Tognetti's Mozart Concert Program

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Proud Principal Partner of theAustralian Chamber Orchestra.

AUSTRALIAN CHAMBER ORCHESTRA 1

PRINCIPAL PARTNER 2013 marks Virgin Australia’s fi rst season as

Principal Partner of the Australian Chamber

Orchestra and we are very proud to be associated

with one of the world’s most distinguished touring

ensembles.

Through the support of Virgin Australia and

the use of our domestic and international fl ight

network, the ACO will be able to share its music

with more people in Australia and around the

world. This is particularly important for regional

communities in Australia, for example Mount Isa,

where the ACO Ensemble performed for the fi rst

time ever in November last year.

We are also delighted to be the partner for the

ACO’s fi rst National Tour in 2013, Tognetti’s

Mozart. The ACO is renowned for its vibrant and

innovative interpretations - and Mozart’s classical

compositions are arguably some of the greatest of

all time.

On behalf of Virgin Australia, I hope you enjoy this

special performance.

JOHN BORGHETTICHIEF EXECUTIVE OFFICERVIRGIN AUSTRALIA

PRINCIPAL PARTNER

2 AUSTRALIAN CHAMBER ORCHESTRA

ABOUT THE PROGRAMBy Richard Tognetti

Close to 250 years separate the oldest and newest works on this program, the fi rst of our 2013 season. From the fi nal moments of Haydn’s passionate “La passione”, to the contemporary sphere of Brett Dean’s “Abandoned playground” we can experience, aurally, nothing less than the evolution of the orchestra.

Th e Haydn and Mozart symphonies in this program display emotion-laden and expressive orchestral writing in a style known as Sturm und Drang, born in the 1760s in the midst of a period of cultural rationalism and classicism. Th is brief but emotional moment in music came to an end in the 1780s, and in a way anticipated the Romantic movement that was to come at the turn of the century.

Between our Sturm und Drang bookends, we have another evolution at play; that of the continuum of the concerto, with a Mozart concerto for violin on one end, and Brett Dean’s concerto for six-string electric violin on the other, specially written for the ACO. Brett’s Electric Preludes explores programmatic elements ranging from the Australian physical landscape, to the stark imagery of abandoned playgrounds, and even poetry from the master Rilke. I am fascinated with the work for its exploration of the electric violin as a solo instrument and the opportunities it presents for melding the realm of creative possibility in electronica with the traditional conventions of the concert hall.

Sound engineer Bob Scott deserves special mention for his collaboration in realising this work. Brett, Bob and I have been developing the electronica aspects of this concerto for the past year, and as you will hear, Bob transmogrifi es my sound into the world that has come out of Brett Dean’s imagination. I am particularly grateful that Brett is able to join us conducting his piece for its inaugural Australian tour, and we are all very excited to be sharing this with our audiences in Australia.

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Richard TognettiDirector and Violin


TOUR ONETOGNETTI’S MOZARTRICHARD TOGNETTIDirector & Violin

BRETT DEANConductor & Composer (Electric Preludes)

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

HAYDN Symphony No.49 in F minor, “La passione”

DEAN Electric Preludes* (AUSTRALIAN PREMIERE)

I N T E R VA L

MOZART Violin Concerto No.3 in G major, K.216

MOZART Symphony No.25 in G minor, K.183

* Brett Dean’s Electric Preludes has been commissioned for Richard Tognetti, the ACO and Festival Maribor by Jan Minchin.

ADELAIDETown HallTue 5 Feb, 8pm

CANBERRALlewellyn HallSat 2 Feb, 8pm

MELBOURNEArts CentreSun 3 Feb, 2.30pmMon 4 Feb, 8pm

PERTHConcert HallWed 6 Feb, 7.30pm

SYDNEYOpera HouseSun 10 Feb 2pm

City Recital Hall Angel PlaceTue 12 Feb, 8pmWed 13 Feb, 7pmFri 15 Feb, 1.30pmSat 16 Feb, 7pm

Durations (minutes):24 –20 – INTERVAL – 24 – 24Th e concert will last approximately two hours including a 20-minute interval.


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

As the ACO’s 2013 season opens, we are very proud that this fi rst national subscription tour is presented by our Principal Partner Virgin Australia. Virgin Australia joined us in the middle of last year and have taken great care of our musicians on several national tours already. We look forward to a long and hugely successful partnership.

At last year’s Festival Maribor in Slovenia, Richard Tognetti unveiled Brett Dean’s Electric Preludes – a stunning new concerto for electric violin and string orchestra, written specially for Richard and the ACO. It was a memorable premiere and we are thrilled to bring it to audiences around Australia in this opening program of 2013.

Last year was the ACO’s busiest year yet and was capped off in December with the announcement that our performances of Beethoven’s Symphony No.9 last August had been voted Best Orchestral Concert of the Year in the Limelight magazine awards. Th is is a great tribute to Richard and his fearless rise to the challenge of this towering score and to the superb Choir of Clare College, Cambridge.

Th ank you for being with us for the opening of our 2013 season. I look forward to seeing you throughout the year.

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA

Joseph HAYDN(b. Rohrau, 1732 — d. Vienna, 1809)

Haydn was hugely prolifi c and highly infl uential. His output encompassed almost every form of music, sometimes to an extreme degree (over 100 symphonies, over 60 string quartets.) The link in the chain between Bach and Mozart, the Classical era would be unimaginable without him.

Sturm und Drang see feature article on page 13

Polyphonic: Polyphony is a musical texture in which some or all of the parts move in an independent (or contrapuntal) fashion.

Contrapuntal: Counterpoint is the relationship between coherent layers of independent melodic lines.

HAYDN Symphony No.49 in F minor, “La passione”(Composed 1768)

I. AdagioII. Allegro di moltoIII. Menuet e TrioIV. Finale (Presto)

BACKGROUNDTh e designation “La passione” and the wide circulation achieved by this symphony in the courts and monasteries of late 18th-century Europe suggest, as does the extraordinary music itself, some special purpose, presumably related to Holy Week. Th e title however is unauthentic, and there is no evidence of any such intent either within the music (for example, the use of recognisable church melodies, as in the “Lamentatione” Symphony No.26, composed within about 12 months after “La passione”) or in any extramusical documentation. Even if the title was current during the composer’s lifetime, as is possible, there is no knowing whether he approved it.

What can be said with certainty is that this was the last, and undoubtedly the greatest, of seven symphonies Haydn composed in the archaic ‘church sonata’ form, with a slow opening movement. While the ‘church sonata’ symphonies have no overtly religious intent, they are essentially solemn works or, as in the present case, bleak, tense and often anguished. Written in 1768, the third summer of the fabulous Esterhaza castle, raised by Haydn’s princely employer on former swamplands in Hungary, “La passione” is an early but archetypal product of the composer’s so-called Sturm und Drang (Storm and Stress) period. Although the term Sturm und Drang, applied by French scholar Th éodore de Wyzewa at the time of Haydn’s death centenary in 1909, misleadingly implies a link with the somewhat later Sturm und Drang movement in literature and art (which sprang up around the writings of Goethe and Schiller from about 1773), it nevertheless aptly characterises the passionate and emotional intensity of some of the music that fl owed from Haydn’s pen between about 1766 and 1773.

Sturm und Drang in Haydn’s symphonies shares with the ‘church sonata’ form a widespread use of minor or remote keys, frequent polyphonic and contrapuntal textures, dynamic contrasts, and spare, unadorned instrumentation. Th e Sturm und Drang symphonies are often tragic, sombre, even violent. And, as James Webster asserts, “Haydn’s ever-present tendency towards eccentricity occasionally verges on outright irrationality.”



