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AUSTRALIAN CHAMBER ORCHESTRA 1

NATIONALTOUR PARTNER

NATIONAL TOUR PARTNER

Antonio Vivaldi’s technical excellence as a virtuoso

violinist meant he possessed the tools necessary to

push boundaries and achieve magnifi cence in his

compositions. Blending technical and artistic excellence

fosters innovation. From its beginnings in the 1950s,

Transfi eld applied a similar blend of creativity to the

many engineering projects it pioneered, and today our

investment in solar energy technology continues that

tradition.

Transfi eld’s founder, my father Franco, saw a clear link

between the creativity expressed in art and that which

is applied in business. In 1973, after a decade of the

Transfi eld Art Prize, Transfi eld founded the Biennale of

Sydney. Next year marks the 19th Biennale and we are

proud to remain its founding partner.

Transfi eld has supported the ACO for over a decade.

In that time Richard Tognetti and his band of talented

musicians have not only inspired Transfi eld, they have

captivated audiences globally with their delicately

crafted music and stunning performances. As Chairman

of the ACO, it is a privilege to welcome you to Andreas

Scholl Sings Vivaldi.

GUIDO BELGIORNO-NETTIS AMCHAIRMAN, AUSTRALIAN CHAMBER ORCHESTRAEXECUTIVE DIRECTOR, TRANSFIELD HOLDINGS

2 AUSTRALIAN CHAMBER ORCHESTRA

ABOUT THE MUSIC By Timo-Veikko Valve

I’ve written this while on our Brahms Piano Quintet tour with the amazing American pianist Jeremy Denk, whom we have had the utter joy of working with. It has been a privilege to delve into the world of Bach and Brahms with someone who understands the true beauty of a simple cup of fi lter coff ee!

Chamber Music is in the ACO’s DNA. Even though we are made up of unique individuals and passionate personalities, the shared understanding of our goal is what pulls us together.

We have recently transformed into diff erent confi gurations – a piano quintet, a cabaret orchestra, playing a live score to accompany cinematography on the big screen and even a virtual orchestra, but the string quartet is the core of our sound. You can hear also how Max’s new (old) bass moulds that sound, especially in this intimate chamber music setting.

We met Andreas Scholl while on tour in the US in 2009 and it’s about time we showcase the special relationship we all felt with him last time we shared the stage. It’s great to have Neal Peres da Costa and Tommie Andersson share their expertise to further enhance this concert experience.

In this concert you will hear the dramatic F minor of the Vivaldi Stabat Mater and the furious dissonance of Schnittke and his way of combining Beethoven, Shostakovich and the Stabat Mater by Lassus as fundamental building blocks of his 3rd Quartet. ‘Scholarly’ Bach also makes a curtain call: the architecture of the Art of Fugue is mesmerising, but its emotional power should not be forgotten.

We hope you enjoy our concert!

-Tipi

Timo-Veikko Valve ACO Principal Cello


TOUR SEVENANDREAS SCHOLL SINGS VIVALDIHELENA RATHBONE Violin REBECCA CHAN Violin CHRISTOPHER MOORE ViolaTIMO-VEIKKO VALVE CelloMAXIME BIBEAU Double BassNEAL PERES DA COSTA Chamber Organ TOMMIE ANDERSSON Theorbo ANDREAS SCHOLL Counter Tenor

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

SYDNEYCity Recital Hall Angel PlaceFri 4 Oct 1.30pmSat 5 Oct 7pmTue 8 Oct 8pmWed 9 Oct 7pm

MEBOURNERecital CentreMon 7 Oct 8pm

WOLLONGONGTown HallTh u 3 Oct 7.30pm

VIVALDI Concerto Grosso in C major, RV117

SCHNITTKE String Quartet No.3

PÄRT Es sang vor langen Jahren (It sang long years ago)

PÄRT Wallfahrtslied Pilgrim’s Song)

INTERVAL

J.S. BACH Th e Art of Fugue: Contrapunctus 1-4

PÄRT Da Pacem Domine

VIVALDI Stabat Mater, RV621

Approximate durations (minutes):6 – 22 – 7 – 10 – INTERVAL – 13 – 6 – 20

Th e concert will last approximately one hour and fi fty minutes including a 20-minute interval.


It is a great privilege to welcome the acclaimed German Counter Tenor Andreas Scholl back to Australia. Although Andreas and the ACO have performed together on tour in the USA in 2009, this is the fi rst time we have presented him with the Orchestra in Australia. We are very grateful to our wonderful National Tour Partner, Transfi eld, for making this tour possible.

October is an enormously busy month for the ACO. Apart from this series of concerts in Wollongong, Sydney and Melbourne, the Orchestra is opening the Melbourne Festival on 11th October in a large-scale collaboration with our friends at the Australian National Academy of Music (ANAM) before launching into Brahms’s Fourth Symphony and Dvorák’s Cello Concerto (with soloist Steven Isserlis) in Melbourne, Adelaide, Perth, Sydney, Canberra and Brisbane. In between these Brahms performances, our digital installation ACO VIRTUAL will be making its fi rst public appearances in Sydney as part of the Sydney Opera House’s 40th anniversary celebrations.

In October of next year, the ACO will be on tour in Europe and we’re inviting you to join us. Alumni Travel is leading a tour which follows the ACO to Amsterdam, Luxembourg, Cologne, Frankfurt and Vienna and deviates occasionally from our itinerary to take in performances in Hamburg and Bratislava. For more information, visit alumnitravel.com.au

MESSAGE FROM THE GENERAL MANAGERACO.COM.AU

VISIT THE WEBSITE TO:

Prepare in advanceA PDF and e-reader version of the program are available at aco.com.au one week before each tour begins, together with music clips and videos.

Have your sayLet us know what you thought about this concert at aco.com.auor email [email protected].

Be part of the ACO communityFor behind-the-scenes news and updates follow us on Facebook or Twitter or visit acoblog.com.au.

Receive the ACO enewsletterSign up for the ACO enewsletter at aco.com.au and receive links to new videos and concert programs, plus special offers including invitations to meet the musicians.

ACO ON THE RADIO

ABC CLASSIC FM:

Brahms 4 & Steven IsserlisMon 28 October, 9pm

Mozart Clarinet ConcertoWed 20 November, 7pm

UPCOMING TOURS

The Crowd11—13 October

Brahms 4 & Steven Isserlis19—29 October

Mozart Clarinet Concerto14—24 November

FREE PROGRAMSTo save trees and money, we ask that you please share one program between two people where possible.

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

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA


ABOUT THE PROGRAM

Th is multi-layered concert program is sewn together with the threads of words, musical motifs, composers’ personal connections, a remarkable voice and a remarkable solo artist. To modern ears the male alto voice can still sound unusual, perhaps even unworldly, and composers of our time sometimes chose to exploit those resonances. In the 18th century the alto voice, in a man castrated or not, was standard in church music but only rarely capable of demands such as Vivaldi’s.

Th e Stabat Mater, a sorrowful 13th century hymn about the Virgin Mary, which will be heard with music by Vivaldi, plays an even bigger role in this concert than meets the eye. Th e fact that Schnittke and Pärt have also set the Stabat Mater to music suggests their affi nities with each other and even with Vivaldi. Schnittke begins his String Quartet No.3 by quoting from a Stabat Mater by the 16th century master Orlando di Lasso, or Lassus as we often know him. Schnittke follows it immediately with a subject from Beethoven’s Grosse Fuge for string quartet. Th en he demonstrates that these notes, transposed, are the musical monogram of Schnittke’s compatriot and great composer of quartets, Shostakovich. Bach likewise put his name in some of his music. Yet, even prompted by ‘fugue’ and ‘string quartet’, it takes a leap of programming imagination to include a quartet performance of some of Bach’s summa Th e Art of Fugue, his masterly demonstration of this form of musical invention popular in the age of Lassus.

