Hilliard Ensemble & ACO Program

2012 NATIONAL CONCERT SEASON

THE HILLIARD ENSEMBLE

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JOSEPH TAWADROSRICHARD TOGNETTI AUSTRALIAN CHAMBER ORCHESTRAJAMES TAWADROSCHRISTOPHER MOOREMATT McMAHON

AUSTRALIAN CHAMBER ORCHESTRA 7

SPEED READVeni, Creator Spiritus (Come, Creator Spirit), a Christian liturgical hymn from the 9th century, provides the departure point for the works in the central portion of this program involving both the ACO and our guest artists from England, The Hilliard Ensemble. It is a melody that has withstood the test of time, and has inspired writers, artists, and composers across centuries, cultures, denominations, and continents. Presented in its traditional Gregorian chant form, the Veni, Creator Spiritus will be interwoven with a version dating from Medieval France, along with a work of the same title by the living Australian composer, Ross Edwards.

Presented a capella are works by England’s Sheryngham, who lived in the 1400s, and the living Estonian composer Arvo Pärt. While Ah, Gentle Jesu and Most Holy Mother of God are not direct appropriations of the musical material or text of Veni, Creator Spiritus, one can hear in them the undeniable infl uence of liturgical vocal tradition. Vocal ensemble and orchestra come together in Obikhod, by living composer Alexander Raskatov, who brings a distinctive viewpoint of Russian liturgical tradition through contemporary musical language.

The program is bookended by two beloved and signifi cant works in the string orchestra repertoire written within two years of each other: Elgar’s Serenade for strings, and Arensky’s Variations on a Theme by Tchaikovsky. Elgar’s Serenade, written in 1892, evidences the composer’s compositional control, and affection for the string instrument family. After all, Elgar fi rst studied the violin when he was nine years of age.

Anton Arensky, an all-but-unknown Russian composer was, in his time, quite the opposite: student of Rimsky-Korsakov, teacher of Rachmaninoff and Scriabin, and friend of Tchaikovsky. The Variations were composed in 1894, a year after the death of Arensky’s friend. And the theme on which the Variations are based come from Tchaikovsky’s song “Legend”, part of his set of Sixteen Songs for Children, Op.54.

TOUR TWOTHE HILLIARD ENSEMBLEDAVID JAMES CountertenorROGERS COVEY-CRUMP TenorSTEVEN HARROLD TenorGORDON JONES Baritone

HELENA RATHBONE Lead Violin

Cover photo: Helena Rathbone © Jon Frank

Th e Australian Chamber Orchestra reserves the right to alter scheduled artists or programs as necessary.

Approximate durations (minutes):12 – 7 – 24 – 4 – INTERVAL – 27 – 14

Th e concert will last approximately two hours including a 20-minute interval.

ADELAIDETown HallTue 13 Mar 8pm

BRISBANEQPACMon 12 Mar 8pm

CANBERRA Llewellyn HallSat 10 Mar 8pm

MELBOURNETown HallSun 18 Mar 2.30pmMon 19 Mar 8pm

SYDNEYCity Recital Hall Angel PlaceSat 17 Mar 7pmTue 20 Mar 8pmWed 21 Mar 7pm

SYDNEYOpera HouseSun 11 Mar 2pm

WOLLONGONG Town HallTh u 22 Mar 7.30pm

ELGARSerenade for strings in E minor, Op.20

SHERYNGHAM Ah, gentle Jesu

RASKATOVObikhod

PÄRT Most Holy Mother of God

I N T E R VA L

GREGORIAN CHANTVeni, Creator Spiritus

ANONYMOUSVeni, Creator Spiritus

EDWARDSVeni Creator Spiritus

ARENSKY Variations on a Th eme by Tchaikovsky, Op.35a


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ACO ON THE RADIOABC CLASSIC FM:Sat 14 Apr 1pmThe Hilliard Ensemble concert broadcast

NEXT TOURDanielle de Niese

7—25 June 2012

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PRE-CONCERT TALKSFree talks about the concert take place 45 minutes before the start of every concert at the venue.

It is a great honour for the Australian Chamber Orchestra to have the opportunity to perform with the legendary vocal quartet – Th e Hilliard Ensemble. With a fascinatingly eclectic repertoire and an exquisitely blended sound, the Hilliards bring a new dimension to the ACO’s season.

Over the Easter weekend, Helena Rathbone is taking ACO2 to give a series of concerts in the Four Winds Festival in Bermagui, working with recorder virtuoso (and Four Winds Festival Director) Genevieve Lacey and accordionist James Crabb.

Immediately after Easter, Richard Tognetti and the ACO head off to North America for an extensive tour of 11 concerts in 11 cities (including New York, Chicago, Atlanta and Toronto) with soloists Dawn Upshaw and Teddy Tahu Rhodes. At the end of the tour, Richard and the musicians remain in New York for a few days to make a CD of the ravishing new song cycle by Maria Schnieder Winter Morning Walks, with Dawn Upshaw.

Our most creative project of the year gets under way in May when Richard takes a group of musicians, cameramen, surfers and the composer Iain Grandage to the Gnaraloo Reef, on the north coast of Western Australia to create a live-music-meets-oceanic-fi lm project called Th e Reef. Th e fi nished program will be premiered in Darwin in July, then will tour across the north-west of the continent through to Perth and fi nally to the Sydney Opera House. Audiences in other cities will have the opportunity to catch this wave of creativity in 2013.

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA

10 AUSTRALIAN CHAMBER ORCHESTRA

ELGARSerenade for strings in E minor, Op.20(Composed 1892)

I. Allegro piacevoleII. Andante (Larghetto)III. Allegretto

Elgar’s fi rst instrument was the violin, which he began learning at the age of nine and rapidly mastered. Th e son of a music seller and piano tuner father and a mother who was a fi ne poet and artist, Elgar’s early musical precocity was encouraged, though family fi nances prevented him studying music abroad. He became very active as a performer and conductor in his native Worcestershire, playing violin in the orchestra for the Th ree Choirs Festival under Dvořák in 1884, and composing for a number of local ensembles.

Elgar believed passionately in the indivisible nature of a musical idea and its sound, once writing that:

A musical idea may be interesting to read without hearing, or it may hold the attention when played on a key instrument or by a combination of instruments; but its inventor must have had some defi nite medium in his mind…I fi nd it impossible to imagine a composer creating a musical idea without defi ning inwardly, and simultaneously, the exact means of its presentation.

Th roughout his career he maintained a particular love for the string family, culminating in the autumnal Cello Concerto, and among his best loved works are the Introduction and Allegro for String quartet and String orchestra, Op.47, and the Serenade for Strings, Op.20. Both works show Elgar’s supreme mastery of the textural possibilities of the string ensemble; when the young composer Herbert Howells asked Elgar his secret, the latter replied: ‘Study old Handel. I went to him for help ages ago.’

Despite his lower middle-class social status and Catholic religion, Elgar had married Alice Roberts against the wishes of her aristocratic family in 1889, and the couple had moved to London in the hope of securing Elgar’s career as a composer. Sadly, this proved unsuccessful, so in 1891 Elgar and his wife returned to Worcestershire where Elgar eked out a living from teaching, performing and sporadic publications until his reputation took off with the appearance of the ‘Enigma’ Variations at the end of the decade.

