with Christoph Eschenbach,

Joshua Bell & William BartonSATURDAY 3 AUGUST, 8PM / Sydney Opera House, Concert HallThe Australian Youth Orchestra is supported

by the Australian GovernmentPrincipal Sponsor

RepertoireAustralian Youth Orchestra

Since its first performance in 1957, the Australian Youth Orchestra has performed in some of the world’s most prestigious concert halls and festivals, fulfilling the role of cultural ambassador for Australia on no fewer than 20 international tours across Europe, Asia and America.

Aged up to 25 years, orchestra members are selected through a highly competitive annual audition process and represent the best young musical talent in the nation. The orchestra regularly attracts superlatives from the ranks of the international music press, confirming its high standing throughout the world. Geoff Brown of The Times, said of the AYO’s performance at the Proms in 2010:

“A succulent refinement of tone and touch, an adult grasp of emotions and cultural worlds usually thought beyond any teenager; in any hemisphere.”

The orchestra also performs across Australia. Landmark concerts include Strauss’s monumental An Alpine Symphony under the baton of Simone Young at the Queensland Performing Arts Centre. In 2011 the orchestra performed the world premiere of Carl Vine’s Violin Concerto at the Sydney Opera House with soloist Dene Olding and conductor Thomas Dausgaard. Other critically acclaimed appearances include performances of Britten’s opera Peter Grimes with the West Australian Opera at the Perth International Arts Festival, the award-winning Beethoven cycle conducted by John Nelson at the Adelaide Festival Centre, and a concert performance of Wagner’s Tristan and Isolde at the Queensland Music Festival.

AYO is committed to access and innovation. Its pioneering AYO Digital Connection Initiative developed in partnership with Accenture, connects musicians in remote and regional Australia with masterclasses, live-streaming of concerts and online auditions.

Today, more than 65% of musicians working in Australian orchestras are AYO alumni and countless AYO alumni are members of the finest professional orchestras worldwide.

Each year, the Australian Youth Orchestra presents training programs across metropolitan and regional Australia, ranging from orchestral fellowships, to tailored regional residencies for quartets with the Tasmanian & Melbourne symphony orchestras, to seasons by the Australian Youth Orchestra, or the intense environment of over 230 young musicians-in-residence at AYO National Music Camp.

Australian Youth Orchestra is supported by the Australian Government and its Principal Sponsor Accenture.

Australian Youth Orchestra Christoph Eschenbach, conductor

SCULTHORPE (b.1929) Earth CryWilliam Barton, didgeridoo

TCHAIKOVSKY (1840-1893) Violin Concerto in D Major, Op. 35Joshua Bell, violin

i) Allegro moderatoii) Canzonetta. Andanteiii) Finale. Allegro vivacissimo

INTERVAL (20 minutes)

STRAVINSKY (1882-1971) The Rite of Spring (1967)

Part 1: The Adoration of the EarthIntroductionDance of the Young GirlsRitual of AbductionSpring RoundsGames of the Rival TribesProcession of the SageAdoration of the EarthDance of the Earth

Part 2: The SacrificeIntroductionMystic Circles of Young GirlsGlorification of the Chosen OneEvocation of the AncestorsRitual of the AncestorsSacrificial Dance

This concert is being webcast live as part of AYO’s Digital Connection Initiative and recorded for delayed broadcast thanks to ABC Classic FM.

*Please note that filming and flash photography is not permitted during the performance.

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Cover: Joshua Rogan Trumpet

Marking its 65thanniversary, the Australian Youth Orchestra will embark on its 21stInternational Tour inAugust 2013.