Program notes can draw attention to subtleties and interconnections. But that comes second to the mood, eff ect and impact of the program. Vivaldi’s Stabat Mater and Pärt’s Es sang vor langen Jahren contain near-exact repetition of slabs of music. In Vivaldi this heightens and unifi es emotion, where every word of the text explores Mary’s grieving at the foot of the Cross. Pärt’s repetitions recall the tag ‘minimalism’, and indeed this composer excels in doing more with less. But the eff ect is striking and moving, only afterwards do we notice the structural ingenuity, if at all.

Vivaldi was a priest, Bach a servant of his church. Schnittke and Pärt’s religious faith counterbalances atheistic communism, and religious music of the past informs their mature compositions. Th ey move in the religious sphere with conscious awareness. Pärt chooses the alto voice for a particular eff ect, whereas Vivaldi, whose religion was the air he breathed, wrote his Stabat Mater for a virtuoso alto because the church had one on its books – a remarkable voice, but not an unusual one.

DAVID GARRETT © 2013


VIVALDI Concerto in C for strings, RV117 I. Allegro alla francese II. Largo III. Allegro

Is there anyone who doesn’t know Th e Four Seasons? But do they also know that Vivaldi was a composer of many other kinds of music? As well as concertos and church music there are operas, oratorios, and occasional music with voices. In 1726 Cardinal Ottoboni, who represented French interests in Rome, came to Venice where a Serenata was performed with music by Vivaldi. Titled La Sena festeggiante (Th e Seine celebrating), it personifi es the river, to pay honour to the French royal family and the young King Louis XV. Vivaldi’s string concerto RV117 has a diff erent middle movement, but is otherwise identical with the overture to La Sena festeggiante, which helps explain why the fi rst movement is ‘in the French manner’, though we will fi nd ‘French’ dotted rhythms in the Stabat Mater as well.

SCHNITTKE String Quartet No.3 (Composed 1983)

I. Andante II. Agitato III. Pesante

Pay especially close attention at the beginning of Schnittke’s quartet. Schnittke has put the code there to unlock what follows. Some of the music Schnittke wanted to appropriate was religious music. Shortly before composing his third string quartet in 1983 Schnittke was baptised in Vienna, hesitating over Catholicism, then choosing the Russian Orthodox faith. Th is quartet begins with a cadence taken from Orlando di Lassus’ setting of the Stabat Mater. Th en, after the fi rst fugue subject from Beethoven’s Grosse Fuge, comes the musical monogram of Dmitri Shostakovich, the notes that correspond to the fi rst letters, in German musical notation. DSCH: D for Dmitri, SCH

Alfred Schnittke was born in the Soviet Republic of Volga. In 1945, when Alfred was eleven, his German-born father, a journalist, took a job in Vienna with a Russian newspaper. The Schnittkes spent three years in Vienna. Back in Russia, Schnittke’s training was typical for a musician of his generation in the Soviet Union.Schnittke’s mature music has been tagged ‘polystylistic’. It draws with intent on many styles of music, both old and new. When Schnittke began to do this in the 1970s and 1980s, ‘post-modernism’ developed in the arts of the West. But Schnittke came from a different background – he did not believe that modernism is played out, and the artist is allowed to take like a magpie from all kinds of music. Rather Schnittke was saying ‘I will not deny myself these musics. Offi cialdom or the style police has denied them to me for too long’.

Alfred SCHNITTKE(b. Engels, Russia, 1934 – d. Hamburg, 1998)


for Shostakovich – or D E fl at, which is Es, C, and H, which is B natural. Putting these ideas one after another, Schnittke makes you sense relationships he explores throughout this quartet.

Th e link between Beethoven and fugue is underlined in the fi rst movement by long passages in canonic imitation, a link also with older music, with Bach’s contrapuntal explorations, and also with the frequent canonic writing of Schnittke’s contemporary Arvo Pärt. In the scherzo-like secondmovement Schnittke again seems to be channeling Beethoven. Here the exposition is repeated in its entirety before a contrasting ‘trio’ section begins. Th e ‘counterpoint’ of musical languages continues in the fi nal movement, the Lassus idea and Beethoven theme being brought into confl ict with a new idea that sometimes suggests a funeral march. Schnittke’s music, like that of Shostakovich, often feels like a response to living in a context fraught with repression. Schnittke and contemporaries like Giya Kancheli, Sofi a Gubaidulina and Valentin Silvestrov, growing up in the Soviet Union, anticipated the fl owering of when that regime ended. But this string quartet does not require a political context to appreciate it. Schnittke is fi rst and foremost a musical creator. In this concert Schnittke’s quartet is perhaps most demanding for the listener, but it also provides the most signposts.

PÄRT Es sang vor langen Jahren (It sang long years ago) (Composed 1984)

Pärt composed Es sang vor langen Jahren in 1984, when the German musicologist Diether de la Motte asked ten composers to set Brentano’s poem. Pärt referred to his music as ‘Motet for de la Motte’, and scored it for solo alto voice, one violin and one viola. Counter Tenor Paul Esswood was the fi rst to perform Pärt’s piece. Th is poem by Clemens von Brentano (1778-1842), also known as ‘Nightsong of the Spinner’, is a romantic evocation of a mystical meeting of a lover’s song with that of the nightingale. Wilfrid Mellers, a commentator alert to literary and musical intertwinings, fi nds in Pärt’s setting suggestions of folksong, religious incantation, children’s tunes and even of a troubadour melody. Pärt divides the six stanzas into two equal groups, each followed by an instrumental section. Th e second part is musically nearly identical to the fi rst, but with a diff erent feeling: the fi rst beseeching, the second ‘weeping’. We fi nd a similar formal strategy in Vivaldi’s Stabat Mater.

ARVO PÄRT(b. Paide, Estonia 1935)

Arvo Pärt is from Estonia. He began composing as a challenging avant-garde modernist, to the displeasure of Estonia’s Soviet masters. In the early 1970s Pärt went through a creative crisis when he couldn’t compose anything. He emerged with a simplifi ed style drawing from the medieval origins of western music. It’s sometimes called mystical minimalism, but its roots are very different from the American minimalism of such composers as Steve Reich and Philip Glass. Representative of his new style is Arvo Pärt’s most often-played orchestral piece, the Cantus in Memory of Benjamin Britten. Here long-held, shifting chords sound like bells, a music Pärt called tintinnabuli, or bell-ringing. Pärt’s temporary exile after 1980 in Vienna and Germany and the United Kingdom, helped his international fame.


It sang long years ago

Many years ago there sang Th e nightingale, to be sure! Th at must have been a sweet sound When we were together.

I sing and cannot weep, And spin alone Th e thread so clear and pure As long as the moon shall shine.

When we were together Th e nightingale sang; Now her song reminds meTh at you have gone away from me.

Whenever the moon shines, I think only of you. My heart is serene and pure – May God unite us.

Since you went away from me, Th e nightingale is always singing; When I hear it I remember How we used to be together.

May God unite us! I spin all alone here Th e moon shines so clearly and purely; I sing and want to weep.

Es sang vor langen JahrenEs sang vor langen JahrenWohl auch der Nachtigall,Das war wohl süsser Schall,Da wir zusammen waren.