Sir Edward ELGAR(b. Broadheath, England, 1857 — d. Worcester, England, 1934)

Widely considered the standard-bearer of British classical music tradition of his time, Elgar’s contributions to symphonic literature are signifi cant and enduring. His Enigma Variations are a staple of orchestral repertoire, and his fi rst Pomp and Circumstance March is familiar to families, especially in the United States, as a requisite, if not defi ning work performed during high school and university graduations. It might come as a surprise that Elgar never undertook formal compositional study and was mostly self-taught, drawing upon the musical resources around him and styles abroad. Previously an ambivalent outsider in musical and social circles, it wasn’t until the fi rst performance of his Enigma Variations, in 1899, that Elgar began a rise to national prominence, at the age of 42.

ACO performance history

Elgar’s Serenade for strings was played in the ACO’s fi rst ever subscription series, in 1985. It was played again during tours in 1990 and 1997.


Th e Serenade dates from 1892, and seems to have received its premiere with the Ladies’ Orchestral Class of Worcester which Elgar trained. It may, however, be a reworking of his Th ree Pieces for String Orchestra, fi rst performed in 1888 by the Worcestershire Musical Union. Elgar said of the Th ree Pieces, ‘I like ’em (the fi rst thing I ever did).’ Unfortunately, the score of the earlier work has not survived, but its movement titles (Spring Song, Elegy and Finale) correspond roughly to those of the present work, which Elgar often said was his favourite.

GORDON KERRY © SYMPHONY AUSTRALIA

SHERYNGHAM(lived England, ca. 15th/16th century)

SHERYNGHAMAh, Gentle Jesu(Composed ca. 1500)

From Th e Hilliard Ensemble’s Gordon Jones:

Little is known about the composer Sheryngham (fl . c. 1500) and only two of his works remain, but his carol, Ah, Gentle Jesu! is a remarkable and extended work. Its form is that of Verse and Refrain and is a dialogue between a penitent sinner, represented by the upper two voices, and the crucifi ed Christ, the lower two voices. Th e verses have been attributed to John Lydgate (ca. 1370 – ca. 1451), an English poet who lived at the turn of the 15th century. Jesus as Good Shepherd

(Stained glass at St John’s Ashfi eld,

New South Wales)


RASKATOV Obikhod (Composed 2002-2003)

Th e composer writes:

Th e name ‘obikhod’ refers to one of the liturgical chant books of the Russian Orthodox Church. Th e obikhod was compiled in the 15th century on the basis of characteristic melodic turns of the oktoechos, the system of the Old Russian chant. Th is kind of chant is based on the so-called obikhod mode.

I have used this mode several times in my works, and it is used the same way in this score.

It is known that Russian church music is of a purely vocal nature.

Th e function of the four voices in Obikhod is the restoration of the sound of a Russian church choir with its two important signs:

a) psalmody on one note

b) the so-called ‘raspev’ [rhythm in chant], i.e. continuous melodic structures based on the turn of the oktoechos.

Th e string orchestra serves to restore the temple acoustics with its characteristic echo eff ects and its imaginary Russian church bells. Th ese bells are the only instrument permitted in Russian Orthodox services.

Th e work consists of fi ve parts and is performed in the old Slovenian language. Th e texts have been taken from the Orthodox requiem mass; so one may speak, to a certain extent, of a ‘chamber requiem’. Obikhod was commissioned by Th e Hilliard Ensemble and the Stuttgart Chamber Orchestra and was given its fi rst prformance on 11 November 2003.

© ALEXANDER RASKATOV

Alexander RASKATOV (b. Moscow, Russia, 1953)

Raskatov graduated from the Moscow Conservatory in 1978. In 1979 he became a member of the noted Soviet Composers’ Union, subsequently joining the post-Soviet Association for Contemporary Music at its inception in 1990. That same year he was appointed composer-in-residence at Stetson University in Florida. His current work draws upon folk and ritual traditions, belying his early infl uence under Russian avant-garde composers including Edison Denisov and Sofi a Gubaidulina. A number of eminent artists, including Gidon Kremer, the Schoenberg Ensemble, and The Hilliard Ensemble, have commissioned works from him.

Glossary

mod e: a term used to defi ne musical scale type and melody type

psalmody: practice of singing psalms in various religious traditions


Obikhod Text

IWhat earthly sweetness remains unmixed with grief? What glory stands immutable on the earth? All things are but feeble shadows, all things are most deluding dreams, yet one moment only, and death shall supplant them all. But in the light of Your countenance, O Christ, and in the sweetness of Your beauty, give rest to him whom You have chosen, for as much as You love mankind.

IITh e choir of Saints has found the source of life and the door of Paradise; may I too fi nd the way through repentance; I am the lost sheep, call me back, O Saviour, and save me.Blessed are you, O Lord.

All you who trod in life the hard and narrow way; all you who took the Cross as a yoke, and followed me in faith, come, enjoy that heavenly rewards and crowns which I have prepared for you.Blessed are you, O Lord.

I am an image of your ineff able glory, though I bear the marks of off ences; take pity on your creature, Master, and with compassion cleanse me; and give me the longed-for fatherland, making me once again a citizen of Paradise.Blessed are you, O Lord.

IIINow, O my Lord, your servant shall depart in peace, according to thy word; For my eyes have seen your mercy.

IVBlessed are the poor in spirit, for theirs is the Kingdom of heaven.Blessed are they who mourn, for they will be comforted.Blessed are the meek, for they will inherit the earth.Blessed are those who hunger and thirst for justice, for they will be fi lled.Blessed are the merciful, for they will obtain mercy.Blessed are the pure in heart, for they will see God.Blessed are the peace-makers, for they shall be called the children of God.Blessed are those who are persecuted for the sake of justice…

VBlessed are you, always, now and for ever, and to the ages of ages.Holy God, Holy Strong, Holy Immortal, have mercy on us.


PÄRT Most Holy Mother of God(Composed 2003)

While no other living composer is so famously associated with minimalist musical ‘spiritualism’ and ‘mysticism’ as Arvo Pärt, it may come as a surprise that his compositions from the early 1960s showed a young composer interested in serial techniques. It wasn’t until 1968, when Pärt’s musically violent and unabashedly Christian Credo (scored for orchestra and chorus) left no doubt as to the composer’s religious values. Th e work was banned by the Soviet regime in Estonia, and the composer entered a period of intense study as a result of not only his subsequent professional predicament, but also an artistic mental block.

Pärt turned to Gregorian chant and early music for inspiration, and emerged from creative gestation in the mid-1970s armed with a compositional technique he calls tintinnabula (bells), in which, very briefl y speaking, an entire work’s musical DNA revolves and develops around a pitch. Despite this theoretical underpinning, Pärt’s works are uncomplicated, serene in orchestration, spiritual, with a pristine beauty.

As the American music critic Alex Ross has penned, Pärt “…has put his fi nger on something that is almost impossible to put into words – something to do with the power of music to obliterate the rigidities of space and time. One after the other, his chords silence the noise of the self, binding the mind to an eternal present.”

In today’s program, one can hear in Most Holy Mother of God the undeniable infl uence of Gregorian chant.

As Th e Hilliard Ensemble’s Gordon Jones states, “Th e piece has the feel of a litany in which spare, solo vocal lines are interspersed with hypnotic, repeating chordal passages for all four voices.”