Young Euro Classic KonzerthausBerlin, GermanyFriday 9 August 8:00pm

Concert info at www.konzerthaus.de

Grafenegg Music Summer Schloss Grafenegg WolkenturmGrafenegg, Austria Saturday 10 August 8:00pm

Concert info at grafenegg.com

Mecklenburg-Vorpommern UlrichshusenMecklenburg-Vorpommern, GermanySunday 11 August 5:00pm

Concert info at www.festspiele-mv.de

Robeco SummerNightsHet ConcertgebouwAmsterdam, The NetherlandsTuesday 13 August 8:00pm

Concert info at www.concertgebouw.nl

Kultur Sommer Nordhessen Kongress Palais Kassel– StadthalleKassel, GermanyThursday 15 August 8:00pm

Concert info at www.kongress-palais.de

Rheingau Musik Festival KurhausWiesbaden, GermanyFriday 16 August time 8:00pm

Concert info at www.wiesbaden.de

Menuhin Festival Gstaad Festival TentGstaad, SwitzerlandSaturday 17 August 7:30pm

Concert info at www.menuhinfestivalgstaad.ch

AYO perform in Berlin, at the Konzerthaus, in 2007

A MUSICAL SUMMER WITH AYO

Australian Youth Orchestra

VIOLIN 1 Glenn Christensen ConcertmasterZoe Freisberg Yena Choi Jonathan Mui Elena Phatak Liam Oborne Yuhki Mayne Hannah Buckley Courtenay Cleary Kyla Matsuura-Miller Jesre Stenson Hannah Walters Ben Spiers Bridget O’Donnell Rollin Zhao Sonia Wilson

VIOLIN 2 Hayato Simpson PrincipalVictoria Bihun Brett Yang Iona Allan Emily Sheppard Annabelle Swainston Jasmin Parkinson-StewartLawrence Lee Riley Skevington Sophie Edelman Imogen Gilfedder-Cooney Julianna Kim Mia Stanton Alexander Chiu

VIOLA Tom Higham PrincipalCameron Campbell Katie Yap Martin Alexander Alexina Hawkins Vivian Wheatley Elizabeth Woolnough Sariah Xu Gregory Daniel Julia Doukakis Grace Hunt Patrick Brearley

CELLO Timmothy Oborne Co-PrincipalDaniel Smith Co-PrincipalJordonne Colley Jonathan Bekes Rira Kong Talulah Yunkers James Morley Nils Hobiger Emma Rayner Joseph Freer

DOUBLE BASSMuhamed Mehmedbasic PrincipalBonita Williams Aurora Henrich Jonathan Heilbron Rhys McCleary Shandelle Horsford Daniel Dean Oliver Simpson

FLUTE Kate Proctor PrincipalAnna Cooper Rosie Gallagher Lydia Sharrad

PICCOLO Gavin Zev Principal

OBOE Emmanuel Cassimatis Co-PrincipalEnnes Mehmedbasic Co-PrincipalToby Thatcher Callum Hogan

COR ANGLAIS Stephanie Cooper Principal

CLARINET / BASS CLARINET Lloyd Van’t Hoff PrincipalAlexei Dupressoir Ben Clapin Alexander McCracken Magdalenna Krstevska

BASSOON Matthew Kneale PrincipalLaura Brown Timothy Murray Harley Milano

CONTRA BASSOON Christopher Martin Principal

FRENCH HORN Benjamin Messenger PrincipalGillian Williams Alden Cai Lauren Whitehead Kara Hahn

Alex Miller* Sebastian Dunn Stephanie Davis*

TRUMPET Josh Rogan Co-PrincipalRainer Saville Co-PrincipalLouisa Trewartha Timothy Francis Daniel Henderson

TROMBONE Colin Prichard^ PrincipalMichael Ingle

BASS TROMBONE Sam Nolan Principal

TUBA Karina Filipi PrincipalMark Leece

TIMPANI Joel Bass PrincipalShanie Klas

PERCUSSION Robert Allan PrincipalShanie Klas Mathew Levy Stefania Kurniawan Euphina Yap

HARP Qian Ying Ong Principal

* Wagner Tuba ^ Bass Trumpet

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CHRISTOPH ESCHENBACHCONDUCTOR

Christoph Eschenbach, Music Director of both the National Symphony Orchestra and the John F. Kennedy Center for the Performing Arts, is in great demand by the finest orchestras and opera houses the world over.