Ich sing’ und kann nicht weinenUnd spinne so alleinDen Faden klar und reinSo lang der Mond wird scheinen.

Da wir zusammen warenDa sang die NachtigallNun mahnet mich ihr SchallDass du von mir gefahren.

So oft der Mond mag scheinen,Denk’ ich wohl dein allein,Mein Herz ist klar und reinGott wolle uns vereinen.

Seit du von mir gefahren,Singt stets die Nachtigall,Ich denk’ bei ihrem Schall,Wie wir zusammen waren.

Gott wolle uns vereinenHier spinn’ ich so allein,Der Mond scheint klar und rein,Ich sing’ und möchte Weinen.

ARVO PÄRT

Wallfahrtslied (Pilgrims’ Song)(Composed 1984)

Th e composer writes:

When my friend Grigori Kromanov, the Estonian fi lm and stage director, died in July 1984 it was like a bolt from the blue. Suddenly an invisible rift had opened up between us – with me still on the side of time and him already in the sphere of timelessness.

My Pilgrims’ Song is an attempt to overcome this insurmountable gap through a gentle touch, a greeting. I wanted


Pilgrim’s Song

I will lift up mine eyes unto the hills, from whence cometh my help. My help cometh from the Lord, which made heaven and earth. He will not suff er thy foot to be moved: he that keepeth thee will not slumber. Behold, he that keepeth Israel shall neither slumber nor sleep.

Th e Lord is thy keeper: the Lord is thy shade upon thy right hand. Th e sun shall not smite thee by day, nor the moon by night. Th e Lord shall preserve thee from all evil: he shall preserve thy soul. Th e Lord shall preserve thy going out and thy coming in from this time forth, and even for evermore.

Wallfhartslied

Psalm 121 (120)[Martin Luther’s German translation]Ich hebe meine Augen auf zu den Bergen,Woher kommt mir Hilfe? Meine Hilfe kommt vom Herrn,der Himmel und Erde gemacht hat. Er wird deinen Fuss nicht gleiten lassen,und der dich behütet, schläft nicht. Siehe, der Hüter Israels schläft und schlummert nicht.

Der Herr behütet dich, der Herr ist dein Schatten über deiner rechten Hand, dass dich des Tages die Sonne nicht steche noch der Mond des Nachts. Der Herr behüte dich vor allem Übel, er behüte deine Seele. Der Herr behüte deinen Ausgang und Eingang von nun an bis in Ewigkeit.

the two worlds, Here and Th ere, to merge in the music as contrasting layers – that was the origin of the work.

On the one side, there is the dynamism and mobility of the orchestra – and on the other, the static quality of the men’s voices, reduced to a single pitch, with the serenity of a mountain.

ARVO PÄRT © 1984


BACH Th e Art of Fugue: Contrapunctus I – IVAfter their father’s death, Sebastian Bach’s sons published his last work: a set of fugues, one remaining incomplete, all based on the same fugue subject; four canons, and two sets of minor fugues. Th e title Th e Art of Fugue indicated a defi nitive exploration of the subject. Like Pärt’s Summa, a seeting of the Creed, Bach’s was a statement of belief – a god-serving musician’s setting of the divine order in the most learned and scientifi c branch of music. Although written on four separate staves of music (like a string quartet), this was music to be read and tried out on a keyboard instrument. Bach had no particular sonority in mind, and the work was not intended for public performance – all the fugues are in the same key.

Th e fi rst four pieces in the Art of Fugue, Contrapunctus I to IV, are an exposition of the fugue subject. It is fi rst heard from the second violin, ‘answered’ by the fi rst violin. Th e subject is simple, as it needs to be to appear in so many guises. In Contrapunctus II the subject is treated in dotted rhythms (such as we heard from Vivaldi as this concert began). In III the subject is upside down (‘inverted’: each upward interval becomes an equivalent downward interval and vice versa). In IV the subject appears in its original guise, but is counterpointed by a motive of four notes from its tail. In this fugue Bach begins to reveal how rich, grand and complex his full exploration of the subject will be.

ARVO PÄRTDa Pacem Domine for string quartet (Composed 2004/2006)

Th is meditation for strings is inspired by an ancient votive antiphon, the prayer for peace sung in Anglican services as part of the Versicles and Responses:

Give peace, o Lord, in our time Because there is none other Who will fi ght for us But you, our God.

Th e commission to Pärt came from the Catalan viol player and conductor Jordi Savall, and the music was begun two days after the Madrid train bombings on March 11, 2004. Pärt made this his tribute to the victims.

A contrapunctus is music combining two or more melodic lines. Latin for ‘counterpoint’, Bach uses the word as an alternative to ‘fugue’. The essential feature of a fugue is that all the voices enter one after another [the Italian word ‘fuga’ could mean ‘pursuit’ or ‘fl eeing’].

Johann Sebastian BACH(b. Eisenach, 1685 — d. Leipzig, 1750)

J.S. Bach is one of the greatest, if not the single greatest, of all composers. A working musician his entire life, his composition ranges from the deeply spiritual to the fl amboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.


VIVALDI Stabat Mater, RV621 I. Stabat mater dolorosa II. Cuius animam gementem III. O quam tristis et affl icta IV. Quis est homo V. Quis non posset contristari VI. Pro peccatis suae gentis VII. Eia Mater, fons amoris VIII. Fac ut ardeat cor meum IX. Amen

ABOUT THE MUSICTh e Stabat Mater poem was written in the 13th century, probably by a Franciscan friar. Th e believer is invited to contemplate through Mary’s eyes the suff erings of the Crucifi ed. A poem of twenty stanzas, in rhyming pairs, the Stabat Mater was used in worship, by the 18th century, for the Feast of the Seven Sorrows of the Blessed Virgin Mary. At the evening Vespers service, the poem was limited to its fi rst ten stanzas, and it is these Vivaldi has set to music. All the movements are in sorrowful minor keys.

Th e Stabat Mater takes its inspiration from a verse in John’s Gospel (25:19) ‘At the cross stood the Mother of Jesus’, and its second verse refers to the prophecy of Simeon, made to Mary (Luke 2:35) ‘and a sword shall pierce your heart’. Originally the Stabat Mater was meant for private reading, or prayer.

Although the Stabat Mater was not originally intended for use in services of worship, it has the same metrical scheme as texts which were incorporated in the Mass, called sequences (Th e Dies Irae of the Requiem Mass is a sequence). In Gregorian chant the ‘sequens’ (‘following’) was the name given to rhyming text which was added to a chant’s fi nal melisma (many notes on one syllable) to make memorising easier. Th e rhyming scheme of the Stabat Mater is sometimes described as terza rima (familiar from the poetry of Dante). Th ere are 20 stanzas of three lines in the poem, and the rhythm is trochaic (alternating long and short syllables).

In the late 15th century the Stabat Mater was incorporated as a sequence in the Mass, in plainsong. A century later the Council of Trent removed it from the liturgy (because its text was non-

Antonio VIVALDI (b. Venice 1678 – d. Vienna 1741)

Antonio Vivaldi was dubbed ‘the red priest’ for the colour of his hair. His greatest fame is for instrumental music, including hundreds of concertos dominated by his own instrument, the violin. He also wrote music for the church, which he served as musical director of an orphanage for girls in Venice (though in holy orders, he seemingly never offi ciated at Mass). The revival of Vivaldi’s concertos, and especially the programmatic Four Seasons, spearheaded a mid-twentieth century Baroque music craze. There was a Vivaldi craze in his own day, too: Bach paid his music the tribute of copying and imitation, and in France Vivaldi’s fame completed the triumph of the Italian over the native style.