WORK IN DETAILAmong a series of unlikely key signatures (including B major for Symphony No.46 and F sharp minor for No.45, the “Farewell”), the choice of F minor for “La passione” refl ects a rare and special occasion. Th is was a key Haydn reserved for just a few works – the String Quartet Op.20 No.5, the great Andante and Variations for keyboard (Hob.XVII:6), and the suicidal aria of Nanni in the opera L’infedeltà delusa (Infi delity Outwitted). With unique singleness of purpose, he casts every movement of the present work in the home key of F minor, providing a smidgin of relief only in the central trio section of the minuet, where a contrasting tonality in the major is virtually unavoidable.

Spiritually and emotionally therefore, the mood is dark throughout, shifting from deepest gloom to the almost hysterical energy of desperation. Haydn achieves variety within the basically mono-tonal framework through wide melodic leaps (as in the second movement) and contrasts of dynamics. Th e all too brief burst of sunshine in the trio of the minuet is illumined by gleaming horns in their upper register.

Th e composer’s subtle pursuit of thematic unity is to be seen in the very opening phrase of the fi rst movement, where the leaden progression of notes moving ever so slightly up and down from C provides the core material from which, as H.C. Robbins Landon observes, Haydn will develop the themes of all four movements: C-D fl at-B fl at-C.

Th e opening Adagio is much the biggest movement, and arguably the spiritual core of the symphony. Yet, unlike some of Haydn’s earlier ‘church sonata’ symphonies, “La passione” maintains its emotional and spiritual force, without tailing off , through four equally inspired movements. Th e wildly leaping melody of the Allegro second movement is swept forward on an irresistible tide in the bass, impotent anguish continuing to lash out spasmodically after the fi rst fi erce passion is exhausted. Th e Minuet – though one would scarcely think of dancing to it – is dogged, subdued, beginning not with Haydn’s customary springy upbeat but on a mechanical, hang-dog downbeat. Th e Finale is a fl ight from relentless nightmare, not destined for glory in imposing cadences at the end but simply thankful to get there.

“La passione” lacks none of the sureness of touch occasionally missing from Haydn’s other Sturm und Drang music. Th e composer is, as Landon puts it, “passing through the eye of the storm” (a storm eff ectively created by himself ). Th at experience was to prove crucial in the long-term development of his own music and the music of his successors.

ANTHONY CANE © 1989/2001

Further Listening Richard Tognetti recommends the Antal Dorati-led recording of the complete Haydn symphonies featuring Philharmonia Hungarica (Decca

4781221)

ACO Performance HistoryHaydn’s Symphony No.49 was performed by the ACO in 1988 as part of the Sydney Festival and in tours to the US and Europe. The ACO performed the piece again in 2004.


DEAN Electric Preludes

AUSTRALIAN PREMIERE (Composed 2012)

I. Abandoned playgroundII. Topography – PapunyaIII. PeripeteiaIV. Th e beyonds of mirrorsV. Perpetuum mobileVI. Berceuse

Electric violin programming by Bob Scott

Electric Preludes was commissioned by Jan Minchin for Richard Tognetti, the ACO, and Festival Maribor.

FROM THE COMPOSER

It seems fi tting that my new work for Richard Tognetti and the ACO, “Electric Preludes”, has been commissioned by Melbourne art curator and gallerist Jan Minchin. My work has always had a strong visual aspect to it, owing much to the long-standing partnership with my wife, Heather Betts, herself a painter. Several of my works, such as “Beggars and Angels” and “Night Window” pay direct homage to the infl uence of Heather’s remarkable paintings on my own creative life.

Th ese new preludes follow this line of creativity, owing much of their inspiration and development to visual stimuli. Whilst conceived as pieces of pure music, the lines, gestures and energies contained within nevertheless owe much of their ultimate shape to imagery.

Some of these came to my attention by traditional means; seeing the National Gallery of Victoria’s extraordinary exhibition “Tjukurrtjanu: Origins of Western Desert Art” last year, for example, proved to be an especially inspiring encounter. Th e magical cartographic works of Cliff ord Possum Tjapaltjarri in particular, displaying such an encyclopaedic knowledge of his country, led directly to the second movement, “Topography-Papunya”, in which the music unfolds as if seen from above, taking in more and more detail as it scans and focuses, joining the dots as it were.

Another prelude was inspired simply by browsing through images on the web. Th e initial idea for the very opening of the piece, an ascending arpeggio over all six strings of Richard’s Violectra - and its subsequent descending counterpart heard somewhat later, reminded me of a rusty, squeaky swing in

Brett DEAN(b. Brisbane 1961)

Brisbane-born composer Brett Dean continues to enjoy a remarkable career as performer and composer, having begun his journey in Australia. After travelling to Germany on an Australia Council grant, he won a position in the viola section of the Berlin Philharmonic while in his twenties, and began composing in 1988. Now based in Berlin and Melbourne, his works are regularly performed around the world.

ACO Performance HistoryBrett Dean has composed seven commissions for the ACO since 1997. His most recent ACO commission is Electric Preludes, which you hear in this concert.

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an abandoned playground. Just entering those two words in a google image search provided a beautifully wistful gallery of possible narratives and imagined sounds. Try it.

But the most striking image that fi red my fantasy throughout the entire compositional process was that of Richard standing with the ACO, his exotic electric fi ddle under his chin, taking mere breaths of sound and embryonic motivic shapes and transforming them, with the help of this impressive piece of electronics and sound designer Bob Scott at the mixing desk, fi lling the hall and enticing the orchestra’s manifold responses.

My heartfelt thanks to Richard and Bob for their invaluable contributions to this joyfully collaborative commission, and to Jan Minchin for her belief in the project and the fi nancial support to allow us to realize it.

BRETT DEAN ©2012

BACKGROUND Th is was a concerto waiting to happen, a work by a composer writing for an old friend, and giving that friend an opportunity to whirl away – and sing – on a new instrument: a six-string electric violin. Physically, with its extra strings, and electronically, because the sound can now be modifi ed before it reaches us, the electric violin is not just a new instrument but a radically diff erent one. Th e additional strings come at the bottom, a fi fth below the G string and a fi fth below that, taking the instrument deep down into cello territory. At the same time, electronic programming allows for the tone to be changed, reverberation added, notes shifted in register, harmonics brought forward. Th e result is an instrument as diff erent from a regular violin as an electric guitar is diff erent from its acoustic progenitor, an instrument zinging and incisive and poetic in its own ways, which Brett Dean here lays before us.

In place of big concerto movements – he did that in his 2006 piece for standard violin and orchestra, Th e Lost Art of Letter Writing – Dean presents six preludes, or “character pieces,” as he has also called them, playing altogether for under twenty-fi ve minutes and, in their immediacy and brevity, suiting the medium. To quote the composer again, the work explores “the intersection between high instrumental virtuosity of a ‘classical’ nature on the one hand and sound worlds that are only possible with electronics on the other, all commented upon by an essentially ‘unplugged’ string chamber orchestra.” Th e work was commissioned by the gallery director Jan Minchin, completed in March last year, and fi rst performed in Maribor, Slovenia, six months later.

Further ReadingAndrew Ford’s “Try Whistling This” (Black Inc. 2012) includes a chapter on Brett Dean’s music.

More details on Bretts music can be found on the publisher Boosey and Hawkes’ website: boosey.com/composer/Brett+Dean


WORK IN DETAILAt the start, spasmodic gestures from the electric violin seem to arouse the mysterious sound of three (second) violins playing with practice mutes as they wander chromatically, homeless. Dean here was haunted by photographs of abandoned playgrounds he found online. As the soloist’s arpeggios turn this way and that, the movement develops in energy to the point where the orchestra is racing off . When it has come to a standstill, three violas take over the wandering, which returns to second violins as the electric violin plumbs resonant chords with the cellos.

Th ere is again a visual image behind, or beyond, the second prelude, which relates to the art produced by indigenous painters around Papunya, in the Northern Territory, as exhibited in the National Gallery of Victoria’s 2011-12 show “Tjukurrtjanu.”

