OGNETTI T CHAIKOVSKY BRAHMS - au-com-aco …€™s buoyant Serenade for Strings and Brahms’...

TOGNETTI TCHAIKOVSKY BRAHMSTHE SEASON BEGINS

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Death and the Maiden15 – 26 MARCH

NEWCASTLE, CANBERRA, MELBOURNE, SYDNEY

Russian violinist Alina Ibragimova brings her awe-inspiring energy to Schubert’s Death and the Maiden.

The Lark Ascending15 – 24 MARCH

GERALDTON, KALGOORLIE, MANDURAH, BUNBURY, MARGARET RIVER, ALBANY

ACO Collective take Vaughan Williams’ The Lark Ascending to Western Australia, led by their energetic Artistic Director Pekka Kuusisto.

Nicole Car8 – 24 APRIL

SYDNEY, MELBOURNE, PERTH, BRISBANE

Australian Soprano Nicole Car returns home for her only orchestral performance in Australia this year.

What’s On March – AprilVisit aco.com.au to learn more.

TarraWarra Festival3 – 4 MARCH

HEALESVILLE, TARRAWARRA

Bringing together fine art, stunning views and live music directed by Richard Tognetti, the festival features concerts in the TarraWarra Museum of Art in the Yarra Valley.

6 Australian Chamber Orchestra

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ACO concerts are regularly broadcast on ABC Classic FM. Tognetti Tchaikovsky Brahms will be broadcast on Sunday 11 February at midday.

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2018 National Concert Season 7

ALINA IBRAGIMOVADEATH AND THE MAIDEN

“The immediacy and honesty of Ibragimova’s playing collapses any sense of distance between performer and listener”– THE GUARDIAN

One of the world’s most electrifying violinists directs the ACO in an intensely moving program, featuring Schubert’s Death and the Maiden for string orchestra and Barber’s Adagio for Strings.

15 – 26 MarchCanberra, Melbourne, Newcastle, Sydney

Tickets from $49*

*Booking fee of $7.50 applies to all bookings.

Message from the Managing Director

Richard Evans

It has begun! It is with great enthusiasm that I welcome you to our first concert of the season, Tognetti Tchaikovsky Brahms. Our Artistic Director Richard Tognetti leads the Orchestra back from their summer break as we traverse works by two of the most beloved composers of the Romantic period, Tchaikovsky and Brahms, together with works by two exciting contemporary composers, Anna Clyne and Missy Mazzoli.

Prince of Clouds, a ravishing double violin concerto by Grammy Award-nominated Anna Clyne, will showcase two of the Orchestra’s prominent young players, Ike See and Glenn Christensen.

We will also hear from a much-loved ACO veteran, Principal Bass Maxime Bibeau, who in 2018 is celebrating his 20th anniversary with the ACO. Brooklyn-based composer Missy Mazzoli has written Dark with Excessive Bright especially for the occasion.

Tchaikovsky’s buoyant Serenade for Strings and Brahms’ sumptuous Sextet No.2 in G major complete the program. Joining the Orchestra are players from the Australian National Academy of Music, and we are very thrilled to welcome these wonderful young musicians to the stage for this six-city national tour.

2018 promises to be another packed year of music-making. For those of you who have not yet subscribed, it’s not too late. You can subscribe to the rest of the 2018 season by visiting aco.com.au/subscribe

Concerts such as this, and the ACO’s myriad performances throughout the year would not be possible were it not for the unstinting support and generosity of our sponsors. I particularly thank our Principal Partner, Virgin Australia, now entering their sixth year supporting the Orchestra.

Thanks to our philanthropic patrons around Australia, and of course our broader audience. I look forward to sharing the experience of our 2018 season together with you all.


Flexi-packs now on sale. Purchase 3 or more concerts and save up to 30%*

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ACO 2018National Concert Season

RICHARD TOGNETTI – ARTISTIC DIRECTOR

“One of the wonders of the musical world”

— THE GUARDIAN UK

*Percentage discount varies according to venue and reserve.

Nicole Divall Viola

Tognetti Tchaikovsky Brahms

Richard Tognetti Director & Violin Maxime Bibeau Double Bass Ike See Violin Glenn Christensen Violin with Musicians from the Australian National Academy of Music

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

The concert will last approximately two hours

including a 20-minute interval.

APPROXIMATE DURATION (MINUTES)

14 ANNA CLYNE Prince of Clouds Australian Premiere

28 TCHAIKOVSKY Serenade for Strings in C major, Op.48 I. Pezzo in forma di Sonatina II. Walzer III. Élégie IV. Finale (Tema Russo)

I I INTERVAL (20 MINUTES)

15 MISSY MAZZOLI Dark with Excessive Bright Concerto for Contrabass and String Orchestra World Premiere Co-commissioned by Bruce and Jenny Lane for the Australian Chamber Orchestra, and by the Aurora Orchestra

36 BRAHMS (arr. strings) String Sextet No.2 in G major, Op.36 I. Allegro non troppo II. Scherzo: Allegro non troppo III. Adagio IV. Poco Allegro


Richard Tognetti AO Artistic Director & Lead Violin

For our inaugural 2018 ‘grand thronging together’, we unite two typical ‘classical’, concert-hall-fare, 19th-century composers Tchaikovsky and Brahms, with two composers from the now, Anna Clyne and Missy Mazzoli.

And we present three soloists from within the orchestra – two relatively freshly hatched members in Clyne’s Prince of Clouds (Ike See and Glenn Christensen), and Monsieur Maxime Bibeau, who takes centre-stage, manifesting his desire to celebrate 20 years with the Orchestra via a commission by Mazzoli.

To top it off, we incorporate young musicians completing their elite training at the Australian National Academy of Music (ANAM) in Brahms’ chamber work, the second string Sextet, hereby reworked as a ‘String Symphony’.

There are two distinct types of musical creators: those who, propelled by agenda, aspire to revolution (the avant-gardists), and those who, detached from extra-musical agenda, are evolution-aries, building on, as Richard Taruskin writes, ‘a past that enables the present’, or as I would say, ‘building on traditions to release the new.’

To illustrate this point: Brett Dean is an agenda composer, hence his ongoing success with narrative-driven genres such as opera, whereas Finnish composer Olli Mustonen sends forth his music mostly unencumbered by agenda, narrative or moral imperative. John Lennon, agenda driven, McCartney, not so. Then you have Mozart and Haydn, not so driven by political agenda.

And Beethoven is the inspiration to Wagner. Wagner was the self-proclaimed leader of the ‘Music of the Future’ party who vehemently pitted his revolutionary style against Brahms, whom Liszt taunted by calling him leader of ‘the posthumous party’. Because of this barb, Brahms, heeding advice from Ferdinand Hiller who told him ‘the best means of struggle would be to create good music’, withdrew from public political discourse. What he did privately is another matter. As Jan Swafford points out in his biography of Brahms: ‘[Brahms] hated passionately and admired extravagantly…[responding] to rivals with the same deep-rooted integrity that he brought to bear on his own music.’

As a young boy growing up in Hamburg, Brahms honed his skills in dives not dissimilar to where the Fab Four cut their

Introduction by Richard Tognetti


‘ By arranging Brahms’ Sextet for orchestra, our aim is to democratise it; to play it as a massed force on stage for the massed forces in the audience...’

teeth. He related sordid stories to his friends of prostitutes and debauched sailors involving him in adult affairs which appear to have had a debilitating effect on his relationships with, and views towards, women in his later life. Certainly, in today’s climate, what happened to Brahms would’ve generated a hashtag of some description.

There is conjecture about the veracity of such reports (see the excellent biography by Jan Swafford and the diatribe against his thesis by Charles Rosen). Whatever the case, Brahms’ early years hardly foreshadow the stature that Brahms, the bearded pillar of Bourgeoise Viennese society, left us in his lasting legacy.

Even though Brahms the symphonist has left a profound and enduring impression on the Symphonic form, (indeed becoming the signal music for the new mass market), his prolific output of chamber music continued to be written for private occasions for a coterie of like-minded music enthusiasts – for whom the agenda remained music for music’s sake.

By arranging Brahms’ Sextet for orchestra, our aim is to democratise it; to play it as a massed force on stage for the massed forces in the audience, and to transform it in an acute way that releases it from its historical trappings. Some may find this sacrilegious; others may be open to adaption. One thing is for sure: taking it out of aspic and arguing with it, keeps it alive.

Whilst Brahms’ music might incite argument, Brahms did not invite public discourse, going to great pains to cover as many tracks as possible by burning personal letters, (especially correspondence with Clara Schumann) and compositions (like Sibelius) that he deemed second rate.

But sometimes, no matter how hard an artist tries to be apolitical, they are drawn into the political arena. Under Brett Dean’s helm, ANAM was thrust into political warfare with the threat of closure in 2008. I would argue that, in today’s age, unless an organisation or individual can mount a convincing defence for the acquittal of public funds received by them, then the vulnerability of losing that support is high. I encourage the students of ANAM at each turn to arm themselves with a manifesto of survival.

The proof of the pudding is in the eating.


EVERYTHING OLD IS NEW AGAINMartin Buzacott, presenter of ABC Classic FM’s Mornings, finds that creative renewal is the theme of this first ACO concert of the year…

With his First Piano Concerto finally nearing completion, in 1858 the 25-year-old Johannes Brahms visited the home of his friend Julius Grimm in the German university town of Göttingen, where Grimm was Director of Music. That night, Grimm introduced Brahms to 23-year-old Agathe von Siebold, a stunning, highly intelligent and intensely musical soprano who was the daughter of one of the university’s professors.