Since their fi rst meeting, at a BBC recording in the autumn of 1985, Th e Hilliard Ensemble and the Estonian composer Arvo Pärt have had a close and fruitful relationship. October of that year saw the fi rst performance of Stabat Mater and the following year they gave the fi rst London performance of Passio. In October 2003 Th e Hilliard Ensemble gave the fi rst performance of Most Holy Mother of God at a concert in Durham Cathedral to celebrate the conferment of an Honorary Doctorate on Arvo Pärt by the University of Durham.

© ALAN JAY BENSON

1963 graduate of the Tallinn Conservatory in Estonia, Arvo Pärt’s early works include experimentation in neo-classical and serial style. His self-labelled “tintinnabula” (little bells) tonal technique was fi rst evidenced in his piano work Für Alina, and was his response to a personal musical crisis from which he emerged in the late 1970s. Pärt’s biography describes this principle as “an extreme reduction of sound materials and a limitation to the essential.” Among the most celebrated living composers today, Arvo Pärt has had a signifi cant number of his vocal works premiered by The Hilliard Ensemble.

Arvo Pärt(b. Paide, Estonia, 1935)


Th e Gregorian chant and French Medieval settings of Veni, Creator Spiritus will be interleaved with the Ross Edwards’ work and presented as a single performance piece.

Th e order will run as follows:

GREGORIAN CHANTVeni, Creator Spiritus – verse 1

ANON. FRENCH MEDIEVALVeni, Creator Spiritus

GREGORIAN CHANTVeni, Creator Spiritus – verses 2 and 3

EDWARDSVeni Creator Spiritus – movement 1


EDWARDSVeni Creator Spiritus – movement 2


Th e Christian hymn Veni, Creator Spiritus has its origins in the 9th century. In its traditional latin plainchant form, it has been sung as part of the Christian celebration of Pentecost, and has come into its own as part of a number of celebratory religious occasions ranging from consecration of bishops, royal coronations, to individual confi rmations in the Catholic church, as well as a number of other religious ceremonies in various denominations.

In western music, composers from the time of Gregorianchant through to modern times have derived inspiration from its musical material, ranging from Dufay, Palestrina,Mahler and Penderecki, to Maxwell Davies. Th is program’s settings are based upon Gregorian chant, as well as the time of the French Middle Ages.

While dozens of English translations of the Veni, Creator Spiritus exist, the poem by famed 17th Century English literary fi gure John Dryden remains an elegant and enduring interpretation.

A dove representing the Holy Spirit sitting on Pope Gregory I’s shoulder symbolises Divine Inspir ation.


Veni, Creator Spiritus

Veni, creator Spiritusmentes tuorum visita,imple superna gratia,quae tu creasti pectora.

Qui diceris Paraclitus,altissimi donum Dei,fons vivus, ignis, caritaset spiritalis unctio.

Tu septiformis munere,digitus paternae dexteraetu rite promissum Patrissermone ditans guttura.

Accende lumen sensibus,infunde amorem cordibus,infi rma nostri corporis,virtute fi rmans perpeti.

Hostem repellas longiuspacemque dones protinus;ductore sic te praeviovitemus omne noxium.

Per te sciamus da Patremnoscamus atque Filium,te utriusque Spiritumcredamus omni tempore.

Deo Patri sit gloria,et Filio qui a mortuisSurrexit, ac Paraclito,in saeculorum saecula.

First verse of Veni, Cr eator Spiritus


Creator Spirit, by whose aidTh e world’s foundations fi rst were laid,Come, visit ev’ry pious mind;Come, pour thy joys on human kind;From sin, and sorrow set us free;And make thy temples worthy Th ee.

O, Source of uncreated Light,Th e Father’s promis’d Paraclete!Th rice Holy Fount, thrice Holy Fire,Our hearts with heav’nly love inspire;Come, and thy Sacred Unction bringTo sanctify us, while we sing!

Plenteous of grace, descend from high,Rich in thy sev’n-fold energy!Th ou strength of his Almighty Hand,Whose pow’r does heav’n and earth command:Proceeding Spirit, our Defence,Who do’st the gift of tongues dispence,And crown’st thy gift with eloquence!

Refi ne and purge our earthly parts;But, oh, infl ame and fi re our hearts!Our frailties help, our vice control;Submit the senses to the soul;And when rebellious they are grown,Th en, lay thy hand, and hold ’em down.

Chase from our minds th’ Infernal Foe;And peace, the fruit of love, bestow;And, lest our feet should step astray,Protect, and guide us in the way.

Make us Eternal Truths receive,And practise, all that we believe:Give us thy self, that we may seeTh e Father and the Son, by thee.

Immortal honour, endless fame,Attend th’ Almighty Father’s name:Th e Saviour Son be glorifi ed,Who for lost Man’s redemption died:And equal adoration be,Eternal Paraclete, to thee.

Veni, Creator SpiritusPoem by John Dryden (b. 1631 – d. 1700)


EDWARDS Veni Creator Spiritus(Composed 2003)

I. Puro e tranquilloII. Ritmico

Th e composer writes:

My string octet in two movements on the Latin hymn Veni Creator Spiritus attempts to reconcile two divergent trends in my work throughout the 1980s: the intense, inward focus of my Symphony No.1 ‘Da Pacem Domine’ and the optimistic extroversion of my violin concerto, Maninyas.

In the fi rst movement (Puro e tranquillo), the hymn melody is heard fi rst as a violin solo and then treated as a cantus fi rmus in long values to form the basis of an austere polyphonic motet. Remote and archaic, this movement sounds like an echo from the age of Palestrina (with a tinge of Japanese pentatonicism) whilst preserving my own musical voice. Th e Amen of the hymn is protracted, elaborated and interfused with drones and patterns recalling the world of insects and symbolising eternity.

Th e second movement (Ritmico), a lively, obsessive dance which explores and exploits connections between the Veni Creator melody and music from a variety of non-Western cultures, is concerned with the idea of creating unity out of diversity. It concludes with a modifi ed re-statement of the Amen.

Veni Creator Spiritus was completed in January 1993 and is dedicated to my wife, Helen. It was commissioned by Musica Viva and the Australia Council for the Academy of St Martin in the Fields Octet, who gave its fi rst performance in the Perth Concert Hall in November 1993.

© ROSS EDWARDS

Ross EDWARDS(b. Sydney, 1943)

Based in Sydney and the Blue Mountains, Ross Edwards counts among his composition teachers Richard Meale, Peter Sculthorpe, and Peter Maxwell Davies. He initially produced works that were representative of the serial, atonal style in vogue in late 60s Europe. However, Edwards soon forged his own, independent musical identity, one that draws upon and is inspired by aesthetics of the natural environment and the universality of human experience. Ross Edwards’ works have been heard around the globe, and he is one of Australia’s most celebrated composers, having received numerous APRA-AMC and ARIA awards.

Multimedia

Edwards’ offi cial website can be found at rossedw ards.com

Glossary

cantus fi rmus: term used in Medieval and Renaissance music to describe a base melody line, upon which other musical lines are built

polyphonic: used to describe music that is comprised of more than one part or line

motet: a short vocal piece, usually unaccompanied


ARENSKYVariations on a Th eme by Tchaikovsky, Op.35a(Composed 1894)

Arensky occupies a sad, signifi cant little corner of Russian musical history. Something of a child prodigy, his career began brilliantly, with a gold medal from the St Petersburg Conservatory, where he studied with Rimsky-Korsakov. From graduation he went straight to a professorship at the Conservatory’s sister institution in Moscow. Among his students were Rachmaninov, Glière and Scriabin – not an insignifi cant line-up – and his friends included Tchaikovsky and Taneyev.