Th e electric violin’s high falling minor sixths, A–C sharp, seem to be part of a universal slow breathing, which is taken up by the orchestra, and which survives as some members of the orchestra become intensively dynamic, the movement coming to rest and the soloist skidding away in the high treble.

Peripeteia is a term originating from ancient Greece referring to the turning-point in a drama. Th e one here is short, and seems to represent challenge, panting expectation and outburst.

Next comes a slow movement evoked by a line from a poem – a French poem by Rilke, in the voice of a water lily: “into my body at the bottom of the water / I attract the beyonds of mirrors…” Th e magical texture has the orchestra in muted descending scales, moving at three diff erent speeds simultaneously, with the electric violin whistling high above. All changes for a dramatic close.

And all changes again for the Perpetuum mobile, which is exactly that, though intercut with menacing arpeggios and, at one point, with repetitions of the A–C sharp falls from the “Papunya” prelude, faster and almost unrecognisable. Perhaps, in this busy activity, the whole past of the piece is being reviewed. Th ere is a solo cadenza, after which the intensive movement continues, to a point of exhaustion.

Th e fi nal lullaby (Berceuse) comes up out of the bass register, where some of the cellos are tuned down, and soon reaches up into spectacular high melody from the electric violin. Slowly the solo instrument steps down to where it began, as the orchestra settles with it into a harmony on F, the pitch of its bottom string.

PAUL GRIFFITHS © 2012

Richard Tognetti performs on a six-string Violectra electric violin made by David Bruce Johnson in Birmingham, England. His violins come in four-, fi ve-, six-, seven- and even eight-string versions. The six-string version played by Richard has two extra bass strings (C and F) which create a bold bass/baritone sound and take the instrument deep into cello territory.


MOZARTConcerto No.3 in G major, K.216 “Strassburg”(Composed 1775)

(Cadenzas: Tognetti)

I. AllegroII. AdagioIII Rondeau: Allegro – Andante – Allegretto – Allegro

BACKGROUNDFor reasons now known only to himself, in April 1775 Mozart started to write violin concertos. As the leader of Archbishop Colloredo’s court orchestra in Salzburg, he probably intended the solo parts for his own performance, he played as dazzlingly on the violin as he did on keyboard. (His court colleague Antonio Brunetti has also been nominated as a likely soloist.) Mozart’s father Leopold, usually a tough judge, once wrote to him: ‘You yourself do not know how well you play the violin…when you play with energy and with your whole heart and soul…’

Th e fi ve concertos written that year between April and December seem to be the only works of their kind that Mozart ever produced, though there are a number of others whose authenticity is either doubtful or else completely discredited. Looking at the fi ve concertos as a set, most observers fi nd that the fi rst two are less than perfect, apparently written by a 19 year old testing the waters. With the third, Mozart began to hit his stride. Th e more popular of his violin concertos are among the earliest works by Mozart still heard regularly in the concert hall.

WORK IN DETAILOther major musical events for Mozart in 1775 included the premiere of La fi nta giardiniera (inelegantly translated as Th e Fake Female Gardener), a cheerful opera buff a; and the composition of its slightly more serious cousin, Il re pastore (Th e Shepherd King). Interestingly, for Mozart didn’t often quote himself, the Concerto No.3 opens with a theme from this dramatic work. Th is opening Allegro movement is dashing and virtuosic, notwithstanding its opera-inspired lyricism, and we can sense the young musician gleefully revelling in its technical challenges.

Th ings settle down in the Adagio, where muted strings and gentle winds lend a lilting aspect to its atmosphere. In the Rondeau, Mozart seems to really let himself go. Th e recurring theme which anchors the structure is the one sane constant in a movement which abounds in diff erent speeds, rhythmic

Wolfgang Amadeus MOZART(b. Salzburg, 1756 — d. Vienna, 1791)

Beginning as a gifted child prodigy, Mozart quickly developed into one of history’s greatest composers; though he only lived to age 35, he mastered virtually every compositional genre of his time. Today, he is recognised both as the epitome of the Classical style and one of music’s greatest innovators.

ACO Performance History Before Richard Tognetti joined to ACO in 1989, this Concerto was performed by the ACO with soloists Yehudi Menuhin in 1979, Felix Ayo in 1980, John Harding in 1982, Miha Pogacnik in 1984 and Isaac Stern in 1985. Since 1989, Richard Tognetti has lead performances of this concerto in national and international tours, including a performance at the Vasse Felix Festival last year.

Opera buffa: A genre of Italian comic opera, including such masterpieces as Mozart’s Le nozze di Figaro, developed in the 18th century as a foil to ‘serious’ opera seria and typifi ed by everyday characters embroiled in complex storylines and unlikely plot twists.


patterns and tonalities, as though he had collected a number of great little unrelated tunes and wanted to use them all at once. Th e overall eff ect is exhilarating rather than the mess it could have been with a less gifted composer.

KATHERINE KEMP © 2001/2004

MOZARTSymphony No.25 in G minor, K.183/173dB(Composed 1773)

I. Allegro con brioII. AndanteIII. Menuetto e trioIV. Allegro

BACKGROUNDKnowing Paris’ insatiable love for symphonies, Mozart wrote to his father to send some scores. Leopold’s response was brutal:

“It is better that whatever does you no honour should not be given to the public. Th at is the reason why I have not given any of your symphonies to be copied, because I suspect that when you are older and have more insight you will be glad no-one has got hold of them, though at the time you composed them you were quite pleased with them.”

Leopold may have had a point. Mozart had written a number of symphonies in the early 1770s, when he was in his late teens, as he assimilated the lessons of Haydn, J.C. Bach and others. Few of them are ‘great’, and indeed Mozart was, for most of his career, temperamentally better suited to the concerto than the symphony. But there are two indisputably important pieces among the early symphonies: the serenely gracious A major Symphony K.201 and its polar opposite, the ‘little’ G minor work, K.183, which you hear in this program.

Minor-key symphonies were relatively rare at the time, given the genre’s usually ceremonial function, and Mozart only wrote two: this and the late K.550 (also in G minor). But composers like Carl Philipp Emanuel Bach and Joseph Haydn had experimented with ‘extreme’ modes of expression – a number of Haydn’s Strum und Drang symphonies from around 1770 are characterised by minor tonality, dramatic gestures including syncopation (insistent off -beat patterns), hefty unison passages, sudden changes of volume, and a self-conscious use of Baroque counterpoint.

Wolfgang Amadeus Mozart

ACO Performance HistoryThe ACO performed Mozart’s Symphony No.25 as part of a 1987 national tour.

Futher ListeningRichard Tognetti recommends the complete Mozart symphonies recorded by Chrisopher Hogwood and the Academy of Ancient Music (L’oiseau Lyre 452496)

ACO Performance HistoryRichard Tognetti’s recording of the 3rd Concerto with the ACO (Bis 1754) is available from the ACO shop.aco.com.au/shop


WORK IN DETAILMozart’s fi rst G minor symphony displays many of the stylistic traits of Haydn’s Sturm und Drang works, and its orchestration – including two pairs of horns (for extended tonal and dynamic range) and the independent use of the bassoons (that is, not merely to stiff en the bass line) – gives the work its dark colour and rhetorical force. Th e Allegro con brio opens with driving syncopations that outline, in unison, a jagged falling ‘baroque’ fi gure that is answered by a phrase built on an emphatic minor arpeggio. Th e second group of themes is in the relative major key, B fl at – a contrast to which Milos Forman provided a brilliant visual analogy in the fi lm Amadeus Mozart’s (fi ctional) nemesis, the mad, wounded composer Salieri, is carried through snow-bound streets in the minor-key sections, while dancers whirl in a bright ballroom to the major-key themes. As the movement’s recapitulation unfolds, the major-key themes appear in the minor, with disturbing new implications.