With his voice only having broken the year before and still ten years away from having to shave, the notoriously late-developing Brahms was smitten, as was Agathe. After a whirlwind summer romance they became engaged, much to the delight of Grimm and his wife, who referred to the four of them as a lucky ‘four-leaf clover’.

But soon the sordid truth about Brahms began to emerge. Agathe, it turned out, wasn’t his only love, and certainly not his greatest. As he later explained, ‘I am in love with music. I think of nothing else, or only of other things when they make music more beautiful for me.’

That was composer-speak for ‘You’re ditched.’

Breaking off the engagement, Brahms made Agathe return their many love-letters and she later married a Göttingen doctor just like her father, while Brahms eventually poured out his unfulfilled love for her in his Second String Sextet, whose first movement contains a theme based on the letters of Agathe’s name, translated into musical notes.

After being chastised by alternative soul-mate Clara Schumann for his shoddy treatment of Agathe, Brahms never got himself in so deep with a woman again, and instead saved his mature adoration for his musical heroes, like Beethoven, Mozart, Handel, going back to Bach and the other musical masters of the Lutheran Reformation. At a time when music’s most ambitious maximalists were creating their self-described ‘music of the future’, Brahms invited their contempt by cherishing the music of the past, finding his own identity in the revival and renewal of an ongoing cultural tradition.

What You Are About to Hear

Johannes Brahms, 1853

‘I am in love with music. I think of nothing else…’ JOHANNES BRAHMS


And it’s that creative renewal inspired by a distant past that figures so prominently in all four works in this first ACO concert for 2018.

Scratch below the surface here and everything old is new again, not just with Brahms and his first true chamber music masterpiece, but also with contemporary American composer Missy Mazzoli, whose double bass concerto written especially for Maxime Bibeau was conceived within the sound world of the Renaissance and the Baroque.

Conscious that Maxime’s double bass from 1581 had been cossetted away in a monastery for centuries and then finally emerging with all that musical history contained within it, Missy listened to music from all those intervening eras as she worked on Dark with Excessive Bright. With these ancient musical masterpieces as a constant backdrop, and the poetry of Milton’s Paradise Lost supplying the title, Maxime then joined her in modern-day Brooklyn to ‘keep the old feeling of Max’s bass alive’. And so just as with Brahms, this world premiere from a composer at the peak of her powers surges into the future through harnessing the momentum of the past.

Tchaikovsky did a similar thing in his immortal Serenade for Strings. Famously, its first movement channels Tchaikovsky’s beloved Mozart, explicitly so, with Tchaikovsky never making any secret of his love for the clarity and lyricism of the Classical era, and his desire to emulate it. And yet, for all that homage being paid to past masters, nothing could be more powerful, nor more distinctive, than that surging opening theme of the Serenade for Strings, drama-charged, intense, and almost weeping with raw emotion. It was one of Tchaikovsky’s personal favourites among his own works, so much more so than its more superficially ‘innovative’ chronological neighbour, the 1812 Overture, that he loathed. For Tchaikovsky, the Serenade was the source of pride, because it stood more closely aligned with the music of the past than most of his other works.

And the same theme of the past in the present appears too in Anna Clyne’s much-acclaimed Prince of Clouds, a modern meditation on musical lineage where the British-born, American-based composer contemplates the way in which musical knowledge passes down from generation to generation, like a family tree, from mentor to student, from

Missy Mazzoli

‘Scratch below the surface here and everything old is new again…’


student onto the next generation and beyond.

But this isn’t some reactive, nostalgic reflection on a distant idyllic and imaginary past as proponents of the future might once have characterised it as being. On the contrary, for Anna Clyne this celebration of inter-generational influence is made possible by the rise of new technology, where boundaries between different genres of music and different historical periods have been broken down, allowing contemporary musicians to unleash their creative imaginations as never before, with collaborations and cross-pollination across artforms from all genres and periods of time.

Brahms would have loved it, because now, the world of the web, the hyperlink and apps-for-everything let you reimagine the past in the present, offering a window on an ancient world seen from a thrilling, risk-taking, multi-voiced modernity.

And it was that excitement at the potential for centuries of profound cultural transmission to shape the creative practice of the present and the future that made Brahms choose music over love, and having done so, leaving us all, more than a century on, in his musical debt, inspired by his ongoing example as a musician who knew that the way forward was to look back.

Martin Buzacott © 2018

Pyotr Ilyich Tchaikovsky as a young man – Picture from 1863–1864.

Anna Clyne

‘…creative renewal inspired by a distant past…figures so prominently in all four works…’


PICTURED: London-born Anna Clyne has been described by the New York Times as a ‘composer of uncommon gifts and unusual methods’.

ANNA CLYNE Born London, 1980.

PRINCE OF CLOUDS For Two Violins and String OrchestraComposed 2012.

When writing Prince of Clouds, I was contemplating the presence of musical lineage – a family-tree of sorts that passes from generation to generation. This transfer of knowledge and inspiration between generations is a beautiful gift. Composed specifically for Jennifer Koh and her mentor at the Curtis Institute of Music, Jaime Laredo, this thread was in the foreground of my imagination as a dialogue between the soloists and ensemble. As a composer, working with such virtuosic, passionate and unique musicians is also another branch of this musical chain.

Prince of Clouds was co-commissioned by the Chicago Symphony Orchestra, IRIS Orchestra, Los Angeles Chamber Orchestra and the Curtis Institute of Music. It was premiered in November 2012 at the Germantown Performing Arts Center, Tennessee with conductor Michael Stern.

Prince of Clouds was composed at the Hermitage Artist Retreat in Summer 2012.Anna Clyne © 2012

‘ This transfer of knowledge and inspiration between generations in a beautiful gift.’

The Music


About the composer…London-born Anna Clyne is a Grammy-nominated composer of acoustic and electro-acoustic music. Clyne’s work often includes collaborations with cutting-edge choreographers, visual artists, filmmakers and musicians worldwide.

Appointed by Music Director Riccardo Muti, Clyne served as a Mead Composer-in-Residence for the Chicago Symphony Orchestra from 2010–2015. She also recently served as Composer-in-Residence for the Baltimore Symphony Orchestra during the 2015–2016 season and for L’Orchestre national d’Île-de-France from 2014–2016. Clyne is the Music Alive Composer-in-Residence with the Berkeley Symphony through the 2018–2019 season. She has been commissioned by such renowned organisations as American Composers Orchestra, BBC Radio 3, BBC Scottish Symphony, Carnegie Hall, Chicago Symphony Orchestra, Houston Ballet, London Sinfonietta, Los Angeles Philharmonic, Seattle Symphony, and the Southbank Centre, and her work has been championed by such world-renowned conductors as Marin Alsop, Pablo Heras-Casado, Riccardo Muti, Leonard Slatkin and Esa-Pekka Salonen.

Clyne was nominated for the 2015 Grammy Award for Best Contemporary Classical Composition for the work on this program, Prince of Clouds. She is the recipient of several prestigious awards and grants. Her new opera, Eva, will be workshopped in Spring 2018 at National Sawdust where Clyne is a Composer-in-Residence for the 2017–2018 season.annaclyne.com

PICTURED: Anna Clyne


A word from the Composer...

Anna Clyne talks about what it’s like to be a composer today and how technology impacts on the art of composition…

Now is an incredibly exciting time to be creating music – boundaries between and within different genres of music have been smashed open as artists explore new approaches to their craft, and as organisations and ensembles are more creative with programming and risk-taking with younger composers. Collaboration between composers and musicians with artists from other fields, such as visual art, film and dance, has also provided fertile ground for further exploration.

Technology has also had a massive impact on the creation, production, promotion and presentation of today’s music, whether it be through the internet – working with notation and sound-editing software incorporating live electronic processing – or the creation of new instruments driven by cutting edge technologies such as new robotics and a plethora of innovative apps, again drawing on collaborations and innovation. At the touch of a button, you can hear music from anywhere in the world. Technology drives the presentation of, and our exposure to, music within an internet-driven platform for interaction. Reimagining the concert experience in terms of the integration of technology, to present information such as videos with composers introducing their works, digital program notes, and through presenting music in unusual venues, is also opening up the experience to a wider audience, as does the cross-pollination of audiences that results from collaborative partnerships between artists and institutions.Anna Clyne © 2018

‘ Reimagining the concert experience... such as videos with composers introducing their works, digital program notes, and through presenting music in unusual venues, is also opening up the experience to a wider audience’


PETER ILYICH TCHAIKOVSKYBorn Kamsko-Votinsk, 1840. Died St Petersburg, 1893.

SERENADE FOR STRINGS IN C MAJOR, OP.48Composed 1880

I. Pezzo in forma di SonatinaII. WalzerIII. ÉlégieIV. Finale (Tema Russo)

Tchaikovsky spent the latter part of 1880 at his family’s country estate of Kamenka. From 21 September to 4 November he worked on what turned out to be the Serenade for Strings, and, interlocking with this, from 12 October to 19 November, on the very different 1812 Overture. Writing to his friend and patroness, Madame Nadezhda von Meck, he recalled: ‘I wrote the Overture without much warmth…the Serenade on the other hand, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.’