Th e world of Russian composers at the end of the 19th century was claustrophobic and intense. Rivalry and jealousy was counterbalanced by equally strong partisanship and outspoken friendship. A formal overview of Arensky’s career would label it a success: he held prestigious jobs, his works were usually well-received, and he was an acclaimed performer. But underneath it all, he was a drinker and a compulsive gambler whose early death from tuberculosis surprised no one.

Tchaikovsky’s suicide in 1893 aff ected Arensky deeply. Some time later he set down an unusual string quartet (for violin, viola and two cellos) in A minor. A genuine work of mourning, it features a theme drawn from the Orthodox funeral service; but at its core is another borrowed tune. Tchaikovsky wrote ‘Legend’ as part of his Songs for Children, Op.54. Arensky used this simple, poignant melody as the basis for a set of variations. It became so popular that he turned the movement into a self-standing work for string orchestra (and rewrote the quartet in a version for the standard two-violin, viola, cello format).

Th ere is an interesting parallel: Tchaikovsky himself wrote a Piano Trio in A minor (Op.50) with a notable set of variations, dedicated to the late Nicolai Rubinstein, in 1881. Surely this is no coincidence.

Arensky’s Variations on a Th eme by Tchaikovsky begin with an unadorned statement of the theme in E minor. Th e fi rst variation is delicate and contrapuntal, with the opening motif echoing between diff erent instruments. Th e second, Allegro non troppo, lets the theme sweep through the violas and upper cello line, while the outer parts tread lightly and rapidly around it. Th e fi rst violins

Anton ARENSKY(b. Novgorod, Russia, 1861 — d. Terioki, Finland, 1906)

Composer, pianist, and conductor Arensky was born to a father who was a doctor and amateur cellist, and a mother who was a pianist and also gave him his fi rst piano lessons. Among Arensky’s most successful works in his time was the opera Son na Volge (A Dream on the Volga). Despite studying under Rimsky-Korsakov, Arensky was very much infl uenced by his friend Tchaikovsky. His appointments included prestigious posts in Moscow and St. Petersburg, but despite the recognition enjoyed in his day, Rimsky-Korsakov presciently predicted he would be “soon forgotten.” His Variations on a Theme by Tchaikovsky is one of his most enduring works.

ACO performance history

The ACO has performed Arensky’s Variations on a theme by Tchaikovsky in one previous subscription tour, in 2004.

Glossary

contrapuntal: related to counterpoint, a systemised technique of musical composition in which two or more musical lines exist independently, but are combined to comprehensible affect


regain the melody for an Andantino tranquillo – and we begin to suspect that Arensky has an ulterior motive in his choices of texture and style. Th e suspicion is confi rmed in the fourth variation, a largely pizzicato Vivace section in which the theme is dissected to its most unrecognisable. In a piece of elegant, subtle musicianship, Arensky puts us in mind of Tchaikovsky’s masterful ballets simply by his use of texture. Th e fi fth variation slows the tempo again, and allows the lower strings to shine. Variation VI is the most dramatic, full of broadly bowed semiquavers and broken chords, and sudden swells and accents. Th e fi nal variation is in strong contrast, with muted strings, and the theme presented with utmost gentleness in a radiant, major-key inversion. A coda begins with four bars of ghostly harmonics, then drops to a soft passage for low strings, and fi nally to a restatement of the theme, handed to each part in turn.

© K.P. KEMP

Tchaikovsky, 1888

Glossary

pizzicato: a playing technique where strings are plucked, not bowed

coda: (literally, ‘tail’) the passage at the end of a movement. It can be very short or extremely drawn-out

Four Winds festival 2012music that soars

A three-day festival over Easter

April 6, 7, 8, 2012 Bermagui nswTickets from www.fourwinds.com.au

or telephone 02 6493 5686


THE HILLIARD ENSEMBLEDAVID JAMES COUNTERTENORROGERS COVEY-CRUMP TENORSTEVEN HARROLD TENORGORDON JONES BARITONE

Unrivalled for its formidable reputation in the fi elds of both early and new music, Th e Hilliard Ensemble is one of the world’s fi nest vocal chamber groups. Its distinctive style and highly developed musicianship engage the listener as much in medieval and renaissance repertoire as in works specially written by living composers.

Th e group’s standing as an early music ensemble dates from the 1980s with its series of successful recordings for EMI (many of which have been re-released on Virgin) and its own mail-order record label Hilliard LIVE, now available on the Coro label; but from the start it has paid equal attention to new music. Th e 1988 recording of Arvo Pärt’s Passio began a fruitful relationship with both Pärt and the Munich-based record company ECM, and was followed by their recording of Pärt’s Litany. Th e group has recently commissioned other composers from the Baltic States, including Veljo Tormis and Erkki-Sven Tüür, adding to a rich repertoire of new music from Gavin Bryars, Heinz Holliger, John Casken, James MacMillan, Elena Firsova and many others.

In addition to many a cappella discs, collaborations for ECM include most notably Offi cium and Mnemosyne with

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the Norwegian saxophonist Jan Garbarek, a partnership which continues to develop and renew itself, and Morimur with the German Baroque violinist Christoph Poppen and soprano Monika Mauch. Based on the research of Prof. Helga Th oene, this is a unique interweaving of Bach’s Partita in D minor for solo violin with a selection of Chorale verses crowned by the epic Ciaconna, in which instrumentalist and vocalists are united.

Th e group continues to forge relationships with living composers, often in an orchestral context. In 1999, they premiered Miroirs des Temps by Unsuk Chin with the London Philharmonic Orchestra and Kent Nagano. In the same year, James MacMillan’s Quickening, commissioned jointly by the BBC and the Philadelphia Orchestra, was premiered at the BBC Proms. With Lorin Maazel and the New York Philharmonic, they performed the world premiere of Stephen Hartke’s 3rd Symphony which was subsequently premiered in Europe by the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern and Christoph Poppen. Th ey have also collaborated with the Munich Chamber Orchestra on a new work by Erkki-Sven Tüür. In 2007 they joined forces with the Dresden Philharmonic Orchestra to premiere Nunc Dimittis by the Russian composer Alexander Raskatov, also recording this for ECM. In 2009 they worked with the Arditti Quartet performing a substantial new work, Et Lux by Wolfgang Rihm.

At the 2008 Edinburgh International Festival the group premiered a music theatre project written by Heiner Goebbels in a production by the Th éâtre Vidy, Lausanne: I went to the house but did not enter. Th is has subsequently been presented throughout Europe and the US.

With the release of their third collaboration with Jan Garbarek on the ECM label, Offi cium Novum, the group continues to tour extensively in Europe. Th e composer Alexander Raskatov features highly in their planning as does a new work by Nico Muhly which they will tour with the viol group Fretwork.


HELENA RATHBONELEAD VIOLIN

Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s second ensemble ACO2 which sources musicians from the Emerging Artists Program.Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff , Canada.Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin in the Fields.When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, the Christchurch Arts Festival, the Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. Th e group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008.Helena performs on a 1759 J.B. Guadagnini violin, kindly made available to her by the Commonwealth Bank Group.