As the four-note fi gure dominates the fi rst movement, a tiny three-note ‘cell’ economically powers the E fl at major Andante. Th e G minor Menuetto has stark unisons and octaves, but a contrasting pastoral trio for winds in the major key. Th en, more Sturm und Drang in the Allegro fi nale, made even more substantial by Mozart’s insistence, as in the fi rst movement, that both halves should be repeated.

GORDON KERRY © 2010

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No one who was there would ever forget the evening of 17 October 1761 in Vienna’s Burgtheater.

As the world premiere of Christoph Willibald Gluck’s ballet Don Juan drew toward its end, the eponymous anti-hero was surrounded onstage by devils, who tormented the doomed man before hurling themselves, and him with them, into a sea of fi re, all the while accompanied by a jagged, intense, astonishing, altogether unprecedented musical score in the key of D minor.

“Th e subject is extremely sad, lugubrious and terrible,” wrote one witness afterwards of a work which became synonymous with a new concept – the creation of fear in music – that caught on rapidly. Boccherini lifted almost the entire passage for the Finale of his Symphony “La Casa del Diavolo”, Gluck himself used it again to accompany the Furies when his next opera Orfée premiered in Paris, and in the avant-garde musical circles of Stuttgart and Mannheim, ‘demonic D minor’ became all the rage. It was as if 130 years of decorum and order, not only in music but in all the arts, had been overturned in just that fi nal four minutes of theatrical hellfi re and damnation.

From that moment on, artistically, the German-speaking nations were now at war with the French Academy, the institution of 40 learned scholars who, by government decree and under the archaic infl uence of Aristotle and his principles of unity, had determined what was and wasn’t permissible in creative expression. Like the nations themselves with their potentate princes and infallible hereditary rulers, European creative artists since the 1630s had been subject to the strictest forms of censorship in which their work would only reach the public if it met with the prior approval of the authorities. Play plots, for instance, had to traverse no more than 24 hours of time and be set in the one location. Strict rules were placed on how principal roles were to be characterised, and most of all, there must be unity of style with no clashing of genres, and in music, defi nitely no minor keys in crucial positions. Th e classical dramas of the

ancient Greeks and Romans were the model to be followed. Th e abominations of that ill-disciplined Englishman Shakespeare were the negative examples to be avoided at all costs.

But the artifi ciality and stifl ing creative restriction of these century-old prejudices were beginning to rankle. Just months after the premiere of Gluck’s Don Juan, Jean-Jacques Rousseau published Emile, or On Education, the opening line of which proposed “Everything is good as it leaves the hands of the Author of things; everything degenerates in the hands of man.”

Emile, or On Education, represented a questioning of human institutions and established authority and it liberated young intellectuals all over Europe. British authors like Horace Walpole and James Macpherson, less restricted artistically than their continental European counterparts, began to fi nd a wider readership for their emerging Gothic tales in which fear and dread, far from being purged from their readers in the classical manner, was instead instilled within them. Shakespeare, with his gargantuan plots, socially-diverse characters, and clashes of register, started making a comeback amid the young generation of German intellectuals led by Goethe, Schiller, Lenz and Merck.

And as Don Juan burned its way into German-speaking consciousness throughout the 1760s (literally in one case with the Finale’s fl ames burning down the theatre), musicians caught onto the spirit of the times. Th is mini-revolution had no name but its legacy remains in the work of Haydn and Mozart, and the passages of music within their works that even today sound strikingly original and intense.

In 1766, with Gluck’s radical infl uence at its peak, the 34-year-old Haydn was promoted from the Deputy role to become Kapellmeister at the Esterházy court in Hungary. In the process of taking charge of his own symphony orchestra, he was given a creative freedom that he’d never experienced previously. “My prince had been satisfi ed with all my works,” Haydn recalled afterwards, “I received applause;

THE TURBULENT BIRTH OF STURM UND DRANGMARTIN BUZACOTT


being the head of an orchestra I was able to make experiments, to observe what produced an eff ect and what weakened it; thus, I could correct, make additions or cut off something and venture; I was isolated from the world; there was no one in my surroundings to make me doubt my own self and pester me, and therefore I had to become original.”

Between 1768 and 1772 the results of that ‘originality’ were that, of the next ten symphonies that Haydn composed, six were in a minor key and so were some of the piano sonatas and string quartets, the fi rst time in dozens upon dozens of works that he had ever done this. Not only did he mess with the traditional keys, but everything else within the works broke rules as well, with turbulent fi rst movements, some starting slowly and gravely, and diabolical fi nales, the whole structure built on angular phrases, syncopations, rapid juxtapositions of dynamics, and comedy and tragedy intermingled with unprecedented abandon.

Th e “La passione” Symphony had every movement in the same key of F minor, others featured long passages where the tension built and built without release, so much so that some of the symphonies from the period were believed rightly or wrongly to have been composed with theatrical rather than symphonic performance in mind. What emerged from the experimentation though was a new conception of the symphony as a form, no longer a largely formulaic diversion for the amusement of the aristocracy, but a vehicle for the expression of the most intense and profound emotional and intellectual journey of any individual.

Perhaps the most perfect examples of the new rude-boy turbulence sweeping musical Europe was the work of Georg Benda, and in particular his melodramas Medea and Ariadne auf Naxos, dating from 1774-1775. One of Benda’s greatest admirers was Mozart, who wrote home to his father from Mannheim on 12 November 1778: “Th e piece I saw was Benda’s Medea. He has composed another one, Ariadne auf Naxos, and both are really excellent. You know that of all the Lutheran Kapellmeisters Benda has always been my favorite, and I like those two works of his so much that I carry them about with me.” Mozart

thought about writing a melodrama himself (the closest he got was the incomplete opera Zaïde), but his real familiarity with the new ‘theatrical’ style of composition came through his interest in the music of Gluck.

Mozart not only knew Gluck’s orientalist opera La Rencontre Imprévue (translated as Th e Unexpected Encounter) from 1764 but used it as a model for his own Abduction from the Seraglio, which Gluck enjoyed so much that he invited its composer to dinner. Mozart was also well-acquainted with Gluck’s ballet Semiramide from 1765, so much so that he considered using the same story for an opera of his own. But the fi rst signs that the young Mozart was capturing the spirit of the times had come as early as the tomb scene of Lucio Silla in 1772, and then in 1773-1774 he composed two instrumental works in keys that were synonymous with the new emotional style – the String Quartet in D minor, K.173 and the ‘Little’ G minor Symphony, K183. With the infl uence of Gluck and Benda upon him, Mozart’s Idomeneo had minor-key drama in spades, especially in the storm scenes and the fl ight chorus, and the same spirit even began to infi ltrate his piano concertos. When he reached Don Giovanni, it had been fully assimilated, the fi nal descent into Hell of the anti-hero rivalling that of Gluck’s original in its intensity and musical depiction of terror.

But Gluck died in the year of Don Giovanni’s premiere and by that stage, the artistic outpouring of turbulence and upheaval that he’d started, its subjectivity and celebration of unbridled ‘natural’ expression, had been largely abandoned by Haydn and indeed was no longer the sole preserve of music. From the 1770s, the new sensibility became primarily the preserve of young literary and theatre men. Mozart’s fi rst minor-key works coincided exactly with the fi rst essays on revolutionary drama by Louis Sebastien Mercier and Jakob Lenz, the latter’s Remarks on the Th eatre turning away from classical models to the example of Shakespeare. Goethe’s novel Th e Sorrows of Young Werther emerged in the same year, 1774. Its torrid semi-autobiographical tale of an impossible love-aff air contained a theme which would resonate for a century or more thereafter, best expressed by the painter of the title when he says: “I could not draw a line at


all now, not a line, and yet I have never been a greater painter than I am now.” Art existed, in other words, not as the product of externally enforced rules but as a by-product of individual feeling.