It is indeed heartfelt music, while lacking Tchaikovsky’s potential for more extreme, heart-on-sleeve emotionalism. And his hunch that it had ‘real qualities’ was endorsed by

PICTURED: Nadezhda von Meck (far left) was an influential musical patron. She supported Tchaikovsky for more than a decade so he could devote himself to composition.

PICTURED: Tchaikovsky as a young man – Picture from 1863–1864.

The Music


his former teacher, and stern critic, Anton Rubinstein. He declared it to be ‘Tchaikovsky’s best piece’ to that time, when conducting the work in Moscow in June 1882. Earlier, equally successful performances in St Petersburg and Moscow included a surprise performance by friends at the St Petersburg Conservatory just three weeks after the work’s completion, on 3 December 1880.

Initial sketches of the Serenade moved in the direction of a symphony or a string quintet – rather different in themselves – and by 7 October, with three movements complete, it had become a Suite for strings. Before its completion, however, Tchaikovsky decided to call it a Serenade, aware of this title’s lighter, Viennese classical connotations. Here, Tchaikovsky’s adoration of Mozart comes into focus, for, as the composer wrote to Nadezhda von Meck, ‘the first movement is actually in the style of Mozart. It is intended as an imitation, and I should be delighted if I thought that I had in any way approached my model.’

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

Tchaikovsky’s Mozartian ‘imitation’ isn’t neo-classical in the way that his Russian successors Stravinsky and Prokofiev would manufacture so successfully decades later. The movement is a ‘little sonata’ where there is no designated ‘development’ section, and where the balance of identical exposition and recapitulation (except for the second

PICTURED: Portrait of Tchaikovsky at the piano

‘the Serenade…is a heartfelt piece and so, I dare to think, is not lacking in real qualities.’


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

subject’s tonal area) is further balanced by the return of the opening Andante to close the movement. But in terms of the actual sound of the Serenade, only the second subject of this first movement is overtly Mozartian, with its bubbling semi-quavers and lightness of touch. Tchaikovsky’s own creative personality is never being masked; he is not letting another age’s music climb into that personality, but he is still observing the spirit of that age.

Following this opening Sonatina is a deft and graceful Waltz, whose main material Tchaikovsky subtly varies in texture and ornamentation upon its return after a contrasting central episode. Similarly, in the Elegy, the return towards the end of the opening Larghetto is muted and moves closer into Tchaikovsky’s more despairing, tragic territory of expression. The central body of this Elegy is more emotionally neutral, immediately pleasing for its broad sweep of melody in the first violins and cellos, though still tinged with a certain melancholy.

The transition to the Russian-flavoured final movement (Mozart is left behind here, and replaced by two tunes Tchaikovsky had arranged back in 1869) is subtly achieved, with the lofty conclusion of the Elegy merging into a serene statement of a folk tune from the Volga region. Apart from bringing us back from the Elegy’s key centre of D to the finale’s C major, Tchaikovsky also teases the melody of the subsequent Allegro – another, more rollicking folk tune – from the cadential residue of the first melody. It is as impressively clear a lesson in motivic transformation as any student, or interested listener could wish for.

Tchaikovsky continues to have fun with his material in this fully worked sonata movement. First, he introduces a smooth, subordinate melody in the cellos that is then superimposed, later in the upper strings, on the principal folk theme. Close to the conclusion, he then brings back the stately introduction of the first movement. The descending fourth of this melody – which, when inverted, becomes the thematic stuff of the middle two movements – when gradually wound up back to speed clearly transforms to the Russian theme. With the end looping back to the beginning, the Mozartian sonatina moves east and is finally grafted to the Russian peasant dance.© Australian Chamber Orchestra

PICTURED: Nadezhda von Meck


MISSY MAZZOLIBorn Pennsylvania, 1980.

DARK WITH EXCESSIVE BRIGHT Concerto for Contrabass and String OrchestraComposed 2018

In celebration of his 20th year with the orchestra, Principal Bass Maxime Bibeau was given the opportunity to commission a new work from a composer he felt reflected his time with the ACO. After considerable research and exploration (including hours of listening), Max landed on Brooklyn-based Mazzoli, who ‘stood out to me as a composer with a very strong and distinctive voice that I hadn’t heard anywhere else’.

This is the point in a commission where the story generally ends – one artist passes the baton to the other, and both reconvene at rehearsals. But Missy opted for a different route, tugging at the thread of Max’s instrument’s history to set the foundation for the work.

‘I was inspired in no small part by Maxime’s double bass, a massive instrument built in 1580 that was stored in an Italian monastery for hundreds of years and even patched with pages from the Good Friday liturgy’, says Mazzoli. ‘I imagined this instrument as a historian, an object that collected the music of the passing centuries in the twists of its neck and the fibres of its wood, finally emerging into the light at age 400 and singing it all into the world.’

From this foundation, Mazzoli and Max worked together throughout the creative process, collaborating through Skype or in person during a special trip to Brooklyn.

‘Missy has been very open about bouncing ideas back and forth, and exploring the full range of the instrument’, says Max. ‘The solo part features these beautiful, soaring melodic lines, alongside some grittier, crunchier moments from both the bass and the orchestra.’

Missy also took the collaborative approach to heart, while immersing herself in music from the Baroque and Renaissance to keep the old feeling of Max’s bass alive.

‘I’ve worked with Maxime on this piece more than I’ve ever worked with a soloist,’ says Mazzoli. ‘A Contrabass Concerto

‘I imagined this instrument as a historian, an object that collected the music of the passing centuries…’ MISSY MAZZOLI

PICTURED: Missy Mazzoli


ACO Principal Double Bass Maxime Bibeau

is a tricky medium in that there are all sorts of potential issues with balance and range, but Maxime was very adventurous and willing to help me come up with innovative solutions. While loosely based in Baroque idioms, this piece slips between string techniques from several centuries, all while twisting a pattern of repeated chords beyond recognition.’

The outcome of this collaboration is Dark with Excessive Bright – a piece two years in the making that carefully interweaves the unique story of Max’s instrument into a modern composition that’s considered in every detail, right down to the name.

‘Dark with Excessive Bright, a phrase from Milton’s Paradise Lost is a surreal and evocative description of God, written by a blind man’, explains Mazzoli. ‘I love the impossibility of this phrase, and felt it was a strangely accurate way to describe the dark but heartrending sound of the double bass itself.’

About the composer…As an established composer on the contemporary music scene, Missy Mazzoli’s talent draws audiences equally into concert halls, opera houses and rock clubs. Her unique music reflects a trend among composers of her generation who combine styles, writing music for the omnivorous audiences of the 21st century. She inhabits an exquisite and mysterious soundworld that melds indie-rock sensibilities with formal training from Louis Andriessen, David Lang, Aaron Jay Kernis, Richard Ayres and others.

Her music has been performed around the world by the BBC Symphony, Kronos Quartet, JACK Quartet, eighth blackbird, LA Opera, Roomful of Teeth, Crash Ensemble, Britten Sinfonia, Detroit Symphony, Los Angeles Philharmonic, among many others.

Mazzoli is currently on the composition faculty of the Mannes College of Music, a division of the New School and a co-founder of Luna Composition Lab. An active pianist, Mazzoli performs with Victoire, a band she founded in 2008 which is dedicated to playing her own compositions.missymazzoli.com

PICTURED: Maxime’s instrument is made by late-16th-century maker Gasparo da Salò.

‘I was inspired in no small part by Maxime’s double bass…’ MISSY MAZZOLI


JOHANNES BRAHMSBorn Hamburg, 1833. Died Vienna, 1897.

STRING SEXTET NO.2 IN G MAJOR, OP.36Arranged strings Composed 1864-5

I. Allegro non troppoII. Scherzo: Allegro non troppoIII. AdagioIV. Poco Allegro

There is a photograph of Brahms taken around 1858 or early 1859, where, if you know to look for it, you can just discern a ring on his engagement finger. The ring belonged to Agathe von Siebold, and we know that at that time a matching ring was on her finger too.

Agathe was the daughter of a law professor in Göttingen, and studied singing with Julius Otto Grimm. Grimm was probably the best and most constant friend Brahms ever had, and the composer took great pleasure in visiting the Göttingen household – not least because of a certain singing student with dark eyes, black hair, and (according to Joachim, who should know) ‘a voice like an Amati violin’. She was evidently a very capable musician, and Brahms wrote various songs for her including Opp.14, 19 and 20. He also wrote a Bridal Song which was later, like so many of his works, withdrawn and destroyed.

PICTURED: Agathe von Siebold, Brahms’ fiancée for a short time (left) and Johannes Brahms, the man who did not want to be tied down.

Brahms wrote to Agathe. ‘I love you, I must see you again, but I cannot be bound…’

PICTURED: Johannes Brahms


These days he would be written off as a hopeless commitment-phobe, continually running back to the reassuring safe haven of his friendship with Clara Schumann. Even then, his eternal bachelorhood was ‘almost a social scandal’. It wasn’t as if he couldn’t find anyone willing to marry him.

In 1859, it looked likely that Brahms could walk into the kind of job that would make him perfectly capable of supporting a wife (although he said otherwise). His friends the Grimms were enthusiastic supporters of the growing affection between Brahms and Agathe. They noted with pleasure the sudden appearance of a ring on her finger and Julius wrote to Brahms urging him to make his intentions clear and formal, as Göttingen society was beginning to gossip.