Terza rima is a rhyming scheme in which each verse of three lines, the middle line rhymes with the fi rst and last of the succeeding (aba, bcb, cdc, etc.). The Latin Stabat Mater text reveals a different scheme: rhyming pairs of stanzas, according to the scheme aab, ccb.


A castrato is a male singer castrated in boyhood to retain a soprano or alto voice.

Polyphonic a cappella settings from the medieval and Renaissance periods include Stabat Maters by Josquin, Palestrina, and Lassus. In the fi rst half of the 18th century, as well as Vivaldi the Scarlattis, Alessandro and Domenico, wrote accompanied settings, and Pergolesi’s very popular and infl uential version (1729) was probably intended to supplant Alessandro Scarlatti’s in Naples. Over 100 settings of the Stabat Mater have been counted composed between 1700 and 1883. There are important settings by Haydn (c1773) by Rossini (1842, in a frankly operatic style) by Dvorák (1876-7), and by Verdi, one of his last compositions (1898). There are notable 20th century settings by Szymanowski (1925-6), and Poulenc (1950).

biblical), however, Pope Benedict XIII restored it in 1727 for use on the Feast of the Seven Sorrows of Our Lady. In Vivaldi’s Stabat Mater, most likely used for this service, only the fi rst ten stanzas were heard.

BACKGROUNDVivaldi’s father was born in Brescia and moved to nearby Venice. In 1711 he and his son returned to a church in Brescia as guest violinists and it was most likely then that Vivaldi’s Stabat Mater setting was commissioned for the following year. Th e church’s vocal roster boasted a virtuoso alto singer, Filippo Santi, probably a castrato. Vivaldi, like other composers of his time, setting this text with a feminine point of view, was indiff erent to the performer’s gender.

When Vivaldi composed his Stabat Mater, in 1712, he was more experienced in instrumental than in vocal music and this shows in the string writing. Many of the telling expressive eff ects are entrusted to the instruments, nowhere more so than in the seventh movement, Eia mater, where the strings suggest the fl agellation of Jesus, referred to in an earlier verse. Vivaldi had to delay this illustrative device as his unusual strategy was to repeat his music for the fi rst three stanzas, tailored to the new words of the next three. Th e music for the second movement in each group is akin to an accompanied declamation and the third is more songful and aria-like.

Vivaldi’s Stabat Mater and Gloria were the two vocal works which, championed by Italian composer Alfredo Casella, helped launch the Vivaldi revival in 1939.

DAVID GARRETT © 2013


Stabat Mater

I. Th e Mother stood in sorrowAnd in tears, by the crossAs her Son hung from it.

II.Her weeping heartFull of anguish and sorrowA sword had pierced.

III.Oh how sad and desolateWas that holy MotherOf the only-begotten Son!

She grieved and she suff eredAnd trembled as she witnessedTh e pains of her glorious Son.

IV.Which man would not weepIf he saw the Mother of ChristIn such deep suff ering?

V.Who could fail to be movedWatching that sweet MotherGrieving with her Son?

VI.For the sins of His peopleShe saw Jesus being torturedAnd subjected to scourging!

She watched her own beloved SonDeserted as He died,As he breathed his last.

VII.O Mother, source of love,Let me feel the strength of this sorrowSo that I may mourn with thee.

IStabat Mater dolorosaJuxta Crucem lacrimosa, Dum pendebat Filius.

II. Cujus animam gementem, Contristatam et dolentem, Pertransivit gladius.

III.O quam tristis et affl icta Fuit illa benedicta Mater Unigeniti!

Quae moerebat, et dolebat, Et tremebat, dum videbat Nati poenas inclyti.

IV.Quis est homo, qui non fl eret, Christi Matrem si videret In tanto supplicio ?

V.Quis non posset contristari, Piam Matrem contemplariDolentem cum Filio?

VI.Pro peccatis suae gentisVidit Jesum in tormentis, Et fl agellis subditum.

Vidit suum dulcem natumMoriendo desolatum, Dum emisit spiritum.

VII.Eia Mater, fons amoris, Me sentire vim doloris Fac, ut tecum lugeam.


VIII.Make my heart blazeWith love for Christ the LordSo that I may please Him!

IX.Amen

VIIIFac, ut ardeat cor meum In amando Christum Deum, Ut sibi complaceam.

IX.Amen

Further reading and listeningVivaldiA good introduction to Vivaldi is Michael Talbot’s life and works survey in the Master Musicians series (Dent). Andreas Scholl has recorded the Stabat Mater for Harmonia Mundi with Ensemble 415.

SchnittkeAlexander Ivashkin’s Schnittke biography is published by Phaidon. The Borodin Quartet play Schnittke’s Third and other works of his on Virgin.

The Britten Quartet is one of several pairing Schnittke’s quartet with Beethoven Op.130 and Grosse Fuge Op.133 (Collins Classics CC-1298).

BachExcellent insert notes come with the Emerson Quartet’s Bach Art of Fugue.

PärtPaul Hillier’s Arvo Pärt (Oxford Studies of Composers, 1997) gains authority from the author’s experience of performing Pärt’s music as singer and conductor.

Wallfarhtslied is on an all-Pärt CD conducted by Estonian Tonu Kaljuste (ECM 1795). Es sang….with Susan Bickley, Gidon Kremer and Vladimir Mendelssohn, is on a CD including Pärt’s Stabat Mater (ECM1325). The Stabat Mater, with Summa and other Pärt, is also on a CD including Es sang…with male alto Daniel Taylor.


ANDREAS SCHOLLCOUNTER TENOR

Born in Germany, Andreas Scholl’s early musical training was with the Kiedricher Chorbuben. He later studied under Richard Levitt and René Jacobs at the Schola Cantorum Basiliensis. He is a winner of the 1999 ECHO Awards, Prix de l’Union de la Presse Musicale Belge and the Middle Ages/Renaissance category of the 2002 Edison Awards for his recording of A Musicall Banquet. He won a second ECHO Award in 2005 for his composition for Deutsche Grammophon’s audio-book of Hans Christian Andersen’s Th e Emperor’s New Clothes and Th e Nightingale.

A committed recital artist, Andreas Scholl performs in the world’s leading concert halls and festivals. Concert performances have included appearances with Berlin Philharmonic, New York Philharmonic, Th e Cleveland Orchestra, Deutsches Symphonie-Orchester Berlin, Boston Symphony Orchestra, Royal Concertgebouw Orchestra, Dresden Philharmonic, Akademie für Alte Musik Berlin, Freiburger Barockorchester, Munich Philharmonic and at the 2005 Last Night of the Proms - the fi rst counter-tenor ever to have been invited.

Andreas Scholl has released a series of solo recordings: the most recent being O Solitude – an all-Purcell album with Accademia Bizantina. Other notable releases include Arias for Senesino - for which he won the 2006 Classical Brit Singer of the Year award; Heroes - a disc of arias by Handel, Mozart, Hasse and Gluck; Robert Dowland’s A Musical Banquet; Vivaldi Motets with the Australian Brandenburg Orchestra; Wayfaring Stranger - a selection of specially arranged English and American folksongs with Orpheus Chamber Orchestra and Arcadia - a collection of rare and unpublished cantatas by composers from Rome’s Arcadian Circle - all of which are released on Decca. His discography also includes recordings for Deutsche Grammophon - Handel’s Solomon and Saul with Paul McCreesh and for Harmonia Mundi including the Gramophone Award-winning Vivaldi Stabat Mater; Caldara’s Maddalena ai piedi di Cristo; Il duello amoroso, a selection of Handel’s Italian cantatas with Accademia Bizantina; Crystal Tears - lute and consort songs by John Dowland and Songs of Myself - the songs of Oswald von Wolkenstein. His DVD releases include productions of Giulio Cesare (Harmonia Mundi), Rodelinda (Warner), and Partenope (Decca).