He and the NSO have successfully undertaken their first two tours together, the Americas Tour 2012, and this season’s tour of Europe and Oman. He and the NSO are also performing for the first time together at Carnegie Hall this season. Washington highlights of 2012-2013 include a residency with Lang Lang, with three different Beethoven concertos and a duo-piano recital, among other performances. Maestro Eschenbach and the NSO

JOSHUA BELLVIOLIN

Often referred to as the “poet of the violin” Joshua Bell’s stunning virtuosity, beautiful tone and charismatic stage presence have brought him universal acclaim. An Avery Fisher Prize recipient and Musical America’s 2010 Instrumentalist of the Year, Bell is the new Music Director of the Academy of St Martin in the Fields; the first person to hold this title since Sir Neville Marriner formed the orchestra in 1958. Their first recording under Bell’s leadership of Beethoven’s 4th and 7th symphonies from Sony Classical debuted in February at #1 on the Billboard Classical music chart.

Bell has recorded more than 40 CDs garnering Mercury, Grammy, Gramophone and Echo Klassik awards. Recent releases include French Impressions with pianist Jeremy Denk, the eclectic At Home With Friends, the Defiance soundtrack, Vivaldi’s The Four Seasons, and Tchaikovsky’s Violin Concerto with the Berlin Philharmonic, The Red Violin Concerto, Voice of the Violin, and Romance of the Violin, which Billboard named the 2004 Classical CD of the Year, and Bell the Classical Artist of the Year.

His discography encompasses critically-acclaimed performances of the major violin repertoire in addition to John Corigliano’s Oscar-winning soundtrack, The Red Violin.

Born in Bloomington, Indiana, Bell received his first violin at age four and at age 12 began studying with Josef Gingold, at Indiana University. Two years later Bell came to national attention in his debut with Riccardo Muti and the Philadelphia Orchestra and, at age 17, made his Carnegie Hall debut. Bell’s career has now spanned over 30 years as a soloist, chamber musician, recording artist, and conductor.

Bell performs on the 1713 Gibson ex-Huberman Stradivarius.

Appears by arrangement with IMG Artists.

www.joshuabell.com

have participated in the Kennedy Center’s Nordic Cool 2013 festival; and as pianist he will perform chamber music with NSO musicians and guest artists on the Millennium Stage and in the Concert Hall. Particularly noteworthy among his engagements with other orchestras are the Nobel Prize Concert in Stockholm; and a number of engagements in Vienna, including concerts with the Vienna Philharmonic and Lang Lang; Schubert Lieder recitals with Matthias Goerne at the Musikverein; and conducting Capriccio at the Vienna State Opera. He will conduct and record Eugene Onegin in Budapest, conduct the London Philharmonic in London and on tour, and will also lead the Israel Philharmonic, Orchestre de Paris, NDR-Hamburg, WDR-Köln, and the Munich Philharmonic. In America, he has made guest appearances with the Boston Symphony, New York Philharmonic, and the Los Angeles Philharmonic, in addition to his ten weeks of concerts with the NSO. Maestro Eschenbach will return to the Beijing Symphony, China National Symphony for the New Year’s concerts, and Shanghai Symphony Orchestra.