Such was its emphasis on personal creativity and the sense of self, that it was quite possible to be an ‘artist’ without even creating art itself, a theme taken up decades later by Keats in his proclamation that unheard melodies are sweeter than heard ones!

Th at sentiment, dramatically embodied by Beethoven’s deafness, would later come to characterise what we now know as the Romanticism of the 19th century. But this earlier form was distinct and temporary, the product of youthful passion that passes into a more sober maturity. Goethe and Schiller both abandoned it within a decade in favour of their Weimar classicism, Lenz soon lapsed into mental illness, and other key fi gures went off to join the army.

And so it all ended by the 1780s, a few years prior to the French Revolution, without anyone ever having given the movement a name.

But back in 1776, Friedrich Maximillian Klinger wrote a play set against the backdrop of the American Revolution, in which he advocated the liberation of the individual from the tyranny of outside forces and from the oppressive intellectual chains of rationalism. Th e play’s name was Sturm und Drang, literally ‘Storm and Urge’ but more frequently translated as ‘Storm and Stress’. While the play itself made no lasting impact, and Klinger himself ended up just a few years later as a Russian army offi cer, the title stuck as the name for this movement rejecting the rationalism of the Enlightenment and celebrating the tumultuous power of nature in all its human and ecological forms.

And when in 1909 Th éodore de Wyzewa wrote an article on Haydn’s music from the period 1765-1774, he ignored the anachronistic timeframe and applied the label Sturm und Drang to the great man’s symphonies of the period. Th ose doyens of modern musicology,

H.C. Robbins Landon and Charles Rosen then took it up, resulting in Haydn’s symphonies composed between 1768 and 1772, together with some of Mozart’s minor-key works, being labelled almost universally (and certainly by modern marketers!) as examples of the Sturm und Drang artistic style.

But it’s a label which the 18th-century composers, writers, philosophers and painters themselves had never even imagined, and when the same creative spirit eventually re-emerged outside of the German-speaking nations, it was in the wake of the French Revolution, and was aligned not just with individual works, but with an entire social movement whose infl uence still prevails today.


“A voice of fertile imagination, originality and expressive subtlety.”

CHICAGO TRIBUNE

BRETT DEANCONDUCTOR & COMPOSER

Brett Dean studied in Brisbane before moving to Germany in 1984 where he was a permanent member of the Berlin Philharmonic Orchestra for fourteen years. He began composing in 1988, initially concentrating on experimental fi lm and radio projects and as an improvising performer. Dean’s reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel´s Music (1995) and Carlo (1997) for strings, sampler and tape that he gained strong international recognition. In 2000 Dean returned to his native Australia to concentrate on his composition, and he now shares his time between homes in Melbourne and Berlin.

Now one of the most internationally performed composers of his generation, much of Dean’s work draws from literary, political, environmental or visual stimuli, including a number of compositions inspired by paintings by his wife Heather Betts. His music is championed by many leading conductors and orchestras worldwide, including Sir Simon Rattle, Andris Nelsons, Marin Alsop, David Robertson and Simone Young. In the 2012/13 season, Dean will be the focus of a ‘Composer Portrait’ by the Munich Philharmonic Orchestra, and will be Composer in Residence at the Grafenegg Festival.

In 2009, Dean won the Grawemeyer Award for music composition for his violin concerto Th e Lost Art of Letter Writing. His fi rst opera, Bliss, was commissioned and given its premiere in 2010 by Opera Australia in Melbourne, and has since received further performances in Sydney, Hamburg and at the Edinburgh International Festival. Forthcoming commissions include a large-scale choral-orchestral work for the Berlin Rundfunkchor, Melbourne Symphony and Los Angeles Philharmonic Orchestras, and a new Trumpet Concerto for Håkan Hardenberger commissioned by Grafenegg Festival, Leipzig Gewandhaus Orchestra, the Danish National Symphony and the City of Birmingham Symphony Orchestras.

Alongside his composing, Dean enjoys a busy career as a viola player, and since 2005 has been performing his own Viola Concerto with many of the top orchestras worldwide. Dean is also enjoying a blossoming conducting career, including recent conducting engagements with the Los Angeles Philharmonic, Concertgebouw Orchestra, BBC Philharmonic, and SWR Symphonieorchester Stuttgart as part of a season Artistic Residency.

Brett Dean’s music has been recorded for BIS and ABC Classics, the most recent release being a collection of his works on BIS including Water Music, Carlo and the Pastoral Symphony, performed by the Swedish Chamber Orchestra under the batons of Dean and HK Gruber.

www.intermusica.co.uk/dean

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Select Discography

As composer:

Brett Dean: “Water Music (BIS 1576) which includes Carlo, Pastoral Symphony and Water Music. Performed by the Swedish Chamber Orchestra with conductor H.K Gruber.

As soloist and composer:

Brett Dean - Sydney Symphony Live (300817) includes the viola concerto, Twelve Angry Men, and Komarov’s Fall performed with the Sydney Symphony conducted by Simone Young and Hugh Wolff.


RICHARD TOGNETTI AOARTISTIC DIRECTORAUSTRALIAN CHAMBER ORCHESTRA

Select DiscographyAs soloist:

BACH Sonatas for Violin and KeyboardABC Classics 476 59422008 ARIA Award Winner

BACH Violin ConcertosABC Classics 476 56912007 ARIA Award Winner

BACH Solo Violin Sonatas and PartitasABC Classics 476 80512006 ARIA Award Winner

(All three releases available as a 5CD Box set: ABC Classics 476 6168)

Musica Surfi ca (DVD)Best Feature, New York Surf Film Festival

As director:

GRIEG Music for String OrchestraBIS SACD-1877

Pipe DreamsSharon Bezaly, FluteBIS CD-1789

All available from aco.com.au/shop.

Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.

Tognetti performs on period, modern and electric instruments. 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 Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Jonny Greenwood, Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank.

In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: Th e Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf fi lm Horrorscopes and, in 2008, co-created Th e Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary fi lm Musica Surfi ca, which has won best fi lm awards at surf fi lm festivals in the USA, Brazil, France and South Africa.

As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS.

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

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.”

THE DAILY TELEGRAPH (UK)

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AUSTRALIAN CHAMBER ORCHESTRA

ACO MUSICIANS

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Madeleine Boud Violin

Rebecca Chan Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

One of the world’s most lauded chamber ensembles, the Australian Chamber Orchestra is renowned for its inspired programming and unrivalled virtuosity, energy and individuality. Its unique programming extends across six centuries, spanning 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 and a growing company of dedicated young players. 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, Dawn Upshaw, and Joseph Tawadros; singers Katie Noonan, Paul Capsis, Teddy Tahu Rhodes and Barry Humphries; and visual artists Jon Frank, Shaun Tan, Bill Henson and Michael Leunig.Australian violinist Richard Tognetti has been at the helm as Artistic Director since 1989, expanding the Orchestra’s national program, spearheading vast and regular international tours, injecting unprecedented creativity and unique artistic style into the programming and transforming the group into the energetic standing (except for the cellists) ensemble for which it is now internationally recognised. Th rough the ACO’s extensive commissioning program, more than 60 works have been added to the chamber orchestra repertoire, including pieces by Brett Dean, Jonny Greenwood and Carl Vine.Several of the ACO’s players perform on remarkable string instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Principal Violin Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Principal Violin Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund and Principal Cello Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andraea cello on loan from Peter Weiss AM HonDLitt.Th e ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include three-time ARIA Award-winning Bach recordings, multi-award-winning documentary fi lm Musica Surfi ca and the complete set of Mozart Violin Concertos. A full list of ACO recordings can be found at aco.com.au.As Australia’s only national orchestra the ACO presents world-class performances to over 9,000 subscribers across Australia, reaching regional audiences in every state and territory. Internationally, the ACO 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. Th ese specially selected stars of the future join ACO core players to form the Orchestra’s little sister orchestra ACO2, performing bold programs in concerts and education workshops for regional audiences throughout Australia.