It was at that point Brahms wrote to Agathe. ‘I love you, I must see you again, but I cannot be bound,’ was his stance; and being a respectable girl of her time she must have felt she had no real choice other than to call a halt. Marriage was the only possible development from a relationship, and he had now made it clear that wasn’t on the cards. It is easy to imagine her intense pain and mortification. As many as ten years later, she married someone else.

It seems it wasn’t easy for Brahms to forget her, either. Six years after they parted company he confided to a friend that he had ‘finally said goodbye’ in his new Sextet No.2. Brahms’ friend and mentor Schumann was almost obsessively fond of encoding words as musical notes, so it is reasonable to find (as Brahms’ biographer Kalbeck did) AGATHE lurking in the Sextet: A-G-A-[no T, although there’s a similar-sounding letter D in another part]-H [B in English musical notation]-E. This little motto appears repeatedly, passionately, and often underpinned by an unusually harmonised sighing motif. Some commentators also identify A-D-E, ‘Ade’ being a common word for farewell in Romantic German poetry.

Why was she on his mind again at this time? Was it because his parents’ marriage was coming to a long-foreseen and ugly conclusion? His father was preparing to leave his 73-year-old wife, who was nearly blind. Brahms’ siblings also seemed ill-equipped to take care of themselves and the young composer took on a lot of emotional and financial responsibility. Taking a

‘I loved Johannes Brahms very much, and for a short time, he loved me.’ DR AGATHE SCHÜTTE (NÉE VON SIEBOLD)

PICTURED: Brahms in Vienna with singer Alice Barbi


summer break at Lichtenthal, he composed the first three movements of the Sextet; and the next year returned and finished the Finale.

The Sextet is a Romantic work, dense in texture and with the extended irregular phrasing and harmonic development that is a hallmark of the time. Yet, behind it all is Brahms’ anachronistic interest in earlier music – in this case, that of the Baroque era and works such as Bach’s ‘English’ suites.

The first movement, though, draws more on the models of Schubert’s Quintet in C and Beethoven’s chamber music. The arching, lyrical principal theme delighted Clara Schumann when she was sent an early copy of the work in progress. The Scherzo is placed second instead of third and draws on a gavotte Brahms had written as part of a piano suite, in 1855. Like so much of his music, the suite itself was consigned to the furnace, but parts of it re-appear here, and in the first String Quintet and the Clarinet Quintet. The gavotte theme evolves into a fugue-like secondary subject; and the dance-like feel gains pace with a remarkable Presto giocoso trio-section.

The slow movement was described by someone as ‘variations on no theme’. It’s a bit harsh but you know what they meant – even as superb a musician as Clara found it hard to discern at first. Familiarity with the rather chromatic ‘melody’ allows the listener to appreciate Brahms’ confidence in using the Baroque skills of imitation and counterpoint. The last movement likewise contains hints of that Classical favourite, the fugal finale, and is broadly structured around an entirely Classical sonata-form. But once again Brahms takes an original approach to his task, and borrows techniques freely from the past two hundred years.

Much later, Frau Dr Agathe Schütte née von Siebold wrote a little memoir for her children, from which this excerpt is taken:

‘I think I may say that from that time until the present, a golden light has been cast on my life, and that even now, in my late old age, something of the radiance of that unforgettable time has remained. I loved Johannes Brahms very much, and for a short time, he loved me.’© Australian Chamber Orchestra

‘As many as ten years later, (Agathe von Siebold) married someone else…’

PICTURED: Clara Schumann was Brahms’ lifelong confidante


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

The Musicians

Richard Tognetti Conductor, Artistic Director & Lead ViolinRichard began his studies in his home town of Wollongong with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director.

Richard performs on period, modern and electric instruments, and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all the major Australian symphony orchestras, most recently as soloist and director with the Melbourne and Tasmanian Symphony Orchestras. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutoslawski’s Partita. In November 2016, he became the Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall in London. Richard created the Huntington Festival in Mudgee, New South Wales and was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015.

Richard was the co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef and The Crowd. Most recently, Richard collaborated with Director Jennifer Peedom and Stranger Than Fiction Films to create the film Mountain for the ACO.

Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

Photo by Ben Sullivan


Maxime Bibeau Double BassFrench-Canadian Maxime Bibeau’s musical career started, as many young musicians do, in the high school garage band! Initially, he wanted to pursue a career as a scientist, but the lure of music, particularly jazz, inspired Max to take up the double bass instead.

He completed his undergraduate degree at the Conservatoire de Musique du Québec à Montréal and received his Master’s of Music from Rice University in Houston with Timothy Pitts and Paul Ellison where he was awarded a full university scholarship, as well as grants from the Canada Arts Council and the Canadian Research Assistance Fund.

Early in his career, Max has appeared at numerous programs and music festivals worldwide including the SHIRA International Symphony Orchestra Israel, Jeunesses Musicales World Orchestra, Music Academy of the West, Waterloo Festival Centre d’Art d’Orford and Domaine Forget. These days, he regularly participates as a chamber musician and has appeared as a guest artist with orchestras both in Australia and overseas.

This year, Max celebrates 20 years as Principal Double Bass with the ACO and one of the reasons for his long tenure is he really enjoys the creativity, drive, talent and commitment of his ACO colleagues. His solo performances with the ACO include Bottesini’s Gran Duo Concertante with renowned American violinist Stefan Jackiw, Mozart’s Per questa bella mano with Baritone Teddy Tahu Rhodes, Piazzolla’s Kicho, Contrabajeando and Contrabajissimo. He has also premiered James Ledger’s Folk Song, Matthew Hindson’s Crime and Punishment, Elena Kats-Chernin’s Singing Trees and most recently Joe Chindamo’s Five Revelations for double bass and strings.

As an educator, he has been involved with the Australian Youth Orchestra’s National Music Camp, Sydney Youth Orchestra, University of NSW, Australian National Academy of Music, and as a lecturer at the Sydney Conservatorium of Music.

When he isn’t collecting frequent flyer points, Max enjoys his downtime swimming in the ocean with his active 16-month-old twin boys, Luc and Rémy.

Max plays a late-16th-century Gasparo da Salò double bass, kindly made available to him by anonymous Australian benefactors.



Ike See ViolinIke See has been a core member of the Australian Chamber Orchestra since 2013. A three-time first prize winner at the Singapore National Violin Competition, Ike has performed as soloist with the ACO, Adelaide Symphony, Singapore Symphony and Singapore National Youth Orchestras. In his performance of Bruch’s First Violin Concerto with the Orchestra of the Music Makers, he was praised for his ‘warmth and purity of tone, with unfailing musicality ... natural and unforced virtuosity’ (The Straits Times).

Ike began his musical life in Singapore, studying with Sylvia Khoo from the age of four and later with Qian Zhou, Head of Strings at the Yong Siew Toh Conservatory of Music. In 2006, he was accepted into the Curtis Institute of Music under the tutelage of renowned violinists Joseph Silverstein and Pamela Frank, graduating in 2012 with a Bachelor of Music.

Ike has appeared at numerous festivals including the Australian, Amelia Island, and Singapore Chamber Music Festivals, Kirishima International Music Festival and Singapore Arts Festival. In 2011, he was invited to perform chamber music across Europe as part of Curtis on Tour, collaborating with his peers and distinguished faculty members.

Possessing a passion for collective music-making, Ike has led numerous ensembles and orchestras, previously holding the position of Associate Concertmaster of the Adelaide Symphony Orchestra. He studied chamber music with members of the Guarneri, Orion and Vermeer Quartets, and has shared the stage with musicians such as James Dunham, Karen Gomyo, Susan Graham, Clive Greensmith, Gary Hoffman and Anthony McGill.

Ike has just returned from Singapore, having performed Korngold’s Violin Concerto and play/directed re:Sound Collective, and is thrilled to kick off ACO’s 2018 season with the first notes of Anna Clyne’s Prince of Clouds.

‘...warmth and purity of tone, with unfailing musicality ... natural and unforced virtuosity’THE STRAITS TIMES



Glenn Christensen ViolinGlenn Christensen was born and raised in the regional Queensland town of Mackay, where he received his early music education through the Suzuki Method with local teacher Diane Powell. Glenn then studied with Michele Walsh at the Queensland Conservatorium, Griffith University and graduated in 2011 with a Bachelor of Music, First Class Honours. He was also the first person ever to be awarded the three highest prizes – the Conservatorium Medal, the Music Medal and the University Medal.

From 2015, Glenn has been a full-time member of the Australian Chamber Orchestra. Prior to this appointment, he held the position of Principal First Violin in the Queensland Symphony Orchestra from 2012. He has also performed as Guest Principal with the Melbourne Symphony Orchestra, was the Concertmaster of the Australian Youth Orchestra in both 2012 and 2013, and was an Australian Chamber Orchestra Emerging Artist in 2012.

As a soloist, Glenn has performed with the Australian Chamber Orchestra and the Queensland Symphony Orchestra on multiple occasions, including an appearance as Guest Concertmaster, Director and Soloist for a regional Queensland tour. He has had performances broadcast live on ABC Classic FM, was a finalist in the 2014 ABC Young Performer Awards, and in 2009 won every category in the prestigious Kendall National Violin Competition. Also, a keen chamber musician, Glenn is the violinist in the Lyrebird Trio, which won both the audience choice prize and the Piano Trio prize in the 2013 Asia Pacific Chamber Music Competition.