A prolific recording artist over five decades, Christoph Eschenbach has an impressive discography as both a conductor and a pianist

on a number of prominent labels. Currently recording projects with the NSO are under discussion with Ondine; his first recording with the National Symphony was released last season, Remembering JFK. Maestro Eschenbach’s discography includes recordings with the Philadelphia Orchestra (Ondine), the Orchestre de Paris (Ondine and Deutsche Grammophon), London Philharmonic (EMI/LPO Live), London Symphony (DG/BMG), Vienna Philharmonic (Decca), NDR Sinfonieorchester (BMG/Sony and Warner), and Houston Symphony (Koch), among others, and many performances as pianist. His recordings have received critical acclaim and prestigious honors, including BBC Magazine’s Disc of the Month, Gramophone’s Editors’ Choice, and the German Record Critics’ Award. His recent Ondine recording of the music of Kaija Saariaho with the Orchestre de Paris and soprano Karita Mattila won the 2009 MIDEM Classical Award in Contemporary Music. Of particular note is his recording and filming of the full cycle of Mahler symphonies, available on his web site for free streaming.

For more information, please visit www.christoph-eschenbach.com and www.nationalsymphony.org.

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WILLIAM BARTONDIDGERIDOO

FABIAN RUSSELLASSOCIATE CONDUCTOR

William has been playing didgeridoo for over 20 years. He first started learning the instrument in Mount Isa, in far north western Queensland, and has been passionate about community engagement with audiences from an early age. William has been working with traditional dance groups and fusion/rock jazz bands, orchestras, string quartets and mixed ensembles, as well as touring internationally, since he was 15 years old. His career highlights include the G’day USA tour with Adelaide Symphony Orchestra; the City of London Festival; being Commissioned to write and perform the world premiere of a new work written for members of the Berlin Philharmonic Orchestra in 2010; a private concert presentation for Queen Sofia of Spain; performing at the World Expo, Shanghai; the Una Notte Australiana (An Australian Night) at the Vatican Museums’, Rome; performing at the 2008 Beijing Olympics Opening Ceremony; and a tour of Italy with the Sydney Symphony Orchestra.

Fabian Russell has been at the forefront of the Australian classical music industry over the last twenty five years as Conductor, Artistic Director, teacher and orchestral musician, holding positions with Sydney Symphony Orchestra, Orchestra Victoria and Melbourne Symphony Orchestra. In 2002 he founded The Orchestra Project - a training orchestra for pre-eminent young Australian musicians. Over the past ten years Fabian has been engaged to conduct AYO, Melbourne Symphony, Sydney Symphony Sinfonia, ANAM and most of Australia’s youth and university orchestras. In 2008 Fabian was invited to be Principal Guest Conductor of the Melbourne Youth Orchestra and was subsequently appointed Principal Conductor and Artistic Director. In 2012 Fabian was appointed Principal Conductor of the Monash Academy Orchestra at the Monash University Academy of the Performing Arts and was also appointed Artistic Director and Principal Conductor of the Tasmanian Discovery Orchestra.

William won the 2012 ARIA award for best classical album for his work Kalkadungu. William is also an honorary doctorate recipient of Griffith University (2009); an honorary doctorate recipient of Sydney University (2010); an ambassador for the Australian made Australian Grown campaign; a ‘Friend of Australia’ for Tourism Australia; a Lord Mayors Fellowship recipient of Brisbane City Council and a co-winner of the Music Council of Australia/Freedman Foundation Fellowship for Classical Music.

Other instruments played include electric and acoustic guitar, and bass.

“He’s one of the great virtuosos […] It’s a sound I had heard before, but never with that sort of technique. The possibilities are extraordinary. This is a great man. He radiates. You watch him and think, ‘this is impressive’. But the players were very happy to have made the connection. The point is to make the step. And I think everyone learned from everybody else, and everybody has made contact. That’s just the start.” – Sir Simon Rattle, Berliner Philharmoniker.

In January this year he was Conductor at AYO’s National Music Camp, and this year will make appearances at the Australian International Summer Orchestra Institute, with Melbourne Chamber Orchestra, and made his opera debut with Victorian Opera conducting John Adam’s Nixon in China.

Fabian was awarded the Sir Winston Churchill Fellowship in 2011, and is an international adviser to the London based Australian Music Foundation.