His operatic debut as Bertarido in Handel’s Rodelinda for the Glyndebourne Festival Opera was greeted with critical acclaim. He since has repeated this role for the Metropolitan Opera and Th éâtre du Châtelet. He starred in the title role of Handel’s Giulio Cesare for Royal Danish Opera (recorded and commercially available on Decca DVD) and he has reprised this role for Th éâtre des Champs-Elysées and Opéra de Lausanne.


AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN

ACO MUSICIANS

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Rebecca Chan Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Alexandru-Mihai Bota 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

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.

Founded in 1975, this string orchestra comprises leading Australian and international musicians. Th e Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig.

Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised.

Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello on loan from Peter William Weiss ao and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor.

Th e ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Award-winning Bach recordings, multi-award-winning documentary fi lm Musica Surfi ca and the complete set of Mozart Violin Concertos.

Th e ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall.

In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.

aco.com.au

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.❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter William Weiss ao.✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from private Australian benefactors. ✹ Courtesy of Sydney Converatorium of Music, University of SydneyContinuo Organ by H Klop, Garderen Nederland 2011, courtesy of MLC School BurwoodPrepared by Carey Beebe

Players dressed by AKIRA ISOGAWA

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HELENA RATHBONE✽

Principal ViolinChair sponsored by Kate & DarylDixon

REBECCA CHANViolinChair sponsored by Ian Wallace & Kay Freedman

CHRISTOPHER MOOREPrincipal ViolaChair sponsored by peckvonhartel architec

TOMMIE ANDERSSON Theorbo

MAXIME BIBEAU✩

Principal BassChair sponsored by John Taberner & Grant Lang

TIMOVEIKKO VALVE❖

Principal Cello Chair sponsored by Peter William Weiss ao

NEAL PERES DA COSTA✹

Chamber Organ


ACO BEHIND THE SCENES

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

EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General Manager & Development ManagerJoseph NizetiExecutive Assistant to Mr Calnin and Mr Tognetti AO

ARTISTIC & OPERATIONSLuke ShawHead of Operations & Artistic Planning Alan J. BensonArtistic AdministratorMegan RussellTour ManagerLisa MullineuxAssistant Tour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian/Music TechnologyAssistantBernard RofeAssistant Librarian

EDUCATIONPhillippa MartinActing Education & Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCECathy Davey Chief Financial Offi cerSteve Davidson Corporate Services ManagerRachel O’BrienAccountantShyleja PaulAssistant Accountant

DEVELOPMENTJill ColvinActing Development ManagerRebecca NoonanActing Corporate Relations &Public Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveRetha HowardPatrons and Foundations ManagerAli BrosnanPatrons and FoundationsExecutiveLillian ArmitagePhilanthropy ConsultantStephanie IngsInvestor Relations ManagerSally CrawfordDevelopment Coordinator

MARKETINGRosie RotheryMarketing ManagerAmy GoodhewMarketing CoordinatorClare MorganNational PublicistJack SaltmarisDigital Content & Publicity CoordinatorChris Griffi thBox Offi ce ManagerDean WatsonCustomer Relations ManagerPoppy BurnettBox Offi ce & CRM DatabaseAssistantChristina HollandOffi ce Administrator

INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestJohn BorghettiLiz CacciottoloChris Froggatt

Janet Holmes à Court ACJohn GrillHeather Ridout AO

Andrew StevensJohn TabernerPeter Yates AM

BOARDGuido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman

Richard Tognetti AOArtistic Director


ACKNOWLEDGEMENTS

VENUE SUPPORT

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

PO Box 7585St Kilda Road Melbourne Victoria 8004Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMr Tom Harley (President)Ms Deborah Beale, Mr Sandy Clark,Mr Julian Clarke, Ms Catherine McClements,Mr Graham Smorgon am, Mr David Vigo

ARTS CENTRE MELBOURNE FOUNDATIONBOARD OF GOVERNORSMr Sandy Clark ChairmanMr John Haddad ao Emeritus ChairmanMiss Betty Amsden oam, Mrs Debbie Dadon, Mr John Denton, Mr Carrillo Gantner ao,Mr Tom Harley, Ms Dana Hlavacek,Mrs Mem Kirby oam, Mrs Jennifer Prescott

EXECUTIVE GROUPMs Judith Isherwood Chief ExecutiveMs Jodie Bennett Executive Corporate Services (CFO)Mr Tim Brinkman Executive Performing ArtsMs Louise Georgeson General Manager – Development,Corporate Communications & Special EventsMs Sarah Hunt General Manager, Marketing &Audience DevelopmentMr Kyle Johnston Executive Customer Enterprises

Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

FOR YOUR INFORMATIONTh e management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. Th e Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

GOVERNMENT SUPPORT

A City of Sydney VenueClover Moore Lord Mayor

Managed byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix FounderAnne-Marie Heath General Manager

CITY RECITAL HALL ANGEL PLACE2 –12 Angel Place, Sydney, Australia

GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000Box Offi ce 02 8256 2222 or 1300 797 118Facsimile 02 9233 6652Website www.cityrecitalhall.com

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.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, 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 than that in which it was published, or distributed at any other event than specifi ed on the title page of this publication ACO 137 17166 — 1/031013

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

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—Classical Music Alan Ziegler

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin


ACO 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 ViolinMichael Ball am & Daria BallWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Christopher MoorePrincipal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter William Weiss ao

Maxime BibeauPrincipal Double BassJohn Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAnthony & Sharon Lee

Mark Ingwersen Violin

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Violin ChairTerry Campbell ao & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Alexandru-Mihai BotaViolaPhilip Bacon am

Melissa Barnard CelloTh e Bruce & Joy Reid Foundation

Julian Th ompson CelloTh e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICIBrian Nixon Mr R. Bruce Corlett am & Mrs Ann CorlettPrincipal Timpani Mr Robert Albert ao & Mrs Libby Albert


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, Principal Violin of the Orchestra. Th e ACO pays tribute to its Founding Patrons of the Fund.

VISIONARY $1m+Peter William Weiss ao

LEADER $500,000–$999,999

CONCERTO $200,000–$499,999Amina Belgiorno-NettisNaomi Milgrom ao

OCTET $100,000–$199,999

QUARTET $50,000–$99,999John Leece am & Anne Leece

SONATA $25,000–$49,999

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

SOLO $5,000$9,999Amanda Staff ord

PATRONS $500$4,999June & Jim ArmitageJohn Landers & Linda SweenyPamela McGawPatricia McGregorAlison ReeveAngela RobertsRobyn TamkeAnonymous (2)

PETER WILLIAM WEISS ao, PATRON

FOUNDING PATRONS

Guido & Michelle Belgiorno-NettisBill BestBenjamin BradySteven DuchenBrendan HopkinsAngus & Sarah JamesJohn TabernerIan Wallace & Kay Freedman

FOUNDING INVESTORS

Bill Best (Chairman)Jessica BlockJanet Holmes à Court acJohn Leece amJohn Taberner

BOARD MEMBERS


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 2012 and 2013.