Glenn has also appeared at numerous festivals and masterclasses around Australia and internationally, and in 2018 is the Artistic Director of the inaugural Mackay Chamber Music Festival.



The Australian National Academy of Music (ANAM) is dedicated to the artistic and professional development of the most exceptional young musicians from Australia and New Zealand. The only institute of its kind, and one of the few in the world, ANAM is a place in which musicians fulfil their potential as music leaders, distinguished by their skill, imagination and courage, and by their determined contribution to a vibrant music culture.

Renowned for its innovation, energy and adventurous programming, ANAM believes that a future for classical music lies in the hands of musicians who understand that historical and contemporary music are interdependent, and who are engaged with a broad range of styles and genres. They are musicians with the highest technical and musical accomplishment, but also with an understanding of the context in which the art form finds itself today and the courage and commitment to ensure its future.

ANAM musicians learn and transform through public performance in some of the finest venues in Australia, sharing the stage with their peers and the world’s finest artists. In 2018, audiences can experience their music-making more often – and in more venues – than ever before. The 2018 ANAM Season includes conductors José Luis Gomez, Simone Young, Douglas Boyd and Brett Dean directing four major ANAM orchestral events in partnership with the Melbourne Recital Centre. Plus a year-long project presenting the complete piano and chamber music of Claude Debussy led by an esteemed collection of local and international pianists, and a national touring program in partnership with some of Australia’s leading organisations. In over 180 events presented throughout the year, ANAM musicians hurl themselves at each performance as if there was no tomorrow.

With an outstanding track record of success, ANAM musicians and alumni regularly receive major national and international awards, and are currently working in orchestras and chamber ensembles around the world, performing as soloists, and educating the next generation of musicians.

ANAM aims to inspire these future music leaders and encourages audiences to share the journey.

For more information on ANAM, please visit anam.com.au or call 03 9645 7911.

The involvement of ANAM musicians in this ACO national tour is generously supported by:Robert Peck am and Yvonne von Hartel am, peckvonhartel architectsMartyn Myer ao and Louise Myer

‘ANAM aims to inspire these future music leaders and encourages audiences to share the journey.’

Australian National Academy of Music


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

Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts across Australia each year. This intrepid spirit isn’t confined to the country they call home, as the Orchestra maintains an international touring schedule that finds them in many of the world’s greatest concert halls including Amsterdam’s Concertgebouw, London’s Barbican Centre and Royal Festival Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. In 2018 the ACO commenced a three-year London residency as International Associate Ensemble at Milton Court in partnership with the Barbican Centre, with whom they share a commitment in presenting concerts that inspire, embolden and challenge audiences. Whether performing in Manhattan, New York, or Wollongong, New South Wales, the ACO is unwavering in their commitment to creating transformative musical experiences.

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

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

aco.com.au

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

Australian Chamber Orchestra

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

PART-TIME MUSICIANS

Thibaud Pavlovic-Hobba ViolinCaroline Henbest Viola Daniel Yeadon Cello


Musicians on Stage

Players dressed by Willow and SABA

1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.2 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.3 Glenn Christensen plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.4 Timo-Veikko Valve plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund.5 Julian Thompson plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe

Guarneri del Gesù, kindly donated to the ACO by Peter Weiss AO. 6 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.

Richard Tognetti 1 Leader and ViolinChair sponsored by Wendy Edwards, Peter & Ruth McMullin, Andrew & Andrea Roberts

Helena Rathbone 2 Principal ViolinChair sponsored by Kate & Daryl Dixon

Glenn Christensen 3 ViolinChair sponsored by Terry Campbell AO & Christine Campbell

Aiko Goto ViolinChair sponsored by Anthony & Sharon Lee Foundation

Ilya Isakovich ViolinChair sponsored by The Humanity Foundation

Liisa Pallandi ViolinChair sponsored by The Melbourne Medical Syndicate

Ike See ViolinChair sponsored by Di Jameson

Thibaud Pavlovic-Hobba Violin

Nicole Divall ViolaChair sponsored by Ian Lansdown

Timo-Veikko Valve 4 Principal CelloChair sponsored by Peter Weiss AO

Daniel Yeadon Cello

Julian Thompson 5 CelloChair sponsored by The Grist & Stewart Families

Maxime Bibeau 6 Principal BassChair sponsored by Darin Cooper Foundation

Violin Ben AdlerKatherine Lukey * Mana Ohashi #

William Huxtable #

Kyla Matsuura-Miller #

Riley Skevington #

Guest Principal Viola Ida Bryhn ~

Chair sponsored by peckvonhartel architects

ViolaNathan GreentreeElizabeth Woolnough^

Molly Collier-O’Boyle #

Beth Condon #

Mariette Reefman #

Eli Vincent #

Cello David Moran #

Eliza Sdraulig #

Caleb Wong #

Double BassDavid Campbell ̊

˚ Courtesy of Sydney Symphony Orchestra

* Courtesy of Opera Australia Orchestra^ Courtesy of Melbourne Symphony Orchestra~ Courtesy of the Norwegian Chamber Orchestra# Courtesy of Australian National Academy of Music (ANAM)


BOARD

Guido Belgiorno-Nettis AMChairman

Liz LewinDeputy

Bill BestJohn Borghetti AOJudy CrawfordJohn KenchAnthony LeeMartyn Myer AOJames OstroburskiCarol Schwartz AMJulie SteinerJohn TabernerNina WaltonSimon Yeo

ARTISTIC DIRECTOR

Richard Tognetti AO

ADMINISTRATIVE STAFF EXECUTIVE OFFICE

Richard EvansManaging Director

Alexandra Cameron-FraserChief Operating Officer

Katie HeneberyExecutive Assistant toMr Evans and Mr Tognetti AO& HR Officer

ARTISTIC OPERATIONS

Luke ShawDirector of Artistic Operations

Anna MelvilleArtistic Administrator

Lisa MullineuxTour Manager

Ross ChapmanTouring & Production Coordinator

Nina KangTravel Coordinator

Bernard RofeLibrarian

Joseph NizetiMultimedia, Music Technology& Artistic Assistant

EDUCATION

Vicki NortonEducation Manager

Caitlin GilmourEmerging Artists and Education Coordinator

Sarah StaitRegional Touring Coordinator

FINANCE

Fiona McLeodChief Financial Officer

Yvonne MortonFinancial Accountant & Analyst

Dinuja KalpaniTransaction Accountant

Samathri GamaethigeBusiness Analyst

DEVELOPMENT

Anna McPhersonDirector of Corporate Partnerships

Jill ColvinDirector of Philanthropy

Tom TanseyEvents & Special ProjectsManager

Sarah MorrisbyPhilanthropy Manager

Sally CrawfordPatrons Manager

Lillian ArmitageCapital Campaign Manager

Yeehwan YeohInvestor Relations Manager

Camille ComtatCorporate Partnerships Executive

Belinda PartygaResearcher

Kay-Yin TeohCorporate Partnerships Administrator

MARKETING

Antonia FarrugiaDirector of Marketing

Caitlin BenetatosCommunications Manager

Rory O’MaleyDigital Marketing Manager

Christie BrewsterLead Creative

Cristina MaldonadoMarketing & Communications Executive

Shane ChoiMarketing Coordinator

Hilary ShrubbPublications Editor

Colin TaylorTicketing Sales & Operations Manager Dean WatsonCustomer Relations & Access Manager

Christina HollandOffice Administrator

Robin HallArchival Administrator

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

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

By MailPO Box R21, Royal ExchangeNSW 1225 Australia

Telephone(02) 8274 3800Box Office 1800 444 444

[email protected]

Webaco.com.au

Behind the Scenes


QUEENSLAND PERFORMING ARTS CENTRE

Cultural Precinct, Cnr Grey & Melbourne Street,South Bank QLD 4101

PO Box 3567, South Bank QLD 4101

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

Professor Peter Coaldrake AO ChairJohn Kotzas Chief Executive

ADELAIDE TOWN HALL

128 King William Street,Adelaide SA 5000

GPO Box 2252,Adelaide SA 5001

Venue Hire InformationTelephone (08) 8203 7590Email [email protected] adelaidetownhall.com.au

Martin Haese Lord MayorMark Goldstone Chief Executive Officer

CITY RECITAL HALL LIMITED

2–12 Angel PlaceSydney NSW 2000

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

Renata Kaldor AO Chair, Board of DirectorsElaine Chia CEO

AUSTRALIAN NATIONAL UNIVERSITYLlewellyn Hall School of Music

William Herbert Place(off Childers Street),Acton, Canberra

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

WOLLONGONG TOWN HALLWollongong Town Hall is managed byMerrigong Theatre Company

Crown & Kembla Streets,Wollongong NSW 2500

PO Box 786, Wollongong NSW 2520

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

ARTS CENTRE MELBOURNE

PO Box 7585, St Kilda Road, Melbourne VIC 8004

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

James MacKenzie PresidentVictorian Arts Centre TrustClaire Spencer Chief Executive Officer

SYDNEY OPERA HOUSEBennelong Point

GPO Box 4274, Sydney NSW 2001

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

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

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

Venue Support


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

Please share our concert program with your companion/s, where possible – one between two.Our programs are also available on our website for download.