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

MADELEINE BOUDViolinChair sponsored by Terry Campbell AO & Christine Campbell

SATU VÄNSKÄ≈Lead ViolinChair sponsored by Robert & Kay Bryan

NICOLE DIVALLViolaChair sponsored by Ian Lansdown

VERONIQUE SERRETViolin

CHRISTOPHER MOOREPrincipal ViolaChair sponsored by Tony Shepherd

TIMOVEIKKO VALVE+Principal CelloChair sponsored by Mr Peter Weiss AM HonDLitt

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

RICHARD TOGNETTI AO§

Director & ViolinChair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

§ Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor* Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund+ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andræ cello kindly on loan from Peter Weiss AM HonDLitt# Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andræ cello kindly on loan from the Australia Council

Players dressed by AKIRA ISOGAWA

ViolinCAMERON HILLViolaSASHA BOTA OboesSHEFALI PRYOR1 MICHAEL PISANI2

BassoonsBROCK IMISON2

MELISSA WOODROFFEHornsBEN JACKS1

RACHEL SILVER 2MICHAEL GAST3

JENNY MCLEODSNEYD 3 Courtesy;1 Sydney Symphony2 Melbourne Symphony Orchestra3 Minnesota Orchestra

DANIEL YEADONCello

MAXIME BIBEAUPrincipal BassChair sponsored by John Taberner & Grant Lang

JULIAN THOMPSON#

Cello Chair sponsored by the Clayton Family

REBECCA CHANViolinChair sponsored by Ian Wallace & Kay Freedman

MARK INGWERSENViolin

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

AIKO GOTOViolinChair sponsored by Andrew & Hiroko Gwinnett


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

ACO BEHIND THE SCENES

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

ARTISTIC & OPERATIONSLuke ShawHead of Operations and Artistic Planning Alan J. BensonArtistic AdministratorLisa MullineuxAssistant Tour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian/Music TechnologyAssistant

EDUCATIONVicki NortonEducation and Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCECathy Davey Chief Financial Offi cerSteve Davidson Corporate Services ManagerShyleja PaulAssistant Accountant

DEVELOPMENTAlexandra Cameron-FraserCorporate Relations andPublic Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveLillian ArmitagePhilanthropy ManagerAli BronsonPatrons and FoundationsExecutiveStephanie IngsInvestor Relations ManagerJulia GlassDevelopment Coordinator

MARKETINGRosie RotheryMarketing ManagerAmy GoodhewMarketing CoordinatorClare MorganNational PublicistHazel SavagePublicity Coordinator and VideographerChris Griffi thBox Offi ce ManagerDean WatsonCustomer Relations ManagerDavid SheridanOffi ce Administrator and Marketing Assistant

INFORMATION SYSTEMSKen McSwainSystems and Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestJohn BorghettiLiz Cacciottolo

Chris FroggattJanet Holmes à Court ACHeather Ridout

Andrew StevensJohn TabernerPeter Yates AM

BOARD

Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman

Richard Tognetti AOArtistic Director


ACKNOWLEDGEMENTSGOVERNMENT SUPPORT

VENUE SUPPORT

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

PO Box 7585Arts Centre MelbournePO Box 7585St Kilda Road, Melbourne VIC 8004Telephone: (03) 9281 8000Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMs Janet Whiting (President)Ms Deborah Beale, Ms Terry Bracks,Mr Julian Clarke, Ms Catherine McClements,Mr Graham Smorgon, Prof Leon van Schaik ao, Mr David Vigo

EXECUTIVE GROUP

Chief Executive Ms Judith IsherwoodCorporate Services Ms Jodie BennettPerforming Arts Mr Tim BrinkmanFacilities & Asset Management Mr Michael BurnsGeneral Manager – Development, Corporate Communications & Special Events Ms Louise GeorgesonCustomer Enterprises Mr Kyle Johnstone

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.Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue.In the interests of public health, Arts Centre Melbourne is a smoke-free area.

AEG OGDEN (PERTH) PTY LTD

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

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

THE PERTH THEATRE TRUSTChairman Dr Saliba Sassine

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

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

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


All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—131 — 16973 — 1/020213

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

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Chairman Brian Nebenzahl OAM RFD

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

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

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

ACKNOWLEDGEMENTS

PO Box 3567, South Bank, Queensland 4101Tel: (07) 3840 7444Chair Henry Smerdon amDeputy Chair Rachel Hunter

TRUSTEESSimon Gallaher, Helene George, Bill Grant, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White

EXECUTIVE STAFFChief Executive John KotzasDirector – Marketing Leisa BaconDirector – Presenter Services Ross CunninghamDirector – Development Jacquelyn MaloufDirector – Corporate Services Kieron RoostDirector – Patron Services Tony Smith

ACKNOWLEDGMENTTh e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Rachel Nolan mpMinister for Finance, Natural Resouyrces and Th e ArtsDirector-General, Department of the Premier and CabinetJohn BradleyDeputy Director-General, Arts Queensland Leigh Tabrett PSM

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

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUSTMr Kim Williams am (Chair)Ms Catherine Brenner, Th e Hon Helen Coonan,Mr Wesley Enoch, Ms Renata Kaldor ao,Mr Robert Leece am rfd, Mr Peter Mason am,Dr Th omas Parry am, Mr Leo Schofi eld am,Mr John Symond am

EXECUTIVE MANAGEMENTChief Executive Offi cer Louise Herron Executive Producer SOH Presents Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia PucciChief Financial Offi cer Claire Spencer

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

A City of Sydney VenueClover Moore Lord MayorManaged byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix FounderJack Frost General ManagerCITY RECITAL HALL ANGEL PLACE

2 –12 Angel Place, Sydney, AustraliaGPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000Box Offi ce 02 8256 2222 or 1300 797 118Facsimile 02 9233 6652 Website www.cityrecitalhall.com


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 BallJoan ClemengerWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal Violin

Satu VänskäPrincipal ViolinRobert & Kay Bryan

Christopher MoorePrincipal ViolaTony Shepherd AO

Timo-Veikko ValvePrincipal CelloPeter Weiss AM HonDLitt

Maxime BibeauPrincipal Double BassJohn Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAndrew & Hiroko Gwinnett

Mark Ingwersen Violin

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Madeleine Boud ViolinTerry Campbell AO & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Viola ChairPhilip Bacon AM

Melissa Barnard CelloTh e Bruce & Joy Reid Foundation

Julian Th ompson CelloTh e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICIBrian Nixon Mr R. Bruce Corlett AM &Principal Timpani Mrs Ann CorlettMr 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 Weiss AM HonDLitt

LEADER $500,000–$999,999

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

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

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

SONATA $25,000–$49,999

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

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

PATRONS $500 $4,999June & Jim ArmitageJohn Landers & Linda SweenyAlison ReeveAngela RobertsAnonymous (1)

PETER WEISS AM HonDLitt, PATRON

FOUNDING PATRONS

Guido & Michelle Belgiorno-NettisBill BestBenjamin BradySteven DuchenBrendan HopkinsJohn TabernerIan Wallace & Kay Freedman

FOUNDING INVESTORS

Bill Best (Chairman)Jessica BlockJanet Holmes à Court ACJohn Leece OAMJohn Taberner

BOARD MEMBERS

NISEKO SUPPORTERSA J AbercrombieWarwick AndersonBreeze FamilyTim BurkeSimone CarsonSuzy CrittendenKathryn & Andrew Darbyshire AMPhil & Rosie HarknessLouise Hearman & Bill HensonSimon & Katrina Holmes à Court Family TrustLorna InmanRobert Johanson & Anne Swann

Linda KeyteRichard & Lizzie LederNaomi MilgromClarke & Leanne MorganKerry Gardner & Andrew Myer James & Catriona PettitJill Reichstein SchiavelloPeter ScottJohn & Nicky StokesDr Mark & Mrs Anna YatesOliver Yates

NISEKO SUPPORTERSTh e ACO would like to pay tribute to the following donors who are supporting our continued involvement with the Niseko Winter Music Festival.