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AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI AO ARTISTIC DIRECTOR

ACO MUSICIANS

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal 2nd Violin

Satu Vänskä Assistant Leader

Madeleine Boud Violin

Rebecca Chan Violin

Alice Evans Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality and energy unmatched by other ensembles.

Th e ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia. Th e ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative cross-artform projects and a vigorous commissioning program.

Under Richard Tognetti’s inspiring leadership, the ACO has performed as a fl exible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience.

Several of the ACO’s principal musicians perform with spectacularly fi ne instruments. Tognetti plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri fi lius Andreæ cello, on loan from Peter Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments.

Fifty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein. Th is year, the ACO tours to the USA and Europe.

Th e ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI and Chandos and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop. Highlights include the three-time ARIA Award-winning Bach recordings and the complete set of Mozart Violin Concertos. Th e ACO appears in the television series Classical Destinations II and the award-winning fi lm Musica Surfi ca, both available on DVD and CD.

In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of ACO2, an elite training orchestra which tours regional centres.

Th e Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Th e Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.


MUSICIANS ON STAGE Photos: Paul Henderson-Kelly, Helen White

* Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.+ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andræ cello kindly on loan from Peter Weiss AM.# Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andræ cello kindly on loan from the Australia Council.

MADELEINE BOUDViolinChair sponsored by Terry Campbell AO & Christine Campbell

HELENA RATHBONE*Lead ViolinChair sponsored by Hunter Hall Investment Management Limited

SATU VÄNSKÄ≈Assistant LeaderViolinChair sponsored by Robert & Kay Bryan

REBECCA CHANViolinChair sponsored by Ian Wallace & Kay Freedman

ALICE EVANSViolinChair sponsored by Jan Bowen, Th e Davies and Th e Sandgropers

MARK INGWERSENViolinChair sponsored by Runge

AIKO GOTOViolinChair sponsored by Andrew & Hiroko Gwinnett

ILYA ISAKOVICHViolinChair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

MELISSA BARNARDCelloChair sponsored by Th e Bruce & Joy Reid Foundation

JULIAN THOMPSON#

Cello Chair sponsored by the Clayton Family

MAXIME BIBEAUPrincipal BassChair sponsored by John Taberner & Grant Lang

Players dressed by AKIRA ISOGAWA

ZOË BLACK Violin

BRIELLE CLAPSON** Violin

** Appears courtesy of Sydney Symphony

NICOLE DIVALLViolaChair sponsored by Ian Lansdown

CHRISTOPHER MOOREPrincipal ViolaChair sponsored by Tony Shepherd

TIMOVEIKKO VALVE+Principal CelloChair sponsored by Mr Peter Weiss AM

CAROLINE HENBESTViola


AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Offi ce: 1800 444 444 Email: [email protected] Website: aco.com.au

BEHIND THE SCENES

EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General Manager and Development ManagerMichelle KerrExecutive Assistant to Mr Calnin and Mr Tognetti AO

ARTISTIC & OPERATIONSLuke ShawHead of Operations and Artistic Planning Alan J. BensonArtistic AdministratorErin McNamaraTour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian

EDUCATIONVicki StanleyEducation and Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCESteve Davidson Chief Financial Offi cerCathy Davey Senior AccountantShyleja PaulAssistant Accountant

DEVELOPMENTAlexandra Cameron-FraserCorporate Relations andPublic Aff airs ManagerSarah VickEvents ManagerTom CarrigSenior Development ExecutiveLillian ArmitagePhilanthropy ManagerSally-Anne BigginsPatrons ManagerStephanie IngsInvestor Relations ManagerJulia GlassDevelopment Coordinator

MARKETINGGeorgia RiversMarketing & Digital Projects ManagerRosie RotheryMarketing ExecutiveChris Griffi thBox Offi ce ManagerMary StielowPublicistDean WatsonCustomer Relations ManagerDavid SheridanOffi ce Administrator &Marketing Assistant

INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestLiz CacciottoloChris Froggatt

Janet Holmes à Court ACAndrew Stevens

John TabernerPeter Yates AM

BOARD

Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman [leave of absence January–March 2012]

Richard Tognetti AOArtistic Director


ACKNOWLEDGEMENTS

Th e Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Th e Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

PO Box 3567, South Bank, Queensland 4101Telephone: 07 3840 7444Chair Henry Smerdon AMDeputy Chair Rachel Hunter TrusteesSimon GallaherHelene GeorgeBill GrantSophie MitchellPaul PiticcoMick Power AMSusan StreetRhonda White

EXECUTIVE STAFFChief Executive John KotzasDirector – Presenter Services Ross CunninghamDirector – Corporate Services Kieron RoostActing Director – Patron Services Deborah MurphyExecutive Manager – Human Resources Alicia DoddsExecutive Manager – Production Services Bill JessopActing Executive Manager – Marketing Stefan Treyvaud

ACKNOWLEDGMENTTh e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Anna Bligh MPPremier and Minister for the ArtsDirector-General, Department of the Premier and CabinetKen SmithDeputy Director-General, Arts Queensland Leigh Tabrett

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

LLEWELLYN HALLSchool of MusicAustralian National UniversityWilliam Herbert Place (off Childers Street)Acton, Canberra

VENUE HIRE INFORMATIONPhone: +61 2 6125 2527 Fax: +61 2 6248 5288Email: [email protected]

AEG OGDEN (PERTH) PTY LTD

PERTH CONCERT HALLGeneral Manager Andrew BoltDeputy General Manager Helen StewartTechnical Manager Peter RobinsEvent Coordinator Penelope Briff a

Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Th eatre Trust Venues.AEG OGDEN (PERTH) PTY LTDChief Executive Rodney M Phillips

THE PERTH THEATRE TRUSTChairman Dr Saliba Sassine

St George’s Terrace, PerthPO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

VENUE SUPPORT

We are also indebted to the following organisations for their support:

GOVERNMENT SUPPORT


ACKNOWLEDGEMENTS

A City of Sydney VenueClover Moore Lord Mayor

Managed byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix Founder

Bronwyn Edinger General Manager

CITY RECITAL HALL ANGEL PLACE2 –12 Angel Place, Sydney, AustraliaGPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000Box Offi ce 02 8256 2222 or 1300 797 118Facsimile 02 9233 6652 Website www.cityrecitalhall.com

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM (Chair)Ms Catherine BrennerRev Dr Arthur Bridge AMMr Wesley EnochMs Renata Kaldor AOMr Robert Leece AM RFDMs Sue Nattrass AODr Th omas (Tom) Parry AMMr Leo Schofi eld AMMr Evan Williams AM

EXECUTIVE MANAGEMENT

Chief Executive Offi cer Richard EvansChief Operating Offi cer David AntawChief Financial Offi cer Claire SpencerDirector, Building Development & MaintenanceGreg McTaggartDirector, Marketing, Communications & Customer Services Victoria DoidgeDirector, Venue Partners & Safety Julia PucciExecutive Producer, SOH Presents Jonathan Bielski

SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001Administration: 02 9250 7111Box Offi ce: 02 9250 7777Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

VENUE SUPPORT

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—122 — 16713 — 1/100312

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN

OVERSEAS 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. New Zealand — Auckland: 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 Pty Ltd, 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 Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production—Classical Music Alan Ziegler

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.