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Peter SCULTHORPE (born 1929)Earth Cry

In celebration of his 50th birthday in 1979, Peter Sculthorpe composed the orchestral work Mangrove, its lush exuberance in startling contrast to the starkness of the Sun Music series which had made his name in the 1960s. For a time, the popular appeal and international success of Mangrove cheered the composer’s view of his work, reflecting the vibrant promise of Australia:

“Whenever I have returned from abroad in recent years, this country has seemed to me one of the last places on earth where one could honestly write quick and joyous music.”

He seemed poised to write a new series of works, as celebratory and fast-moving as Mangrove had been mysterious and abundant. When the ABC commissioned a new work in 1985, everyone – including the composer– eagerly awaited a projected series in this ‘joyous’ vein. But, as Australia’s Bicentenary approached, Sculthorpe considered the direction the country was taking – and he changed his mind:

“It soon became clear that it would be dishonest of me to write music that is altogether quick and joyous. The lack of a common cause and the self-interest of many have drained us of much of our energy. A bogus national identity and its commercialisation have obscured the breadth of our culture. Most of the jubilation…awaits us in the future…”

Sculthorpe was alert to concerns for the environment and Aboriginal land rights, which were beginning to be seen as vital issues for Australian society:

“Perhaps we now need to attune ourselves to this continent, to listen to the cry of the earth, as the Indigenous Australians have done for many thousands of years.”

Thus, the predominant spirit of Earth Cry is one of passionate frustration.

While the ominous introduction (Grave) seethes with menace, the ensuing fast section (Arrente) almost erupts with rage. The main melody here has its origins in Groote Island, its Aeolian-scale contours altered according to Sculthorpe’s customary formulas. He harnesses it to his 1974 setting of an Aranda poem, The Song of Tailitnama. This ‘Tailitnama Melody’ is heard three times, first in the strings, with winds added halfway through. The second appearance is in the full orchestra. The third appearance, again for full orchestra, is couched in richer sustained orchestral sonorities. The piece is anchored on three low pedal-notes, the pitches A, D and D flat:

For Sculthorpe,

“‘A’ stands for Australia, and ‘D’ stands for Death. [The key of] D flat is such a warm and glowing tonality that, for me, it stands for Paradise. By manipulating these pitches, I was able to express in more emotional terms those sentiments stated in [my] program note. Being an optimist, I need hardly say that the work ends in Paradise. Nevertheless, a warning ‘D’, [the pitch of] Death, does appear in the trumpets before the final chord.”

Earth Cry was completed in Sydney in July 1986. In November 1994, Sculthorpe gave a speech which may be viewed as a postscriptum to the thoughts expressed in Earth Cry:

“I know that we degrade the land and pollute the air. We destroy the past and deny the future... in spite of all that faces us, I have decided to put my trust in the belief that…‘there is better’. Indeed, I feel today that I am morally bound to attempt to write music that uplifts the human spirit, uplifting it in a way that I have never before achieved. I believe that the uplifting of the human spirit should be the concern of us all.”

Vincent Plush © 1997 [adapted by James Koehne]

Program notes

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Louisa Trewartha Trumpet

Peter Ilyich TCHAIKOVSKY (1840-1893)Violin Concerto in D, Op.35Allegro moderato – Moderato assai Canzonetta (Andante)Finale (Allegro vivacissimo)

It was the winter of 1877, and Tchaikovsky was in love. He wrote to his brother Modest about the ‘unimaginable force’ of the passion that had developed; its object was a young violinist and student at the Moscow Conservatorium, Josef Kotek. Tchaikovsky had known ‘this wonderful youth’ for about six years. In 1876 Kotek had also acted as a go-between for Tchaikovsky and his new patron, Nadezhda von Meck, who eschewed any face-to-face contact with the composer. Kotek was a devoted and affectionate but platonic friend to Tchaikovsky, but predictably enough, soon became besotted with a fellow (female) student.