Jane AlbertSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinT Cavanagh & J GardnerAnne Coombs & Susan VargaAmy DenmeadeToni FreckerJohn Gaden amCathy GraySusan Johnston & Pauline Garde

Brian KelleherAndrew LeeceScott Marinchek & David WynneKate Mills & Sally Breen Nicola PennMartin PortusJanne RyanBarbara Schmidt & Peter CudlippRichard SteeleStephen Wells & Mischa WayAnonymous (1)

THE REEFLEAD PATRONSTony & Michelle Grist

PATRONSGraham & Treffi na DowlandWendy EdwardsEuroz Charitable FoundationDon & Marie ForrestTony & Rose PackerNick & Claire PollGavin & Kate RyanJon & Caro StewartSimon & Jenny YeoAnonymous (1)

ELECTRIC PRELUDES by Brett DeanCommissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the 2013 ACO National Concert Season.

NEVER TRULY LOST by Brenton BroadstockCommissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.

SPECIAL COMMISSIONS PATRONSDr Jane Cook & Ms Sara PoguetMirek GenerowiczPeter & Valerie GerrandV GrahamAnthony & Conny HarrisAndrew & Fiona JohnstonLionel & Judy KingDr Suzanne TristMargot Woods & Arn SprogisTeam SchnoopyAnonymous (1)


Th e ACO would like to pay tribute to the following donors who support our international touring activities in 2013.

INTERNATIONAL TOUR PATRONS

International Tour PatronsCatherine Holmes à Court-Mather

International Tour SupportersJan BowenJenny & Stephen CharlesSuellen & Ron EnestromDelysia LawsonJulia Ross

NISEKO SUPPORTERS

NISEKO SUPPORTERSA J AbercrombieWarwick AndersonBreeze FamilyTim BurkeSimone CarsonSuzy CrittendenCathryn Darbyshire & Andrew Darbyshire amKerry Gardner & Andrew Myer Phil & Rosie HarknessRyota HayashiLouise Hearman & Bill HensonSimon & Katrina Holmes à Court Family Trust

Howard & Launa InmanRobert Johanson & Anne SwannRichard & Lizzie LederNaomi MilgromClarke & Leanne MorganRichard & Amanda O’BrienJill Reichstein SchiavelloPeter ScottJohn & Nicky StokesDr Mark & Mrs Anna YatesOliver YatesAnonymous (2)

Th e ACO would like to pay tribute to the following donors who have supported our involvement with the Niseko Winter Music Festival.

NISEKO PATRONSAnn Gamble MyerAlf MoufarrigeLouise & Martyn Myer FoundationPeter Yates AM & Susan Yates


ACO COMMITTEES

Bill Best (Chairman)Guido Belgiorno-Nettis amChairman ACO & Executive Director Transfield HoldingsLeigh BirtlesExecutive DirectorUBS Wealth ManagementAnna Bligh

SYDNEY DEVELOPMENT COMMITTEELiz Cacciottolo Senior Advisor UBS AustraliaIan Davis Managing Director Telstra TelevisionChris Froggatt Tony Gill Jennie Orchard

Tony O’Sullivan Head of Investment Banking Lazard AustraliaHeather Ridout ao DirectorReserve Bank of AustraliaMargie Seale

Peter ShorthouseClient AdvisorUBS Wealth Management John Taberner Consultant Herbert SmithFreehills

Peter Yates am (Chairman)Chairman Royal Institution of Australia Director AIAA Ltd

MELBOURNE DEVELOPMENT COUNCILDebbie BradyBen BradyStephen CharlesChristopher Menz

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

EVENT COMMITTEESBowral Elsa AtkinMichael Ball am (Chairman) Daria Ball Cam CarterLinda Hopkins Judy LynchKaren Mewes Keith Mewes Tony O’SullivanMarianna O’SullivanTh e Hon Michael Yabsley

Sydney Lillian ArmitageMargie BlokAlison BradfordLiz Cacciottolo (Chair)Dee de BruynJudy Anne EdwardsJoAnna FisherChris FroggattElizabeth HarbisonBee HopkinsSarah JenkinsVanessa Jenkins

Somna KumarPrue MacLeodJulianne MaxwellJulie McCourtElizabeth McDonaldJulia PincusSandra RoyleNicola SinclairJohn TabernerJennifer TejadaJudi Wolf

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

DISABILITY ADVISORY COMMITTEEAmanda TinkTraining CoordinatorArts Activated National Conference ConvenorAccessible Arts

Morwenna CollettProgram Manager Arts Funding (Music)Australia Council for the Arts


ACO DONATIONS PROGRAM

EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert ao & Mrs Libby AlbertAustralian Communities Foundation – Ballandry FundDaria & Michael BallSteven Bardy & Andrew Patterson Th e Belalberi FoundationGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert-JonesCarapiet FoundationMark CarnegieStephen & Jenny CharlesDarin Cooper FamilyDaryl & Kate DixonGeoff & Dawn DixonChris & Tony FroggattDaniel & Helen GauchatJohn Grill & Rosie WilliamsBelinda Hutchinson amAngus & Sarah JamesPJ Jopling qcMiss Nancy KimptonBruce & Jenny LanePrudence MacLeodAlf MoufarrigeLouise & Martyn MyerBruce Neill

Jennie & Ivor OrchardAlex & Pam ReisnerMr Mark Robertson oam & Mrs Anne RobertsonMargie Seale & David HardyTony Shepherd aoMr John Singleton amBeverley SmithJohn Taberner & Grant LangAlden Toevs & Judi WolfTh e Hon Malcolm Turnbull mp & Ms Lucy Turnbull aoJohn & Myriam WylieE XipellAnonymous (1)

DIRETTORE $5,000 $9,999Geoff AlderBrad BanducciPatricia BlauMarjorie BullJoseph & Veronika ButtaTerry Campbell ao & Christine CampbellTh e Clayton FamilyVictor & Chrissy CominoLeith & Darrel ConybearePeter & Tracey CooperMr R. Bruce Corlett am & Mrs Ann CorlettEllis FamilySuellen & Ron Enestrom

Bridget Faye amIan & Caroline FrazerMaurice Green am & Christina GreenAnnie HawkerRosemary HoldenBee HopkinsWarwick & Ann JohnsonJulie KantorKeith & Maureen KerridgeLorraine LoganPeter LovellTh e Alexandra & Lloyd Martin Family FoundationDavid MathlinJulianne MaxwellP J MillerJan MinchinMarianna & Tony O’SullivanJohn RickardTh e Roberts FamilyTh e SandgropersPaul Salteri amPaul Schoff & Stephanie SmeeSeleco Foundation LtdKerry Stokes ac & Christine SimpsonTamas SzaboCameron WilliamsEvan Williams amKaren & Geoff WilsonPeter Yates am & Susan YatesCarla Zampatti FoundationAnonymous (2)

PATRONS NATIONAL EDUCATION PROGRAMJanet Holmes à Court ac Marc Besen ao & Eva Besen ao

Th e ACO pays tribute to all of our generous foundations and 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.

