGabrielle Ahern-MalloyJohn & Rachel AkehurstDr Judy AlfordMr & Mrs H T ApsimonJuliet AshworthElsa Atkin amMs Rita AvdievChristine BarkerHelen BarnesIn memory of Hatto BeckKathrine BeckerRobin BeechRuth BellL Bertoldo HynePhilomena BillingtonElizabeth BoltonLynne & Max BoothCarol BowerDenise BraggettHenry & Jenny BurgerMrs Pat BurkeJosephine CaiHelen CarrigConnie ChairdPierre & Nada ChamiChaney ArchitectureColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversCaptain David ClarkeRichard Cobden scDr Jane CookR & J CorneySam Crawford ArchitectsDonald Crombie amJulie Crozier & Peter HopsonMarie DalzielAmanda DavidsonMari DavisDr Michelle DeakerKath & Geoff DonohueJennifer DouglasIn memory of Ray DowdellIn memory of Raymond DudleyGraeme DunnCarmel DwyerVanessa FinlaysonPenny FraserSusan Freeman


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National Patrons’ Program (continued)

$500–$999 (Continued)Paul Gibson & Gabrielle CurtinDon & Mary GlueSharon GoldieIan & Ruth GoughCarole A. P. GraceJennifer GrossKevin Gummer & Paul CumminsRita GuptaRob Hamer JonesHamiltons Commercial InteriorsLesley HarlandSue HarveyRohan HaslamHenfrey FamilyDr Penny Herbert in memory of Dunstan HerbertDr Marian HillCharissa HoSue & David HobbsGeoff HogbinPeter & Edwina HolbeachGeoff & Denise IllingSteve & Sarah JohnstonCaroline JonesPhillip JonesAgu KantslerBruce & Natalie KellettRuth KellyLionel & Judy KingPeter & Katina LawIrene Ryan & Dean Letcher qcMegan LoweBronwyn & Andrew LumsdenJoan LyonsGeoffrey MasseyDr & Mrs Donald MaxwellPaddy McCruddenPam & Ian McDougallJ A McKernanMargaret A McNaughtonClaire MiddletonMichelle MitchellJustine Munsie & Rick KalowskiNevarc Inc.Andrew NaylorJ NormanPaul O’DonnellRobin OfflerMr Selwyn OwenS PackerEffie & Savvas PapadopoulosIan Penboss

Helen PerlenKevin PhillipsErika PidcockBeverly & Ian PryerJennifer RankinMichael ReadJoanna Renkin & Geoffrey HansenProf. Graham & Felicity RigbyJakob Vujcic & Lucy Robb VujcicJennifer RoyleScott SaundersGarry Scarf & Morgie BlaxillMarysia SeganJan SeppeltDavid & Daniela ShannonAgnes SinclairAnn & Quinn SloanKen SmithMichael SouthwellBrian StagollPatricia StebbensRoss Steele AMCheri StevensonNigel StokeC A Scala & D B StuddyDr Douglas Sturkey cvo amIn memory of Dr Aubrey SweetTeam SchmoopyDr Niv & Mrs Joanne TadmoreGabrielle TaggSusan & Yasuo TakaoC ThomsonTWF See & Lee Chartered AccountantsVisionads Pty LtdOliver WaltonJoy WearneGC & R WeirWestpac GroupHarley & Penelope WhitcombeJames WilliamsonSally WillisJanie WitteyLee WrightDr Mark & Mrs Anna YatesGina YazbekJoyce YongLiLing ZhengAnonymous (41)

ACO Committees

Sydney Development Committee

Heather Ridout ao (Chair)Chair Australian Super

Guido Belgiorno-Nettis amChairman ACO

Gauri BhalaCEO Curious Collective

John Kench

Jason LiChairman Vantage Group Asia

Jennie Orchard

Peter ShorthouseSenior Partner Crestone Wealth Management

Mark StanbridgePartner Ashurst

Alden Toevs

Nina Walton

Melbourne Development Council

Martyn Myer ao (Chair)Chairman, Cogslate Ltd President, The Myer Foundation

Peter McMullin (Deputy Chair)Chairman McMullin Group

Colin Golvan qc

James OstroburskiCEO Kooyong Group

Rachel PeckPrincipal peckvonhartel architects

Ken SmithCEO & Dean ANZSOG

Susan Thacore

Peter Yates amDeputy ChairmanMyer Family Investments Ltd &Director, AIA Ltd

Disability Advisory Committee

Morwenna CollettDirector Major Performing Arts ProjectsAustralia Council for the Arts

Alexandra Cameron-FraserChief Operating Officer, ACO

Dean WatsonCustomer Relations & AccessManager, ACO

ACO Government Partners

We thank our Government Partners for their generous support

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

The ACO is supported by the NSW Governmentthrough Create NSW.

Event Committees

SydneyJudy Crawford (Chair)Lillian ArmitageJane CliffordDeeta ColvinLucinda CowdroyFay GeddesJulie GoudkampLisa Kench

Liz LewinJulianne MaxwellRany MoranFiona PlayfairMax SteadLynne TestoniSusan Wynne

BrisbanePhilip BaconKay BryanAndrew CloustonCaroline FrazerDr Ian Frazer ac Cass George

Di Jameson Wayne KratzmannShay O’Hara-SmithMarie-Louise TheileBeverley TrivettHamilton Wilson


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1457_WESF - Art Sponsorship Campaign - ACO Collective_Program Ad_160x240mm_V1(WESF1403).indd 1 23/03/18 3:02 PM

Holmes à Court Family FoundationThe Ross Trust

Janet Holmes à Court AC

Marc Besen AC & Eva Besen AO

We thank our Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

NATIONAL EDUCATION PARTNERS

NATIONAL TOUR PARTNERS

ACO Partners58


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