Thu 1 Feb, 6.45pm Wollongong Town HallPre-concert talk by Anna Melville with Missy Mazzoli

Sat 3 Feb, 7.15pm Canberra – Llewellyn HallPre-concert talk by Anna Melville with Missy Mazzoli

Sun 4 Feb, 1.45pm Melbourne – Arts Centre MelbournePre-concert talk by Anna Melville with Missy Mazzoli

Mon 5 Feb, 6.45pm Melbourne – Arts Centre MelbournePre-concert talk by Anna Melville with Missy Mazzoli

Tue 6 Feb, 6.45pm Adelaide Town HallPre-concert talk by Anna Melville with Missy Mazzoli

Sat 10 Feb, 6.15pm Sydney – City Recital HallPre-concert talk by Anna Melville with Missy Mazzoli

Sun 11 Feb, 1.15pm Sydney Opera HousePre-concert talk by Anna Melville with Missy Mazzoli

Mon 12 Feb, 6.15pm Brisbane – QPAC Concert HallPre-concert talk by Anna Melville with Missy Mazzoli

Tue 13 Feb, 7.15pm Sydney – City Recital HallPre-concert talk by Anna Melville

Wed 14 Feb, 6.15pm Sydney – City Recital HallPre-concert talk by Anna Melville

Fri 16 Feb, 12.45pm Sydney – City Recital HallPre-concert talk by Anna Melville

Tour Dates and Concert Talks

Pre-concert speakers are subject to change.


“Life is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before

handing it on to future generations”

– George Bernard Shaw

The experience of a live concert is like no other. It invigorates; inspires; and transports you from the everyday.

Share this journey with future generations and ensure the ACO plays on.

Aiko GotoViolin

To join our Continuo Circle, or for information on leaving a legacy in your will, please contact:

Jill Colvin | (02) 8274 3835 | [email protected]

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

MEDICI PATRONThe late Amina Belgiorno-Nettis

PRINCIPAL CHAIRS

Richard Tognetti AOArtistic Director & Lead ViolinWendy EdwardsPeter & Ruth McMullinAndrew & Andrea Roberts

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Principal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter Weiss AO

Maxime BibeauPrincipal Double BassDarin Cooper Foundation

CORE CHAIRS

VIOLINGlenn ChristensenTerry Campbell AO & Christine Campbell

Aiko GotoAnthony & Sharon Lee Foundation

Mark IngwersenJulie Steiner & Judyth Sachs

Ilya IsakovichThe Humanity Foundation

Liisa PallandiThe Melbourne Medical Syndicate

Maja SavnikAlenka Tindale

Ike SeeDi Jameson

VIOLARipieno ViolaPhilip Bacon AM

Nicole DivallIan Lansdown

CELLOMelissa BarnardDr & Mrs J. Wenderoth

Julian ThompsonThe Grist & Stewart Families

ACO COLLECTIVE

Pekka KuusistoArtistic Director & Lead ViolinHorsey Jameson Bird

GUEST CHAIRS

Brian NixonPrincipal TimpaniMr Robert Albert AO & Mrs Libby Albert

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

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

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

The late Neil Patrick GilliesThe late John Nigel HolmanThe late Dr S W Jeffrey AMThe late Pauline Marie JohnstonThe late Mr Geoff Lee AM OAM

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

IBMMr Robert Albert AO & Mrs Libby AlbertMr Guido Belgiorno-Nettis AMMrs Barbara Blackman AO

Mrs Roxane ClaytonMr David Constable AMMr Martin Dickson AM & Mrs Susie DicksonThe late John Harvey AO

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

ACO Life Patrons

ACO Bequest Patrons

ACO Medici Program


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

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

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

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

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

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

Dr Jane CookRobert & Jennifer GavshonCarole A.P. GraceRohan Haslam

Doug HooleyMike & Stephanie HutchinsonGeoff & Denise IllingMegan Lowe

Baillieu Myer ACDavid ShannonJ SkinnerKim & Keith Spence

Christina Scala & David StuddyMike ThompsonDr Jason WenderothAnonymous (3)

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

MEMBERSClare Ainsworth HerschellLucinda BradshawMarc BudgeJustine ClarkeEste Darin-Cooper & Chris BurgessAmy DenmeadeJenni Deslandes & Hugh MorrowMandy Drury

Anthony Frith & Amanda Lucas-FrithShevi de SoysaRebecca Gilsenan & Grant MarjoribanksRuth KellyAaron Levine & Daniela GavshonRoyston LimGabriel Lopata

Rachael McVeanCarina MartinBarry MowszowskiJames OstroburskiNicole Pedler & Henry DurackMichael RadovnikovicJessica ReadAlexandra RidoutEmile & Caroline Sherman

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

ACO Continuo Circle

Contributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Sarah Morrisby, Philanthropy Manager, on 02 8274 3803

Colin & Debbie Golvan Kerry Landman Peter & Ruth McMullin

Patterson Pearce FoundationSam Ricketson & Rosie Ayton

ACO Reconciliation Circle

ACO Excellence Fund Patrons

ACO Next


Holmes à Court Family Foundation The Ross Trust

ACO Trusts and Foundations

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

Peter Weiss AO

PATRON ACO Instrument Fund

BOARD MEMBERS

Bill Best (Chairman)

Jessica Block

John Leece AM

Julie Steiner

John Taberner

PATRONS

VISIONARY $1m+

Peter Weiss AO

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,999

The late Amina Belgiorno-Nettis

Naomi Milgrom AO

OCTET $100,000 – $199,999

John Taberner

QUARTET $50,000 – $99,999

John Leece AM & Anne Leece

Anonymous (1)

SONATA $25,000 – $49,999

ENSEMBLE $10,000 – $24,999

Leslie C. Thiess

Anonymous (1)

SOLO $5,000 – $9,999

PATRON $500 – $4,999

In memory of Lindsay Cleland

Merilyn & David Howorth

Luana & Kelvin King

John Landers & Linda Sweeny

Bronwyn & Andrew Lumsden

Peter McGovern

John & Virginia Richardson

Peter & Victoria Shorthouse

Robyn Tamke

Anonymous (2)

INVESTORS

Stephen & Sophie Allen

John & Deborah Balderstone

Guido & Michelle Belgiorno-Nettis

Bill Best

Benjamin Brady

Sam Burshtein & Galina Kaseko

Carla Zampatti Foundation

Sally Collier

Michael Cowen & Sharon Nathani

Marco D’Orsogna

Dr William Downey

Garry & Susan Farrell

Gammell Family

Daniel & Helen Gauchat

Edward Gilmartin

Tom & Julie Goudkamp

Philip Hartog

Peter & Helen Hearl

Brendan Hopkins

Angus & Sarah James

Paul & Felicity Jensen

Daniel & Jacqueline Phillips

Ryan Cooper Family Foundation

Andrew & Philippa Stevens

Dr Lesley Treleaven

The late Ian Wallace & Ms Kay Freedman

Media Super

ACO Instrument Fund


ACO MOUNTAIN PRODUCERS’ SYNDICATE

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

Executive ProducerMartyn Myer AO

Major ProducersJanet Holmes à Court ACWarwick & Ann Johnson

ProducersRichard CaldwellWarren & Linda ColiAnna Dudek & Brad BanducciWendy EdwardsDavid FriedlanderTony & Camilla Gill

John & Lisa KenchCharlie & Olivia LanchesterRob & Nancy PallinAndrew & Andrea RobertsPeter & Victoria ShorthouseAlden Toevs & Judi Wolf

SupportersAndrew AbercrombieJoanna BaevskiAnn Gamble MyerGilbert GeorgeCharles & Cornelia Goode FoundationCharles & Elizabeth Goodyear

Phil & Rosie HarknessPeter & Janette KendallAndy Myer & Kerry GardnerSid & Fiona MyerAllan Myers ACThe Penn FoundationPeppertree FoundationThe Rossi FoundationShaker & DianaMark StanbridgeKim Williams AMPeter & Susan Yates

2017 EUROPEAN TOUR PATRONS

Philippa & John ArmfieldWalter Barda & Thomas O’NeillSteven Bardy & Andrew PattersonChris & Katrina BarterRussell & Yasmin BaskervilleDavid Bohnett & Maria BockmannPaula Bopf & Robert RankinPaul BorrudCraig & Nerida CaesarTerry Campbell AO & Christine CampbellMichael & Helen CarapietStephen & Jenny CharlesAndrew Clouston & Jim McGownJohn ColesRobin Crawford AM & Judy CrawfordGraham & Treffina DowlandDr William F DowneyVanessa Duscio & Richard EvansTerry & Lynn FernFitzgerald FoundationDaniel & Helen GauchatRobert & Jennifer GavshonNick & Kay GiorgettaColin Golvan QC & Debbie GolvanJohn Grill AO & Rosie Williams

Tony & Michelle GristEddie & Chi GuillemetteLiz HarbisonPaul & April HickmanCatherine Holmes à Court-MatherSimon & Katrina Holmes à CourtFamily TrustJay & Linda HughesDi JamesonAndrew & Lucie JohnsonSimon JohnsonSteve & Sarah JohnstonRussell & Cathy KaneJohn & Lisa KenchWayne KratzmannDr Caroline LawrensonJohn Leece AM & Anne LeeceDavid & Sandy LiblingPatrick Loftus-Hills & Konnin TamDr Wai Choong Lye & Daniel LyeChristopher D. Martin & Clarinda Tjia-DharmadiJanet Matton & Robin RoweJulianne MaxwellNicholas McDonald & Jonnie KennedyAndrew & Cate McKenzie