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST

THE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS


ACO DONATIONS PROGRAMMAESTRO $2,500 $4,999Mrs Jane AllenTiff any AndrewsWill & Dorothy Bailey Charitable GiftDoug & Alison BattersbyTh e Beeren FoundationBerg Family FoundationBill & Marissa BestMr Leigh BirtlesRosemary & Julian BlockDr David & Mrs Anne BolzonelloBen & Debbie BradyAndrew CloustonRobert & Jeanette CorneyJudy CrawfordKate DixonLeigh EmmettMichael FitzpatrickR FreemantleAnn Gamble MyerLiangrove FoundationColin Golvan scWarren GreenNereda Hanlon & Michael Hanlon amLiz HarbisonMrs Yvonne Harvey & Dr John Harvey aoPeter & Helen HearlWendy HughesGraeme HuntGlen Hunter & Anthony NiardoneVanessa JenkinsPeter LovellMacquarie Group FoundationSandra & Michael Paul EndowmentElizabeth PenderPatricia H Reid Endowment Pty LtdRalph & Ruth RenardRuth RitchieD N SandersCheryl SavageBrian SchwartzJennifer SeniorGreg Shalit & Miriam FainePetrina SlaytorPhilippa Stone

Tom Th awleyDr & Mrs R TinningRalph Ward-Ambler am & Barbara Ward-AmblerAnonymous (4)

VIRTUOSO $1,000 $2,499Annette AdairMr L H & Mrs M C AinsworthPeter & Cathy AirdAntoinette AlbertDavid & Rae AllenAndrew AndersonsVirginia BergerLinda & Graeme BeveridgeJessica BlockIn memory of Peter BorosKathy BorrudVicki BrookeSally BuféRowan BunningNeil Burley & Jane MunroMassel Australia Pty LtdCannings CommunicationBella CarnegieSandra CassellJulia Champtaloup & Andrew RotheryElizabeth CheesemanElizabeth ChernovSteven ChiversCaroline & Robert ClementeAngela & John ComptonBernadette CooperLaurence G Cox ao & Julie Ann CoxAnne & David CraigJudy CrollLindee & Hamish DalziellMrs June DanksMichael & Wendy DavisMartin DolanAnne & Th omas DowlingJennifer DowlingDr William F DowneyMichael DrewEmeritus Professor Dexter Dunphy amPeter EvansJulie EwingtonElizabeth FinneganStephen Fitzgerald

Lynne FlynnJane & Richard FreudensteinJustin & Anne GardenerJaye GardnerPaul Gibson & Gabrielle CurtinRichard & Jay Griffi nGriffi ths ArchitectsPeter HalsteadLesley HarlandJennifer HershonReg Hobbs & Louise CarbinesMichael Horsburgh am & Beverley HorsburghCarrie & Stanley HowardPenelope HughesStephanie & Michael HutchinsonBrian JonesBronwen L JonesD & I KallinikosCarolyn Kay & Simon SwaneyMrs Judy LeeMr Michael LeeMr John Leece amSydney & Airdrie LloydCharlotte & Adrian MackenzieJanet P MattonKevin & Deidre McCannPaul & Elizabeth McClintockBrian & Helen McFadyenDonald and Elizabeth McGauchieJenny McGeeJ A McKernanPeter & Ruth McMullinJillian & Robert MeyersGraham L MorganJohn MorganSuzanne MorganJane MorleyMarie MortonNola NettheimGraham NorthElspeth & Brian NoxonOrigin FoundationBrendan OstwaldAnne & Christopher PageRowland Patersonpeckvonhartel architectsAyesha PenmanTom PizzeyMichael Power


Mark RenehanDr S M Richards am & Mrs M R RichardsWarwick & Jeanette Richmond In Memory of Andrew RichmondJosephine RidgeEm. Prof. A. W. Roberts amJoan RogersPeter J RyanManfried & Linda SalamonJennifer SandersonIn Memory of H. St. P. ScarlettJeff SchwartzIn memory of Elizabeth C SchweigPeter & Ofelia ScottGideon ShawDiana & Brian Snape amMaria Sola & Malcolm DouglasEzekiel Solomon amKeith SpenceCisca SpencerRobert StephensProfessor Fiona StewartAndrew StraussJohn & Josephine StruttDr Douglas Sturkey cvo amDr Charles Su & Dr Emily LoKyrenia & Rob Th omasPaul TobinPeter TonaghVenture AdvisoryKay VernonDavid WalshJanie Wanless & Nev WitteyG C & R WeirMrs M W WellsRachel Wiseman & Simon MooreSir Robert WoodsNick & Jo WormaldLee WrightDon & Mary Ann YeatsWilliam YuilleAnonymous (22)

CONCERTINO $500 $999A AckermannMrs Lenore Adamson In memory of Mr Ross AdamsonElsa AtkinGeoff rey BamfordRuth BellMax BenyonTamara BestBrian & Helen BlytheElizabeth BoltonBrian BothwellDr Sue BoydDenise BraggettDiana BrookesMrs Kay BryanArnaldo BuchTim & Jacqueline BurkeLynda CampbellHelen & Ian CarrigJulie CarriolKirsten CarriolColleen & Michael ChestermanRichard & Elizabeth ChisholmGeorg ChmielElizabeth ClaytonClearFresh WaterJilli CobcroftGeoff Cousins & Darleen BungeyCarol & Andrew CrawfordProfessor John Daley & Dr Rebecca CoatesMarie DalzielMari DavisDefi ance GalleryMike & Pamela DowneyIn Memory of Raymond DudleyAnna DunphyM T & R L ElfordIan FenwickeJean Finnigan & Peter KerrJanet FitzwaterMichael FogartyBrian GoddardSteven Gregg

Katrina Groshinski & John LyonsAnnette GrossMatthew HandburyDr Penny Herbert In memory of Dunstan HerbertLachie HillMarian HillGeoff HogbinHow To Impact Pty LtdJulie HopsonPam & Bill HughesDr & Mrs Michael HunterGeoff & Denise IllingDiane IpkendanzMargaret & Vernon IrelandPhilip & Sheila JacobsonOwen JamesBarry Johnson & Davina Johnson oamMrs Caroline JonesMrs Angela KarpinBruce & Natalie KellettProfessor Anne Kelso aoDanièle KempJosephine Key & Ian BredenTFW See & Lee Chartered AccountantsGreg Lindsay ao & Jenny LindsayAndrew & Kate ListerMegan LoweJohn LuiRobin & Peter LumleyBronwyn & Andrew LumsdenJames MacKeanDr & Mrs Donald MaxwellPhilip Maxwell & Jane Th amIan & Pam McGawH E McGlashanColin McKeithJeanne McMullinJoanna McNivenI MerrickJulie MosesHon Dr Kemeri Murray aoDr G NelsonJenny NicholJ NormanRichard & Amanda O’BrienRobin Offl erJosephine PaechLeslie Parsonage

ACO DONATIONS PROGRAM


Patrons list is current as of 20 September.

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 Retha Howard on 02 8274 3835 or at [email protected].

ACO DONATIONS PROGRAMLisa PaulsenDeborah PearsonRobin & Guy PeaseKevin PhillipsMiss F V Pidgeon amTh e Hon C W Pincus qcIan PryerRuth RedpathGreg & Elizabeth SandersonGarry E ScarfTeam SchmoopyLucille SealeMr Berek Segan obe am & Mrs Marysia SeganAndrew & Rhonda SheltonAnne ShiptonRoger & Ann Smith-JohnstoneAlida Stanley & Harley WrightMrs Judy Ann StewartGeoff rey Stirton & Patricia LoweIn memory of Dr Aubrey SweetLeslie C Th iessMatthew TooheySarah Jane & David VauxEvan Williams amSue Wooller & Ron WoollerRebecca Zoppetti LaubiBrian ZulaikhaAnonymous (20)

CONTINUO CIRCLE BEQUEST PROGRAMTh e late Charles Ross AdamsonTh e late Kerstin Lillemor AndersenSteven BardyDave BeswickRuth BellSandra CassellTh e late Mrs Moya CraneMrs Sandra DentLeigh EmmettTh e late Colin EnderbyPeter EvansCarol FarlowMs Charlene FranceSuzanne GleesonLachie HillTh e late John Nigel HolmanPenelope HughesEstate of Pauline Marie JohnstonTh e late Mr Geoff Lee am oamMrs Judy LeeTh e late Shirley MillerTh e late Richard PonderIan & Joan ScottG.C. & R WeirMargaret & Ron WrightMark YoungAnonymous (11)