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

MEDICI PATRON

MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti AOLead Violin

Michael Ball AM & Daria BallJoan ClemengerWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal 2nd Violin

Satu VänskäAssistant Leader

Robert & Kay Bryan

Christopher MoorePrincipal Viola

Tony Shepherd

Timo-Veikko ValvePrincipal Cello

Peter Weiss AM

Maxime BibeauPrincipal Double Bass

John Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAndrew & Hiroko Gwinnett

Mark Ingwersen Violin

Alice Evans ViolinJan BowenTh e DaviesTh e Sandgropers

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Madeleine Boud ViolinTerry Campbell AO & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Viola ChairPhilip Bacon AM

Melissa Barnard CelloTh e Bruce & Joy Reid Foundation

Julian Th ompson CelloTh e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICI

Brian Nixon Principal Timpani Mr R. Bruce Corlett AM &Mr Robert Albert AO & Mrs Libby Albert Mrs Ann Corlett


2011 EUROPEAN TOUR PATRONSTh e ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour.

Graeme & Jing AaronsSamantha AllenJohn & Philippa Armfi eldSteven BardyIsla Baring Linda & Graeme BeveridgeBG GroupPaul BorrudBen & Debbie BradyKay BryanMassel GroupTerry Campbell AO & Christine CampbellJenny & Stephen CharlesTh e Clayton FamilyPenny Clive & Bruce NeillJohn ColesCommonwealth BankRobin D’Alessandro & Noel PhilpJennifer Dunstan Bridget Faye AM

Ann Gamble MyerRhyll GardnerAlan & Joanna GemesTony GillGlobal Switch LimitedAndrew & Hiroko GwinnettPeter Henshaw & Fargana KarimovaPeter & Sandra HofbauerJanet L Holmes à Court ACCatherine Holmes à Court- Mather Brendan & Bee HopkinsP J Jopling QCLady KleinwortWayne KratzmannPrudence MacLeodBill Merrick P J MillerJan MinchinJustin Raoul Moffi ttAlf Moufarrige

Louise & Martyn Myer FoundationSir Douglas MyersMarianna & Tony O’Sullivanpeckvonhartel architectsDiana PolkinghorneRio Tinto LimitedGregory Stoloff & Sue LloydDavid StoneAndrew StraussTim & Sandie SummersJohn Taberner & Grant LangPatricia Th omas OBEBeverley TrivettLoretta van MerwykMalcolm WatkinsMichael WelchWesfarmers LimitedGillian WoodhouseMs Di YeldhamAnonymous (3)

ACO INSTRUMENT FUNDTh e ACO has established its Instrument Fund to off er patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. Th e Fund’s fi rst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Assistant Leader of the Orchestra.Th e ACO pays tribute to its Founding Patrons of the Fund, who have made donations or pledges to the Orchestra to assist the Fund in its acquisition of the Stradivarius violin.

VISIONARY $1m+Peter Weiss AM

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,000Naomi Milgrom AO

OCTET $100,000 – $199,000Amina Belgiorno-Nettis

QUARTET $50,000 – $99,000John Leece OAM & Anne Leece

SONATA $25,000 – $49,999

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

SOLO $5,000 – $9,999

PATRONS$500 – $4,999June & Jim ArmitageAngela Roberts

PETER WEISS AM, PATRON


OTHER COMMISSIONSJan MinchinRobert & Nancy Pallin

Steven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinAustin Bell & Andrew CarterT Cavanagh & J GardnerChin Moody FamilyAnne Coombs & Susan VargaGreg Dickson

John Gaden AMCathy Gray Brian Kelleher Penny Le Couteur Andrew Leece Scott Marinchek & David WynneKate Mills

Janne Ryan Barbara Schmidt & Peter CudlippJane SmithRichard SteelePeter Weiss AMCameron WilliamsAnonymous (1)

ACO SPECIAL COMMISSIONSTh e ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2011 and 2012.

CREATIVE MUSIC FUND COMMISSION Qinoth by Paul Stanhope

NATIONAL EDUCATION PROGRAMPATRONSJanet Holmes à Court ACMarc Besen AO & Eva Besen AO

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST

THE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS


ACO DONATION PROGRAM Th e ACO pays tribute to all of our generous donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. Th ese initiatives are 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.

EMERGING ARTIST PATRON & EDUCATION PATRONS $10,000+Th e Abercrombie Family FoundationMr Robert Albert AO & Mrs Libby AlbertDaria & Michael BallSteven BardyGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert-JonesDarin Cooper FamilyJohn & Patti DavidChris & Tony FroggattAustralian Communities Foundation – Ballandry (Peter Griffi n Family) FundPJ Jopling QCMiss Nancy KimptonJeff MitchellLouise & Martyn Myer FoundationDrs Alex & Pam ReisnerJohn Taberner & Grant LangIan Wallace & Kay FreedmanPeter Weiss AMAnonymous (1)

DIRETTORE $5,000 $9,999Geoff AlderTh e Belalberi FoundationJenny & Stephen CharlesRoss & Rona ClarkeBridget Faye AMIan & Caroline FrazerEdward C. GrayAnnie HawkerKeith KerridgeWayne N KratzmannPhilip A LevyLorraine LoganHon Dr Kemeri Murray AO

Marianna & Tony O’SullivanJohn RickardRoberts FamilyA J RogersIan Wilcox & Mary KostakidisAnonymous (1)

MAESTRO $2,500 $4,999Michael AhrensJane AllenWill & Dorothy Bailey BequestVirginia BergerPatricia BlauCam & Helen CarterJon Clark & Lynne SpringerCaroline & Robert ClementeLeith & Darrel ConybeareM CrittendenJohn & Gloria DarrochKate DixonProfessor Dexter Dunphy AMLeigh EmmettGoode FamilyMaurice & Tina GreenPhilip Griffi ths ArchitectsNereda Hanlon & Michael Hanlon AMLindi & John HopkinsAngela James & Phil McMasterDavid & Megan LaidlawAlastair Lucas AMJan McDonaldP J MillerDonald MorleySandra & Michael Paul EndowmentS & B PenfoldRalph & Ruth RenardD N SandersGreg Shalit & Miriam FaineMs Petrina SlaytorDr Charles Su & Dr Emily LoTom Th awley

Dr & Mrs R TinningLaurie WalkerRalph Ward-Ambler AM & Barbara Ward-AmblerKaren & Geoff WilsonJanie & Neville WitteyAnonymous (6)

VIRTUOSO $1,000 $2,499Annette AdairPeter & Cathy AirdRae & David AllenAndrew AndersonsSibilla BaerDoug & Alison BattersbyTh e Beeren FoundationRuth BellVictoria BeresinBrainsVicki BrookeIn memory of Elizabeth C. SchweigSally BuféNeil Burley & Jane MunroG Byrne & D O’SullivanElizabeth & Nicholas CallinanJ & M CameronSandra CassellGeorg & Monika ChmielAnn Cebon-GlassJohn & Christine CollingwoodJudy CrollBetty CrouchleyDiana & Ian CurtisMarie DalzielJune DanksMichael & Wendy DavisAnne & Tom DowlingJennifer DowlingAnne-Maree EnglundPeter EvansJulie EwingtonH E FairfaxElizabeth Finnegan