NISEKO PATRONSAnn Gamble MyerLouise & Martyn Myer FoundationPeter Yates AM & Susan Yates


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

INTERNATIONAL TOUR PATRONS

International Tour PatronsCatherine Holmes à Court-Mather

International Tour SupportersJenny & Stephen Charles

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

PATRONSWendy EdwardsEuroz Charitable Foundation

Don & Marie ForrestTony & Rose PackerNick & Claire Poll

Gavin & Kate RyanJon & Caro StewartSimon & Jenny Yeo

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 PATRONSMirek GenerowiczPeter & Valerie Gerrand V Graham Margot Woods & Arn SprogisAnonymous (1)


EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert AO & Mrs Libby AlbertDaria & Michael BallSteven BardyGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinCarapiet FoundationMark CarnegieDarin Cooper FamilyJohn B Fairfax AOChris & Tony FroggattBelinda Hutchinson AMAngus & Sarah JamesPJ Jopling QCMiss Nancy KimptonPaula KinnaneMr Bruce & Mrs Jennifer LanePrudence MacLeodAlf MoufarrigeAlex & Pam ReisnerMr John Singleton AMBeverley SmithJohn Taberner & Grant LangAlden Toevs & Judi WolfTh e Hon Malcolm Turnbull MP & Ms Lucy Turnbull AOPeter Weiss AM HonDLittE XipellAnonymous (1)

DIRETTORE $5,000$9,999Th e Abercrombie Family FoundationGeoff AlderTh e Belalberi FoundationJenny & Stephen CharlesLeith & Darrel ConybearePeter & Tracey CooperBridget Faye AMIan & Caroline FrazerEdward C GrayMaurice Green AM & Christina GreenAnnie HawkerRosemary HoldenWarwick & Ann JohnsonJulie KantorKeith KerridgeLorraine LoganPeter LovellDavid Maloney & Erin FlahertyJulianne MaxwellLouise & Martyn Myer FoundationMarianna & Tony O’SullivanSandra & Michael Paul EndowmentJohn RickardTh e Roberts FamilyMark & Anne RobertsonPaul SalteriPaul Schoff Seleco Foundation Ltd

Kerry Stokes AC & Christine SimpsonIan Wallace & Kay FreedmanIan Wilcox & Mary KostakidisCameron WilliamsAnonymous (2)

MAESTRO $2,500$4,999Jane AllenTiff any AndrewsWill & Dorothy Bailey BequestDoug & Alison BattersbyBerg Family FoundationVirginia BergerBill & Marissa BestPatricia BlauDr David & Mrs Anne BolzonelloCam & Helen CarterJenny CharlesCaroline & Robert ClementeDr Peter CliftonJudy CrawfordJohn & Gloria DarrochKate DixonLeigh EmmettMichael FitzpatrickAnn Gamble MyerRhyll GardnerLiangrove FoundationWarren GreenNereda Hanlon & Michael Hanlon AMLiz Harbison

ACO DONATIONS PROGRAM

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


Angela James & Phil McMasterVanessa JenkinsMacquarie Group FoundationTh e Marshall FamilyTh e Michael FamilyP J MillerDonald & Jane MorleyPatricia H Reid Endowment Pty LtdRuth RitchieD N SandersCheryl SavageBrian SchwartzGreg Shalit & Miriam FaineMs Petrina SlaytorAmanda Staff ordPhilippa StoneDr & Mrs R TinningRalph Ward-Ambler AM & Barbara Ward-AmblerAnonymous (2)

VIRTUOSO $1,000$2,499Annette AdairMr L H & Mrs M C AinsworthAntoinette AlbertDavid & Rae AllenAndrew AndersonsDavid ArnottSibilla BaerTh e Beeren FoundationLinda & Graeme BeveridgeJessica BlockKathy BorrudBen & Debbie BradyVicki BrookeSally BuféNeil Burley & Jane MunroMichael CameronCannings CommunicationBella CarnegieSandra CassellJulia Champtaloup & Andrew RotheryGeorg & Monika ChmielAngela & John ComptonBernadette CooperAnne & David CraigJudy CrollMarie DalzielLindee & Hamish DalziellMrs June DanksMichael & Wendy DavisMartin DolanAnne & Th omas DowlingJennifer Dowling

Dr W DowneyProfessor Dexter Dunphy AMBronwyn EslickPeter EvansHelen Elizabeth FairfaxElizabeth FinneganStephen FitzgeraldLynne FlynnNancy & Graham FoxR FreemantleJane & Richard FreudensteinColonel Tim FrostAnne & Justin GardenerJaye GardnerDaniel & Helen GauchatPaul Gibson & Gabrielle CurtinColin Golvan SCRichard & Jay Griffi nLyndsey HawkinsPeter HearlReg Hobbs & Louise CarbinesMichael Horsburgh AM & Beverley HorsburghPenelope Hughes Wendy HughesPam & Bill HughesGraeme HuntGlen Hunter & Anthony NiardoneStephanie & Michael HutchinsonBrian JonesD & I KallinikosLen La FlammeGreg Lindsay AO & Jenny LindsaySydney & Airdrie LloydJudy LynchMartin Family in memory of Lloyd Martin AMKevin & Deidre McCannBrian & Helen McFadyenIan & Pam McGawJ A McKernanG & A NelsonNola NettheimAnne & Christopher PageRowland Patersonpeckvonhartel architectsDavid Penington ACAyesha PenmanTom PizzeyMark RenehanDr S M Richards AM & Mrs M R RichardsWarwick & Jeanette Richmond In Memory of Andrew RichmondDavid & Gillian RitchiePeter J Ryan

In Memory of H. St. P. ScarlettJeff SchwartzIn memory of Elizabeth C SchweigPeter & Ofelia ScottJennifer SeniorTony ShepherdPaul SkamvougerasDiana Snape & Brian Snape AMMaria Sola & Malcolm DouglasEzekiel Solomon AMK W SpenceCisca SpencerRobert StephensGeoff rey StirtonMr Tom StoryDr Douglas Sturkey CVO AMDr Charles Su & Dr Emily LoPaul TobinAnne TonkinNgaire TurnerLoretta van MerwykKay VernonBill WatsonM W WellsJanie Wanless & Nev WitteySir Robert WoodsNick & Jo WormaldDon & Mary Ann YeatsWilliam YuilleAnonymous (15)

CONCERTINO $500$999Antoinette AckermannMrs Lenore Adamson in memory of Mr Ross AdamsonPeter & Catherine AirdElsa AtkinRuth BellMax BenyonBrian & Helen BlytheDr Anthony BookallilBrian BothwellDenise BraggettJulie CarriolKirsten CarriolFred & Jody ChaneyColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversJohn ClaytonClearFresh WaterLaurence Cox AO & Julianne CoxSam Crawford ArchitectsProfessor John Daley