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 Dr John Harvey ao Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter William Weiss ao


ACO PARTNERS

Mr Guido Belgiorno-Nettis amChairmanAustralian Chamber Orchestra &Executive DirectorTransfi eld Holdings

Aurizon Holdings Limited

Mr Philip Bacon amDirectorPhilip Bacon Galleries

Mr David Baff sky ao

Mr Brad BanducciDirector Woolworths Liquor Group

Mr Jeff BondChief Executive Offi cerPeter Lehmann Wines

Mr John BorghettiChief Executive Offi cerVirgin Australia

Mr Hall CannonRegional Delegate, Australia, New Zealand & South Pacifi cRelais & Châteaux

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr Georg ChmielChief Executive Offi cerLJ Hooker

Mr Julian ClarkeChief Executive Offi cerNews Limited

Mr & Mrs Robin Crawford

Rowena Danziger am &Kenneth G. Coles am

Mr Greg EllisChief Executive Offi cerREA Group

Dr Bob EveryChairmanWesfarmers

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr Colin Golvan SC & Dr Deborah Golvan

Mr John GrillChairmanWorleyParsons

Mr Andrew & Mrs Hiroko Gwinnett

Mrs Janet Holmes à Court ac

Mr & Mrs Simon & Katrina Holmes à CourtObservant Pty Limited

Ms Catherine Livingstone aoChairmanTelstra

Mr Tim Longstaff Managing Director, Corporate Finance, Deutsche Bank, Australia/New Zealand

Mr Andrew LowChief Executive Offi cerRedBridge Grant Samuel

Mr Steven Lowy amLowy Family Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr David MathlinSenior PrincipalSinclair Knight MerzMs Julianne Maxwell

Mr Michael Maxwell

Mr Geoff McClellanPartnerHerbert Smith Freehills

Mr Donald McGauchie aoChairmanNufarm Limited

Ms Naomi Milgrom ao

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Alf MoufarrigeChief Executive Offi cerServcorp

Mr Robert Peck am &Ms Yvonne von Hartel ampeckvonhartel architects

Mr Neil Perry amRockpool

Mr Mike Sangster Managing DirectorTotal E&P Australia

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Tony Shepherd aoPresidentBusiness Council of Australia

Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Mr Paul SumnerDirectorMossgreen Pty Ltd

Mr Mitsuyuki (Mike) TakadaManaging Director & CEOMitsubishi Australia Ltd

Mr Michael Triguboff Managing DirectorMIR Investment Management Ltd

Th e Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa WallaceDirectorMr Malcolm GarrowDirectorBooz & Company

Mr Gary WingroveChief Executive Offi cerKPMG Australia

Mr Peter Yates amChairman, Royal Institution of AustraliaDirector, AIA Ltd

2013 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.


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

PRINCIPAL PARTNER

FOUNDING PARTNER NATIONAL TOUR PARTNERS FOUNDING PARTNER:

ACO VIRTUAL

OFFICIAL PARTNERS

PERTH SERIES PARTNER

REGIONAL TOURING PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

CONCERT AND SERIES PARTNERS

Daryl DixonPeter William Weiss AO Warwick & Ann Johnson

EVENT PARTNERS

on george


newsACO NEWS • AUGUST 2013

Our Principal Partner Virgin Australia has

offi cially launched its new Wireless

In-fl ight Entertainment system, representing

a new era in the way travellers experience

entertainment in the sky. The free system is

currently rolling out across the network and is

available on selected Boeing 737 and Embraer

E190 aircraft.

The entertainment platform is the fi rst of

its kind in the Asia Pacifi c region, giving

customers the ability to stream content to

their own devices, including smartphones,

laptops and tablets, through in-built wireless

technology on board.

This state-of-the-art system provides you with

access to hundreds of hours of movies, TV

shows and music – including the latest ACO

releases – all available on your own device.

For more information, please visit

virginaustralia.com/wireless

LISTEN TO THE ACO ON VIRGIN AUSTRALIA Wireless in-fl ight entertainment


SUBSCRIBER EVENTSSubscriber parties, open rehearsals and more to come…

It has been excellent to meet so many of our

loyal subscribers at events in Melbourne,

Adelaide, Brisbane and Sydney over the past few

months and we’re looking forward to hosting

more later this year for our Sydney, Melbourne,

Perth, Newcastle and Wollongong subscribers.

We send these invitations out largely through

email so if you are a subscriber, please make

Through our Principal Partner Virgin Australia

and Virgin Australia Holidays we are thrilled

to be able to offer you the opportunity to

book a holiday package to the ACO’s annual

pilgrimage to Vasse Felix Winery in Margaret

River at an exclusive 10% discount.

This festival is a highlight of the Orchestra’s

year and the concerts always sell out quickly.

This year, ACO2 performs three concerts at the

Vasse Felix Art Gallery from 6-8 December,

with beautiful dining packages.

For more information, including the exclusive

10% discount code, visit aco.com.au/virgin

EXCLUSIVE VASSE FELIX PACKAGE OFFER

An open rehearsal at the ACO studios

sure you are signed up to receive our monthly

enewsletter so that we can email you the

invitation. Sign up to the enewsletter at

aco.com.au/enews or call us on 1800 444 444.

Subscriptions are still available for our 2014

season. Explore the season and request a

brochure at aco.com.au or call 1800 444 444.

Christopher Moore & Timo-Veikko Valve with subscribers Daniel Yeadon meets subscribers after the rehearsal


YOUR SAY…Brahms Piano Quintet“This was the most stunning performance of this piece I have ever heard, bringing out the full, gutturally passionate quality of the music.” - Prue B.

“Completely exhilarating, brilliant playing, a really exciting repertoire – the ACO is always amazing, but Wednesday’s concert reconfi rmed yet again exactly why I’m a subscriber.” - Anonymous

Project Rameau – Canberra“I don’t know anything about dance but I do know beauty when I see it: beautiful dance, beautiful costumes and beautiful music = wonderful theatre!” – Stephen L.

AcO2 NSW/QLD Regional tour“Thank you for your performance in Bellingen on Friday night. My ten year old daughter was in awe and mesmerised throughout the performance.”– Sharon G

“It was very enjoyable and fun. I learnt a lot and thank you for coming – please come again! The ACO musicians were friendly, approachable, helpful, kind and fun! Please come again! Thank you soooo much for coming! I love Tipi” -Jess T, Armidale String Workshop participant

“My son had a ball. Speechless that we hear from you like this. Looking forward to the next time in Cairns. Again thanks for the great opportunity.” - Bill and Haru G, parents, Cairns String Workshop

Let us know what you thought about today’s concert at [email protected].

BECOME AN ACO VOLUNTEERVolunteer to help our busy behind-the-scenes administration team

With an ever-expanding concert season and

national education programs that reach

further than ever before, there is never a quiet

moment in the ACO offi ces.

If you are Sydney-based and have time during

the week, we would be grateful if you wanted

to become one of our dedicated and

forever-appreciated volunteers. Volunteers

help the team with everything from mail outs,

ring arounds and fi ling the mountain of press

clippings, to entering information into our

databases and fi ling digital copies of some of

our program notes.

To register as a volunteer or for further

information, please contact Christina Holland

on [email protected] or phone

02 8274 3800.

One of our wonderful volunteers, Robin Hall, with Chris Griffi th, our Box Offi ce Manager

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