ACO DONATION PROGRAMNancy & Graham FoxAnne & Justin GardenerRhyll GardnerColin Golvan SCWarren GreenPaul HarrisLyndsey HawkinsPatagonian Enterprises Pty LtdPete HollingsPeter & Ann HollingworthPenelope HughesWendy HughesPam & Bill HughesPhillip Isaacs OAMWarren & Joan JohnsMrs Caroline JonesD & I KallinikosLen La FlammeJohn Landers & Linda SweenyMrs Judy LeeGreg Lindsay AO & Jenny LindsayJoanne Frederiksen & Paul LindwallBronwyn & Andrew LumsdenClive MagowanAnne Male-PerkinsMr & Mrs Greg & Jan MarshJennifer MarshallJane Mathews AODeidre & Kevin McCannBrian & Helen McFadyenJ A McKernanMrs Helen MeddingsGraeme L MorganNola NettheimJennie & Ivor OrchardAnne & Christopher Pagepeckvonhartel architectsProf David Penington ACMark RenehanDr S M Richards AM & Mrs M R RichardsWarwick & Jeanette Richmond in Memory of Andrew RichmondEm Prof A W Roberts AMJulia Champtaloup & Andrew RotheryDiana Snape & Brian Snape AMMaria Sola & Malcolm Douglas

Cisca SpencerPeter & Johanna Stirling BensonJohn & Jo StruttLeslie C Th iessRob Th omasColin & Joanne TrumbleNgaire TurnerKay VernonEllen WaughM W WellsSir Robert WoodsNick & Jo WormaldAnna & Mark YatesDon & Mary Ann YeatsMark YoungWilliam YuilleAnonymous (13)

CONCERTINO $500 $999 Antoinette AckermannMrs Lenore Adamson in memory of Mr Ross AdamsonMr L H & Mrs M C AinsworthElsa AtkinBanting ElectronicsJeremy Ian BarthBaiba BerzinsBrian BothwellDenise BraggettDiana BrookesJasmine BrunnerMorena Buff on & Santo CilauroDarcey BussellStephen ChiversJohn ClaytonJoan ClemengerAngela & John ComptonAlan Fraser CooperDr Julie CrozierProfessor John DaleyLindee DalziellMari DavisMartin DolanIn Memory of Raymond DudleyProfessor Peter Ebeling & Mr Gary PloverM T & R L ElfordMirek GenerowiczPeter & Valerie Gerrand

Paul Gibson & Gabrielle CurtinBrian GoddardKatrina GroshinskiMatthew HandburyLiz HarbisonLesley HarlandDr Penny Herbert in memory of Dunstan HerbertM John Higgins & Jodie MaunderMichael Horsburgh AM & Beverley HorsburghDr & Mrs Michael HunterJohn & Pamela HutchinsonStephanie & Michael HutchinsonPhilip & Sheila JacobsonDeborah JamesMrs Angela KarpinBruce & Natalie KellettTony Kynaston & Jenny FaggSydney & Airdrie LloydLorraine LordPeter Lovell & Michael JanJudy LynchAlexandra MartinDonald C MaxwellDr Hamish & Mrs Rosemary McGlashanKim & Shirley McGrathPatricia McGregorHarold & Bertha MilnerJan MinchinJohn Mitchell & Carol FarlowHelen & Gerald MoylanMaurice Newman ACJ NormanGraham NorthRobin Offl erAllegra & Giselle OvertonJosephine PaechLeslie ParsonageDeborah PearsonKevin PhillipsMichael PowerAlison RenwickSophie RotheryTeam SchmoopyManfred & Linda SalamonRobert Savage AM


ACO DONATION PROGRAMGarry E ScarfIn Memory of H. St. P. ScarlettJeff SchwartzVivienne SharpeJennifer SindelAndrew & Pip StevensDr Fiona StewartMaster William TaylorJoy Anderson & Neil Th omasDavid WalshJohn & Pat WebbG C & R WeirAnonymous (27)

CONTINUO CIRCLE BEQUEST PROGRAMTh e late Kerstin Lillemor Andersen Dave BeswickRuth Bell Sandra Cassell Th e late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett Th e late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes Th e late Mr Geoff Lee AM OAM Mrs Judy Lee Th e late Richard Ponder Margaret & Ron Wright Mark Young Anonymous (10)

LIFE PATRONS IBMMr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM

CONTRIBUTIONSIf you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at [email protected].

ACO CAPITAL CHALLENGETh e ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble.

We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:

CONCERTO $250,000 – $499,000Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-NettisMrs Barbara Blackman

OCTET $100,000 – $249,000Mr Robert Albert AO & Mrs Libby AlbertMrs Amina Belgiorno-NettisTh e Th omas Foundation

QUARTET $50,000 – $99,000Th e Clayton FamilyMr Peter HallMr & Mrs Philip & Fiona LathamMr John Taberner & Mr Grant LangMr Peter Yates AM & Mrs Susan Yates


ACO INSTRUMENT FUND BOARD MEMBERSChairman: Bill BestJessica BlockJohn Leece OAMJohn Taberner

ACO COMMITTEES

Chair: Bill BestGuido Belgiorno-Nettis AMChairman ACO & Joint Managing Director Transfield HoldingsLiz Cacciottolo Senior Advisor UBS Australia

Ian Davis Managing Director Telstra TelevisionChris Froggatt Tony Gill Rhyll Gardner

Tony O’Sullivan Managing Partner O’Sullivan PartnersJohn Taberner Consultant Freehills

SYDNEY DEVELOPMENT COMMITTEE

Chair: Peter Yates AMChairman Royal Institution of Australia & Director AIAA LtdDebbie & Ben Brady

Stephen Charles Paul Cochrane Investment Advisor Bell Potter SecuritiesColin Golvan SC

Jan Minchin Director Tolarno GalleriesSusan Negrau

MELBOURNE DEVELOPMENT COUNCIL

EVENT COMMITTEESBowral Elsa AtkinMichael Ball AM (Chairman) Daria Ball Linda Hopkins Karen Mewes Keith Mewes Marianna O’SullivanTony O’SullivanTh e Hon Michael Yabsley

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

Sydney Helene BurtLiz CacciottoloJudy CrawfordDee de BruynJudy Anne EdwardsChris FroggattElizabeth HarbisonSusan HarteBee HopkinsSarah Jenkins

Vanessa Jenkins Charlotte MackenziePrudence MacLeodJulianne MaxwellTony O’SullivanJulia PincusAmanda PurcellDavid StewartTom Th awleyNicky Tindill


ACO PARTNERS 2012 CHAIRMAN’S COUNCIL MEMBERSTh e Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis AMChairmanAustralian Chamber Orchestra &Joint Managing DirectorTransfi eld Holdings

Mr Philip Bacon AMDirectorPhilip Bacon Galleries

Mr David Baff sky AO

Mr Brad BanducciGeneral Manager (acting)Woolworths Liquor

Mr Jeff BondGeneral ManagerPeter Lehmann Wines

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr & Mrs Robin Crawford

Rowena Danziger AM & Kenneth G. Coles AM

Dr Bob EveryChairmanWesfarmersMr Robert ScottManaging DirectorWesfarmers Insurance

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr John GrillChief Executive Offi cerWorleyParsons

Mr Colin Golvan SC & Dr Deborah Golvan

Mrs Janet Holmes à Court AC

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited

Mr John JamesManaging DirectorVanguard

Ms Catherine Livingstone AOChairmanTelstra

Mr Steven Lowy AMChief Executive Offi cerWestfi eld Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr John Marshall & Mr Andrew MichaelApparel Group Limited