Peter & Ruth McMullinJim & Averill MintoRany & Colin MoranUsmanto Njo & Monica Rufina TjandraputraDr Eileen OngJames OstroburskiSusan PhillipsSimon Pinniger & Carolyne RoehmAndrew & Andrea RobertsThe Ryan Cooper Family FoundationCarol Schwartz AM & Alan Schwartz AMRosy Seaton & Seumas DawesJennifer Senior & Jenny McGeePeter & Victoria ShorthouseHilary StackJon & Caro StewartJohn TabernerJamie & Grace ThomasAlenka TindaleDr Lesley TreleavenBeverley Trivett & Stephen HartPhillip Widjaja & Patricia KaunangSimon & Jenny Yeo

ACO Special Projects


SPECIAL COMMISSIONS PATRONS

Peter & Cathy AirdJosephine Kay & Ian BredanMirek GenerowiczAnthony & Conny HarrisRohan HaslamLionel & Judy KingBruce LaneDavid & Sandy LiblingRobert & Nancy PallinTeam SchmoopyRebecca Zoppetti Laubi

INTERNATIONAL TOUR PATRONS

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

Linda & Graeme BeveridgeAnthony & Sharon Lee FoundationDoug HooleyProfessor Anne Kelso AOBruce & Jenny LaneDelysia LawsonFriends of Jon & Caro StewartMike ThompsonOliver WaltonAnonymous (1)

JEWISH MUSEUM PATRONS

LEAD PATRON

PATRONSMarc Besen AC & Eva Besen AO

SUPPORTERSThe Ostroburski FamilyJulie Steiner

FRIENDLeo & Mina Fink Fund

EMANUEL SYNAGOGUE PATRONS

CORPORATE PARTNERSAdina Apartment HotelsMeriton Group

LEAD PATRONThe Narev Family

PATRONSDavid Gonski ACLeslie & Ginny GreenThe Sherman FoundationJustin Phillips & Louise Thurgood-Phillips

ACO UK SUPPORTERS

AmbassadorsBrendan & Bee HopkinsRupert Thomas & Kate Rittson-Thomas

FriendsJohn ColesJohn & Kate CorcoranHugo & Julia HeathDr Caroline LawrensonJohn TabernerPatricia ThomasPaula Bopf & Rob Rankin

SupporterIsla Baring

EDUCATION PEER REVIEW PANEL

Zoe ArthurJohn BensonHelen ChampionJane DavidsonJared FurtadoTheo KotzasLyn Williams OAM

ARTISTIC PEER REVIEW PANEL

Yarmila AlfonzettiElaine ArmstrongToby ChaddJane DavidsonAlan DodgeMelissa KingJim Koehne

Siobhan LenihanMarshall McGuireKatie NoonanJohn Painter AMAnthony PelusoMary Vallentine AOLyn Williams OAM

ACO Special Projects

Peer Review Panels


The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) 8274 3835 or [email protected]

Donor list current as at 2 November 2017

PATRONS

Marc Besen AC & Eva Besen AOJanet Holmes à Court AC

EMERGING ARTISTS & EDUCATION PATRONS $10,000 +

Mr Robert Albert AO & Mrs Libby Albert

Geoff Alder

Karen Allen & Dr Rich Allen

Australian Communities Foundation - Ballandry Fund

Steven Bardy & Andrew Patterson

Guido Belgiorno-Nettis AM & Michelle Belgiorno-Nettis

Rod Cameron & Margaret Gibbs

Michael & Helen Carapiet

Stephen & Jenny Charles

Jane & Andrew Clifford

Rowena Danziger AM & Ken Coles AM

In memory of Wilma Collie

Irina Kuzminsky & Mark Delaney

Kate & Daryl Dixon

Eureka Benevolent Foundation

Mr & Mrs Bruce Fink

Dr Ian Frazer AC & Mrs Caroline Frazer

Daniel & Helen Gauchat

John Grill & Rosie Williams

Angus & Kimberley Holden

Catherine Holmes à Court-Mather

GB & MK Ilett

John & Lisa Kench

Miss Nancy Kimpton

Anthony & Sharon Lee Foundation

Liz & Walter Lewin

Andrew Low

Anthony & Suzanne Maple-Brown

Jim & Averill Minto

Louise & Martyn Myer Foundation

Jennie & Ivor Orchard

James Ostroburski & Leo Ostroburski

The Bruce & Joy Reid Trust

Andrew & Andrea Roberts

Ryan Cooper Family Foundation

Margie Seale & David Hardy

Rosy Seaton & Seumas Dawes

Servcorp

Tony Shepherd AO

Anthony Strachan

Leslie C. Thiess

Alden Toevs & Judi Wolf

Shemara Wikramanayake

Libby & Nick Wright

E Xipell

Peter Young AM & Susan Young

Anonymous (3)

DIRETTORE $5,000 – $9,999

Jon & Cheyenne Adgemis

Geoff Ainsworth & Jo Featherstone

David & Helen Baffsky

Walter Barda & Thomas O’Neill

The Belalberi Foundation

Carmelo & Anne Bontempo

Helen Breekveldt

Veronika & Joseph Butta

Suellen & Ron Enestrom

Paul & Roslyn Espie

Bridget Faye AM

JoAnna Fisher & Geoff Weir

Angelos & Rebecca Frangopoulos

Vivienne Fried

Louise Gourlay OAM

Liz Harbison

Annie Hawker

Belinda Hutchinson AM & Roger Massy-Greene

John Griffiths & Beth Jackson

I Kallinikos

The Key Foundation

Kerry Landman

In memory of Dr Peter Lewin

Lorraine Logan

Danita Lowes & David File

Macquarie Group Foundation

David Maloney & Erin Flaherty

The Alexandra & Lloyd Martin Family Foundation

Rany Moran

Beau Neilson & Jeffrey Simpson

Paris Neilson & Todd Buncombe

Libby & Peter Plaskitt

John Rickard

Greg Shalit & Miriam Faine

Victoria & Peter Shorthouse

J Skinner

Sky News Australia

Petrina Slaytor

Jeanne-Claude Strong

Tamas & Joanna Szabo

Vanessa Tay

Alenka Tindale

Ivan Wheen

Simon & Amanda Whiston

Cameron Williams

Hamilton Wilson

Woods Foundation

Anonymous (3)

MAESTRO $2,500 – $4,999

Jennifer Aaron

Annette Adair

David & Rae Allen

Stephen & Sophie Allen

Will & Dorothy Bailey Charitable Gift

Brad Banducci & Anna Dudek

The Beeren Foundation

Neil & Jane Burley

Caroline & Robert Clemente

Laurie & Julie Ann Cox

ACO National Education Program


Carol & Andrew Crawford

Anne & Tom Dowling

Ari & Lisa Droga

Maggie & Lachlan Drummond

In memory of Rosario Razon Garcia

John & Jenny Green

Warren Green

Nereda Hanlon & Michael Hanlon AM

Peter & Helen Hearl

Ruth Hoffman & Peter Halstead

Warwick & Ann Johnson

Jennifer Senior & Jenny McGee

Roslyn Morgan

Jenny Nicol

OneVentures

David Paradice & Claire Pfister

Sandra & Michael Paul Endowment

Prof David Penington AC

Kenneth Reed AM

Ruth & Ralph Renard

Mrs Tiffany Rensen

Fe & Don Ross

D N Sanders

Kathy & Greg Shand

Maria Sola

Josephine Strutt

Susan Thacore

Nicky Tindill

Ralph Ward-Ambler AM & Barbara Ward-Ambler

Don & Mary Ann Yeats

Professor Richard Yeo

Anonymous (5)

VIRTUOSO $1,000 – $2,499

Barbara Allan

Jane Allen

Lillian & Peter Armitage

In memory of Anne & Mac Blight

David Blight & Lisa Maeorg

Lyn Baker & John Bevan

Adrienne Basser

Doug & Alison Battersby

Robin Beech

Berg Family Foundation

Graeme & Linda Beveridge

Leigh Birtles

Jessica Block

In memory of Peter Boros

Brian Bothwell

Vicki Brooke

Diana Brookes

Dr Catherine Brown-Watt PSM & Mr Derek Watt

Stuart Brown

Sally Bufé

Gerard Byrne & Donna O’Sullivan

Ray Carless & Jill Keyte

Ann Cebon-Glass

Dr Peter Clifton

John & Chris Collingwood

Angela & John Compton

Leith & Darrel Conybeare

R & J Corney

Anne Craig

Gay Cruickshank

Peter & Penny Curry

Ian Davis & Sandrine Barouh

Martin Dolan

In memory of Ray Dowdell

Dr William F Downey

Pamela Duncan

Emeritus Professor Dexter Dunphy

Carmel Dwyer

Wendy Edwards

Karen Enthoven

Peter Evans

Julie Ewington

Patrick Fair

Penelope & Susan Field

Elizabeth Finnegan

Jean Finnegan & Peter Kerr

Don & Marie Forrest

John Fraser

Chris & Tony Froggatt

Anne & Justin Gardener

Kay Giorgetta

Brian Goddard

Jack Goodman & Lisa McIntyre

Melissa & Jonathon Green

Grussgott Trust

In memory of Jose Gutierrez

Lyndsey Hawkins

Kingsley Herbert

Vanessa & Christian Holle

Christopher Holmes

Doug Hooley

Michael Horsburgh AM & Beverley Horsburgh

Penelope Hughes

Professor Emeritus Andrea Hull AO

Stephanie & Mike Hutchinson

Owen James

Brian Jones

Bronwen L Jones

Mrs Angela Karpin

Michael Kohn

Airdrie Lloyd

Gabriel Lopata

Prof Roy & Dr Kimberley MacLeod

Garth Mansfield OAM & Margaret Mansfield OAM

Greg & Jan Marsh

Jane Tham & Philip Maxwell

Kevin & Deidre McCann

Helen & Phil Meddings

Jim Middleton

Peter & Felicia Mitchell

Baillieu Myer AC

Nola Nettheim

Barry Novy & Susan Selwyn

Paul O’Donnell

Shay O’Hara-Smith

Fran Ostroburski

Chris Oxley

Mimi Packer

Leslie Parsonage

Rosie Pilat

Dr S M Richards AM & Mrs M R Richards

Em Prof A W Roberts AM

Richard & Sandra Royle

J Sanderson

In Memory of H. St. P. Scarlett

Morna Seres & Ian Hill

Diana Snape & Brian Snape AM

Dr Peter & Mrs Diana Southwell-Keely

Keith Spence

Jim & Alice Spigelman

Dr Charles Su & Dr Emily Lo

David & Judy Taylor

Rob & Kyrenia Thomas

Anne Tonkin

Ngaire Turner

Kay Vernon

Jason Wenderoth

Peter Yates AM & Susan Yates

Rebecca Zoppetti Laubi

Anonymous (19)