ACO DONATIONS PROGRAM


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

ACO DONATIONS PROGRAMTed & Christine DauberMari DavisDr Christopher DibdenMike & Pamela DowneyIn Memory of Raymond DudleyAnna DunphyM T & R L ElfordSuellen EnestromBarbara FargherMichael FogartyPatricia GavaghanBrian GoddardProf Ian & Dr Ruth GoughPhilip GrahamKatrina GroshinskiDr Annette GrossMatthew HandburyMr Ken HawkingsDr Penny Herbert in memory of Dunstan HerbertJennifer HershonPeter & Ann HollingworthDr & Mrs Michael HunterDiane IpkendanzPhilip & Sheila JacobsonBarry Johnson & Davina Johnson OAMMrs Caroline JonesMrs Angela KarpinBruce & Natalie KellettDanièle KempRobert Leece AMMegan LoweJohn LuiBronwyn & Andrew LumsdenJames MacKeanRoderick & Leonie MathesonJanet MattonDr & Mrs Donald MaxwellPhilip Maxwell & Jane Th amDr Hamish & Mrs Rosemary McGlashanColin McKeithMrs Robyn McLayJoanna McNivenI MerrickJan MinchinJulie MosesHelen & Gerald Moylan

Hon Dr Kemeri Murray AOSusan NegrauJ NormanGraham NorthSelwyn M OwenJosephine PaechL ParsonageDeborah PearsonKevin PhillipsMiss F V Pidgeon AMMichael PowerLarry & Mickey RobertsonTeam SchmoopyManfred & Linda SalamonGreg & Elizabeth SandersonGarry Scarf & Morgie BlaxillKen & Lucille SealeMr Berek Segan OBE AM & Mrs Marysia SeganJohn Sydney SmithDr Fiona StewartProf Robert SutherlandIn memory of Dr Aubrey SweetMatthew TooheyDavid WalshG C & R WeirGordon & Christine WindeyerLee WrightMr Hugh WyndhamBrian ZulaikhaAnonymous (18)

CONTINUO CIRCLE BEQUEST PROGRAMTh e late Kerstin Lillemor Andersen Dave BeswickRuth Bell Sandra Cassell Th e late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett Th e late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes Th e late Pauline Marie JohnstonTh e late Mr Geoff Lee AM OAM Mrs Judy Lee Th e late Richard Ponder Ian & Joan ScottMargaret & Ron Wright Mark Young Anonymous (13)

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


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

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

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

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

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 OrchardTony O’Sullivan Head of Investment Banking Lazard AustraliaHeather Ridout DirectorReserve Bank of

AustraliaPeter ShorthouseClient AdvisorUBS Wealth Management John Taberner Consultant Freehills

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

MELBOURNE DEVELOPMENT COUNCILDebbie BradyBen BradyStephen Charles

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

Jan Minchin DirectorTolarno Galleries

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

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

Sydney Margie BlokHelene BurtLiz Cacciottolo (Chair)Judy CrawfordDr Dee DebruynDi CollinsJudy Anne EdwardsChris FroggattElizabeth HarbisonSusan HarteBee Hopkins

Sarah JenkinsVanessa JenkinsCharlotte MackenziePrue MacLeodJulianne MaxwellMarianna O’SullivanJulia PincusAmanda PurcellDavid StewartTom Th awleyNicky Tindill


ACO PARTNERS2013 CHAIRMAN’S COUNCIL MEMBERSTh e Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis AMChairmanAustralian Chamber Orchestra &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 BondGeneral ManagerPeter 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 & Mrs Robin Crawford

Rowena Danziger AM & Kenneth G. Coles AM

Dr Bob EveryChairmanWesfarmers

Mr Robert ScottManaging DirectorWesfarmers Insurance

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr Colin Golvan SC & Dr Deborah Golvan Mr John GrillChairmanWorleyParsons

Mrs Janet Holmes à Court AC

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

Ms Catherine Livingstone AOChairmanTelstra

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 Merz

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Geoff McClellanPartnerFreehills

Mr Donald McGauchie AO ChairmanNufarm Limited

Ms Naomi Milgrom AO

Ms Jan Minchin DirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Alf Moufarrige Chief Executive Offi cerServcorp

Mr Scott PerkinsHead of Corporate FinanceDeutsche Bank Australia/New Zealand

Ms Margie Seale and 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 Sumner DirectorMossgreen Pty Ltd

Mr Mitsuyuki (Mike) Takada Managing Director & CEOMitsubishi Australia Ltd

Mr Michael Triguboff Managing DirectorMIR InvestmentManagement Ltd

Th e Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO

Ms Vanessa WallaceDirectorMr Malcolm GarrowDirectorBooz & Company

Mr Kim Williams AMChief Executive Offi cerNews Limited

Mr Geoff WilsonChief Executive Offi cerKPMG Australia

Mr Peter Yates AM Chairman, Royal Institution of AustraliaDirector, AIAA Ltd


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

FOUNDING PARTNER NATIONAL TOUR PARTNERS

EVENT PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

PRINCIPAL PARTNER

CONCERT AND SERIES PARTNERS

Daryl DixonPeter Weiss AM HonDLitt Warwick & Ann Johnson

GPO SydneyNo. 1 Martin Place

ACO3D FOUNDING PARTNER


newsACO NEWS • FEBRUARY 2013

Our annual Melbourne gala fundraising dinner, presented by Tiffany & Co., was the perfect way to fi nish our 2012 season in Melbourne last November. John Wylie AM and Myriam Wylie generously hosted the dinner for the fi rst time at their beautiful home in Elsternwick and world renowned Relais & Châteaux chef Jacques Reymond was in the kitchen preparing a beautiful French-inspired feast.

Following drinks on the terrace in the early evening sunshine, we performed a program of Elgar, Rameau and Tchaikovsky for the guests who included The Hon. Paul Keating, The Hon. Rod Kemp, Martyn Myer AO and Louise Myer. After dinner, guests bid on some amazing prizes in a short live auction.

The evening was a great success, raising $130,000 in support of our 2013 Victorian Regional Tour. Funds raised at the event will help us to stage free concerts and schools workshops during the tour as well

as to continue all of our education work in Melbourne, reaching young musicians who would never otherwise have the opportunity.

We would like to thank John and Myriam Wylie and the Melbourne Development Committee for their support.

THE ACO’S SPRING SOIRÉETuesday 13 November, Melbourne

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ACO Chairman Guido Belgiorno-Nettis welcomes guests


Announcing our 2013 Education ProgramsIn 2013 we continue to perform, mentor, entertain and inspire children of all ages throughout Australia. We bring music to primary school children all over Sydney, combining the visual arts and music curriculums to deepen learning in both subjects, and provide secondary school students access to our musicians through workshops, open rehearsals, concerts and our week-long mentoring program, ACO Academy. Our hand-picked 2013 Emerging Artists join

with members of the orchestra to form ACO2, presenting concerts and workshops for school aged children in regional centres of Victoria, NSW and Queensland.

This June we’re particularly excited to present ACO2’s main-stage national tour debut led by Richard Tognetti in a program he calls “a classic old-fashioned showcase of string orchestra repertoire” featuring German cellist Daniel Müller-Schott.

ACO2 after a performance at the Four Winds Festival in Bermagui in 2012.

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EDUCATION NEWS

Principal Viola, Christopher Moore is very proud to present the newest member of the ACO family. Baby Dorothea Margaret Moore

was born on 21 November 2012 at RPA, Sydney. Dorothea joins older sister Isabella, four.

ACO BABY NEWS


YOUR SAYFeedback about the 2012 Russian Visions concert tour “So much energy and passion. The whole

programme was brilliant.”

Margaret S

“What a concert to fi nish a wonderful 2012

season on! The Prokofi ev and Shostakovich

in the fi rst half was nuts - a musical

madhouse! Steven’s encore brought tears to

the eyes. Bring on 2013!”

Gail C

“The way the orchestra brings music to life

is beautiful. Both the piano and trumpet

were magical...ACO is how I love to get my

classical music fi x! Looking forward to next

year.”

Alison H

“Steven Osborne was superb and the

interaction between him and the other

musicians – and the trumpeter - was

exhilarating. But even without such treats

as guest musicians, the ACO is simply

outstanding.”

Margaret D

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

Providing a complete service in hospitality

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Tognetti's Mozart Concert Program

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Transcript of Tognetti's Mozart Concert Program