Mr Peter Mason AMChairmanAMP Limited & Mrs Kate Mason

Mr David MathlinSenior PrincipalSinclair Knight Merz

Mr Michael Maxwell & Mrs Julianne Maxwell

Mr Geoff McClellanPartnerFreehills

Mr Donald McGauchie AOChairmanNufarm Limited

Mr John MeacockManaging Partner NSWDeloitte

Ms Naomi Milgrom AO

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Clark MorganVice ChairmanUBS Wealth Management Australia

Mr Alf Moufarrige OAMChief Executive Offi cerServcorp

Mr Scott PerkinsHead of Global BankingDeutsche Bank Australia/New Zealand

Mr Oliver RoydhouseManaging DirectorInlink

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities

Mr & Mrs Clive Smith

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Mr Paul SumnerDirectorMossgreen Pty Ltd

Mr Michio (Henry) TakiManaging Director & CEOMitsubishi Australia Ltd

Mr Alden ToevsGroup Chief Risk Offi cerCommonwealth Bank of Australia

Mr Michael Triguboff Managing DirectorMIR InvestmentManagement Ltd

Ms Vanessa WallaceDirectorBooz & Company

Mr Kim Williams AMChief Executive Offi cerNews Limited

Mr Geoff WilsonChief Executive Offi cerKPMG Australia

Mr Peter Yates AMChairman, Royal Institution of Australia & Director, AIAA Ltd


ACO PARTNERS Th e ACO would like to thank its partners for their generous support.

FOUNDING PARTNER ACO2 PRINCIPAL PARTNER

CONCERT AND SERIES PARTNERS

PREFERRED TRAVEL PARTNER Daryl Dixon

OFFICIAL PARTNERS

PERTH SERIES &WA REGIONAL TOUR PARTNER

ACCOMMODATION AND EVENT PARTNERS

NATIONAL TOUR PARTNERS


newsACO NEWS • MARCH 2012

We have established a string ensemble at the Matraville Soldiers’ Settlement School (MSSS), in partnership with the Australian Children’s Music Foundation. Eight students have been measured for their instruments and begun lessons. This new ensemble expands on our current program at MSSS in which we perform three annual in-school concerts and participate in students’ music classes.

At Picton Public School, students from years 2 and 3 had their fi rst Skype lesson with our regular guest violinist, Sharon Roffman. Sharon

conducted this lesson from New York City, with the help of local artist Melissa Wheeler. These lessons teach students how music is composed and how to represent music in visual ways, allowing those that don’t play an instrument to learn about music.

“Today’s session was amazing. We managed a great introduction and the children will further develop an understanding of these concepts as we progress. We absolutely loved it and we are all very excited.” — Di Monds, Picton State School Teacher

Our regional touring orchestra, ACO2, makes its debut at the Four Winds Festival in Bermagui NSW over the Easter weekend. They also perform Britten and Mendelssohn quartets at the Wollongong City Gallery on 3 April.

EDUCATION NEWSOur two new primary school programs commenced this term.

ACO2 © Alex Weltlinger


PATRON PROFILEGraeme and Linda BeveridgeGraeme and Linda Beveridge from Canberra believe that music is a key element of a person’s life. They have been supporters of the ACO since the late 1970s and the ACO was delighted that Graeme and Linda were able to join us at St James’s Palace in December for the special performance and reception hosted by His Royal Highness the Prince of Wales.

Linda and Graeme tell their story:

“Being supporters of the ACO has been exciting in a number of ways. We continue to be excited by Richard Tognetti’s talent, not only as a violinist, but also in stimulating the talent and team work in the Orchestra so that the ‘whole is greater than the sum

of its parts’, resulting in superb music.

The rich sounds of their music have been evident in the variety of each year’s programs, including the highly talented guest artists, and the wonderful music they make with the ACO.

The ACO’s Education Programs for young players not only fi t with our belief that music is intrinsic throughout any person’s life, but also encourage talent and high level expertise for the future of chamber orchestra music in Australia. For similar reasons, we enjoy seeing and hearing the Emerging Artists playing with the ACO.

We appreciate the great things that the ACO and its

management have achieved. We enjoy supporting the ACO so that we contribute in a small way to its continuing role for future fi ne music by Australians.”

The ACO is enormously grateful for Graeme and Linda’s support over so many years.


In early February, Di Yeldham hosted an elegant concert and cocktail reception for the ACO in her beautiful home. Guests were treated to a private performance featuring Polina Leschenko, the ACO’s visiting Russian pianist, and Timo-Veikko Valve, ACO’s Principal Cello, followed by Richard Tognetti leading members of the Orchestra in Mendelssohn’s exquisite Octet.

Peter Weiss encouraged guests to support the ACO’s Mendelssohn Recording Project with Polina Leschenko and all agreed that the event was a rare opportunity to hear these world-class musicians in a perfect, intimate setting.

Our warmest thanks go to Di and, as always, to Peter Weiss.

DI YELDHAM EVENT2 February 2012

Diana Yeldham & Robin Crawford

Doris Weiss & Peter Weiss AM

Carla Zampatti AC & John Leece OAMIan Lansdown, Alexandra Yuille, Richard Tognetti AO, Edmund Capon AM OBE, Andrew Strauss & Joanna Capon OAM

“May I add my sincere compliments on yesterday’s stellar performance at the Opera House. ACO musicians excelled to provide the greatest pleasure, and the young Russian pianist, Polina Leschenko, will long be remembered for her truly amazing performance. This was music in Heavenly spheres. Congratulations to all.” – Yvonne Liechti,

“Last night’s concert in Brisbane was wonderful and amazing.” – Malcolm McIntosh

“Polina Leschenko is one of the most beautiful pianists I have ever heard. An incredible talent, every cell in her body is 100% musician. She has an incredible and beautifully balanced subtlety. A really moving and magical performance of the Chopin 1. Thank you Polina!” – Meredith Baillie

“The Chopin and Mendelssohn were marvellous indeed, played with passion and verve by the talented ACO using those lovely, mellow instruments.” – Linda Daboul

YOUR SAYFeedback from our February tour with pianist Polina Leschenko:

Let us know what you thought about this concert at [email protected].

Voted Best Casual Restaurant and Best Café in SMH Sydney Magazine’s Readers’ poll.

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With our direct access to the City Recital Hall and seamless space graced with an impressive oil painting, we offer a unique venue in which to enjoy a relaxing pre-concert dinner.Browse our menu at www.barcupola.com.au

Concert patrons can enjoy a choice of main and dessert plus a glass of house red or white wine for $38 (GST inclusive).

We advise patrons to book early to guarantee a table.

We open for dinner 2 hours prior to concerts.

The connecting door from Bar Cupola to Level 1 of the City Recital Hall will be opened 1 hour prior to performances.

BOOKINGST 9221 3377 F 9221 1112 E [email protected]

123 Pitt Street Sydney 2000, Gallery Level; On Site Parking, Disabled AccessMonday to Friday, enter via 123 Pitt Street (before 6.30pm) or L1 Recital Hall. For Saturdays, enter via Recital Hall onlyNearest bus stop: Martin Place (5mins walk). Nearest train station: Wynyard (10mins walk)Enter via 123 Pitt Street (Intercom Access after hours) or use Tower Lifts from Car Park.

9233 2277

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Hilliard Ensemble & ACO Program

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