CONCERTINO $500 – $999

Mr & Mrs H T Apsimon

Juliet Ashworth

Elsa Atkin AM

Rita Avdiev

Christine Barker

In memory of Hatto Beck

Mrs Kathrine Becker

Ruth Bell

Lynne & Max Booth

Carol Bower

Denise Braggett

Mrs Ann Bryce

Henry & Jenny Burger

Mrs Pat Burke

Ian & Brenda Campbell

Helen Carrig

Connie Chaird

Angela & Fred Chaney

Colleen & Michael Chesterman

Richard & Elizabeth Chisholm

Stephen Chivers

Richard Cobden SC

Sally Collier

Dr Jane Cook

John Curotta

Sharlene & Steve Dadd

Marie Dalziel

Mari Davis

Rosemary Dean

Kath & Geoff Donohue

In Memory of Raymond Dudley

Agnes Fan

Susan Freeman

Louisa Geddes

M Generowicz

Paul Gibson & Gabrielle Curtin

Don & Mary Glue

Sharon Goldie

Colin Golvan QC & Debbie Golvan

Ian & Ruth Gough

Mrs Megan Grace

Paul Greenfield & Kerin Brown

Annette Gross

Kevin Gummer & Paul Cummins

Hamiltons Commercial Interiors

Lesley Harland

Paul & Gail Harris

Sue Harvey

Gaye Headlam

Henfrey Family

Dr Penny Herbert in memory of Dunstan Herbert

Dr Marian Hill

Charissa Ho

Sue & David Hobbs

Geoff Hogbin

Peter & Edwina Holbeach

Richard Hunstead

Geoff & Denise Illing

Caroline Jones

Phillip Jones

Irene Kearsey & Michael Ridley

Bruce & Natalie Kellett

Irene Ryan & Dean Letcher QC

Megan Lowe

Diana Lungren

Janet Matton & Robin Rowe

Dr & Mrs Donald Maxwell

HE & RJ McGlashan

J A McKernan

Claire Middleton

Andrew Naylor

G & A Nelson

Nevarc Inc.

Robyn Nicol

Sue Packer

Effie & Savvas Papadopoulos

Ian Penboss

Elizabeth Pender

Helen Perlen

Kevin Phillips

Denis & Erika Pidcock

Beverly & Ian Pryer

Mandie & Andrew Purcell

Jennifer Rankin

Jedd Rashbrooke

Michael Read

Joanna Renkin & Geoffrey Hansen

Alexandra Ridout

Jennifer Royle

Trish Ryan & Richard Ryan AO

Scott Saunders

Garry Scarf & Morgie Blaxill

Carol Schwartz AM & Alan Schwartz AM

Marysia Segan

David & Daniela Shannon

Agnes Sinclair

Ken Smith

Brian Stagoll

Patricia Stebbens

Ross Steele AM

Cheri Stevenson

Nigel Stoke

Douglas Sturkey CVO AM

In memory of Dr Aubrey Sweet

Dr Niv & Mrs Joanne Tadmore

Gabrielle Tagg

Josphine Cai

Tim & Vincie Trahair

TWF Slee & Lee Chartered Accountants

Visionads Pty Ltd

Joy Wearne

GC & R Weir

Westpac Group

Harley & Penelope Whitcombe

Kathy White

James Williamson

Sally Willis

Janie Wittey

Dr Mark & Mrs Anna Yates

Gina Yazbek

LiLing Zheng

Michael Zimmerman

Anonymous (21)


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

Mr Guido Belgiorno-Nettis AMChairman Australian Chamber Orchestra

Mr Matthew AllchurchPartner Johnson Winter & Slattery

Mr Philip Bacon AMDirector Philip Bacon Galleries

Mr David Baffsky AO

Mr Marc Besen AC & Mrs Eva Besen AO

Mr John Borghetti AOChief Executive Officer Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar

Mr Michael & Mrs Helen Carapiet

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

Mr Michael Chaney AOChairman Wesfarmers

Mr Robin Crawford AM & Mrs Judy Crawford

Rowena Danziger AM & Kenneth G. Coles AM

Mr David EvansExecutive Chairman Evans & Partners

Mr Bruce FinkExecutive Chairman Executive Channel Holdings

Mr Angelos FrangopoulosChief Executive Officer Australian News Channel

Ms Ann Gamble Myer

Mr Daniel GauchatPrincipal The Adelante Group

Mr Robert Gavshon & Mr Mark RohaldQuartet Ventures

Mr James GibsonChief Executive Officer Australia & New ZealandBNP Paribas

Mr John Grill AOChairman WorleyParsons

Mrs Janet Holmes à Court AC

Mr Simon & Mrs Katrina Holmes à CourtObservant

Leslie Janusz HookerChairman LJ Hooker

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom AO

Ms Jan MinchinDirector Tolarno Galleries

Mr Jim & Mrs Averill Minto

Mr Alf Moufarrige AOChief Executive Officer Servcorp

Mr John P MullenChairman Telstra

Mr Ian NarevChief Executive OfficerCommonwealth Bank

Ms Gretel Packer

Mr Robert Peck AM & Ms Yvonne von Hartel AMpeckvonhartel architects

Mrs Carol Schwartz AM

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyChief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd AO

Mr Peter ShorthouseSenior Partner Crestone Wealth Management

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

The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO

Ms Vanessa Wallace & Mr Alan Liddle

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

Mr Peter Young AM & Mrs Susan Young

Chairman’s Council


SYDNEY DEVELOPMENT COMMITTEE

Heather Ridout AO (Chair)Chair,Australian Super

Guido Belgiorno-Nettis AMChairman, ACO

Gauri BhalaCEO, Curious Collective

John Kench

Jason LiChairman,Vantage Group Asia

Jennie Orchard

Peter ShorthouseSenior Partner,Crestone Wealth Management

Mark StanbridgePartner, Ashurst

Paul Sumner

Alden ToevsGroup Chief Risk Officer, CBA

Nina Walton

MELBOURNE DEVELOPMENT COMMITTEE

Colin Golvan QC

Peter McMullinChairman, McMullin Group

James OstroburskiCEO, Kooyong GroupPaul SumnerSusan Thacore

Peter Yates AMDeputy Chairman,Myer Family Investments Ltd &Director, AIA Ltd

DISABILITY ADVISORY COMMITTEE

Morwenna CollettDirector Major Performing Arts Projects Australia Council for the Arts

Ebru SumaktasSenior HR Officer,Department of Family andCommunity Services

Alexandra Cameron-FraserChief Operating Officer, ACO

Sally CrawfordPatrons Manager, ACO

Vicki NortonEducation Manager, ACO

Dean WatsonCustomer Relations & AccessManager, ACO

EVENT COMMITTEES

SYDNEYJudy Crawford (Chair) Lillian ArmitageLucinda CowdroySandra FermanEleanor GammellFay Geddes

Lisa KenchJulianne MaxwellKarissa MayoRany MoranJohn Taberner

Lynne Testoni

BRISBANEPhilip BaconKay BryanAndrew CloustonDr Ian Frazer ACMrs Caroline FrazerCass George

Wayne KratzmannShay O’Hara-SmithMarie-Louise TheileBeverley Trivett

ACO Government Partners

ACO Committees

We thank our Government Partners for their generous support

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

The ACO is supported by the NSW Governmentthrough Create NSW.


MEDIA PARTNERS

PRINCIPAL PARTNER

OFFICIAL PARTNERS

EVENT PARTNERS CONCERT AND SERIES PARTNERS

NATIONAL TOUR PARTNERS

PRINCIPAL PARTNER: ACO COLLECTIVE

ACO PartnersWe thank our Corporate Partners for their generous support


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

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

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

19065_ACO_PrintAd_240x150.indd 3 22/1/18 9:16 am

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

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

OGNETTI T CHAIKOVSKY BRAHMS - au-com-aco …€™s buoyant Serenade for Strings and Brahms’...

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Transcript of OGNETTI T CHAIKOVSKY BRAHMS - au-com-aco …€™s buoyant Serenade for Strings and Brahms’...