The composer’s ardour cooled quickly, and within three weeks of discovering Kotek’s new relationship, Tchaikovsky had made his fateful proposal to Antonina Milyukova, a former Conservatorium student who had fallen in love with him. They married two months later, and as the depth of their cultural and personal differences quickly became clear, Tchaikovsky left his wife two months after that. Milyukova, incidentally, was not the deranged harpy that histories (or myth) have made of her.

cadenza before the recapitulation of the opening material. As in the slow movement of the Fourth Symphony, the central Canzonetta works its magic by the deceptively simple repetition of its material. The work concludes with a bravura, ‘Slavic’ Finale which is interrupted only by a motif for solo oboe which for one writer recalls a moment in the ‘Letter Scene’ from Onegin (which itself parallels the relationship between Tchaikovsky and Antonina).

The work was initially dedicated to the virtuoso Leopold Auer, who thought it far too difficult and refused to play it. In 1881 Adolf Brodsky gave the premiere in Vienna, where that city’s most feared critic, Eduard Hanslick, tore the piece to shreds:

The violin is no longer played; it is pulled, torn, drubbed…We see plainly the savage vulgar faces, we hear curses, we smell vodka…

Hanslick, like many a music critic, made a bad call; Tchaikovsky had written one of the best-loved works of the repertoire.

Gordon Kerry © 2003

Kotek and Tchaikovsky remained friends, however, and the Violin Concerto seems to have grown out of a promise that the composer made to write a piece for one of Kotek’s upcoming concerts. ‘We spoke,’ Tchaikovsky told his brother, ‘of the piece he ordered me to write…He repeated over and over that he would get angry if I didn’t write this piece.’ While Kotek was not, ultimately, the dedicatee or first performer of the work, he was of enormous help to Tchaikovsky in playing through sections of the piece as the composer finished them.

After leaving his wife, Tchaikovsky, accompanied by one or other of his brothers (and at one point Kotek himself), travelled extensively in western Europe. Tchaikovsky worked on the Violin Concerto in Switzerland in early 1878, not long after completing the Fourth Symphony and the opera Eugene Onegin. Commentators are generally agreed that both of those works reflect Tchaikovsky’s emotional reactions to the traumatic events of his marriage, though the composer himself was careful, in a letter to Mme von Meck, to point out that one could only depict such states in retrospect. In any event, it seems likely that, apart from honouring a promise to Kotek, Tchaikovsky found the conventions of the violin concerto offered a way of writing a large-scale work without the personal investment of the opera and symphony.

Like the great concertos of Beethoven, Brahms and Sibelius, Tchaikovsky’s is in D major and in three substantial movements. The first develops two characteristic themes within a tracery of brilliant virtuoso writing for the violin, and like Mendelssohn, Tchaikovsky places the solo

Program notes

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Yena Choi Violin

15

Igor STRAVINSKY (1882-1971)The Rite of SpringPart 1 Adoration of the EarthIntroductionDance of the Young GirlsRitual of AbductioSpring RoundsGames of the Rival TribesProcession of the SageAdoration of the EarthDance of the Earth

Part 2 The SacrificeIntroductionMystic Circles of Young GirlsGlorification of the Chosen VirginEvocation of the AncestorsRitual of the AncestorsSacrificial dance – The Chosen Virgin

The first performance of Stravinsky’s The Rite of Spring was one of the greatest scandals in arts history. That evening in 1913 remains the defining date of ‘modern’ music. A new millennium has begun, and there still hasn’t been anything to top it.

The Russian impresario Sergei Diaghilev had very generous financial backing for his 1913 season of Russian Ballet in Paris, and Stravinsky had an orchestral palette even richer than for his two previous Diaghilev ballets, Firebird and Petrushka. Even so, the playing of the music in the then-new Theâtre des Champs-Elysées was almost drowned out by the noise which broke out in the auditorium, as people shouted insults, howled and whistled. Conductor Pierre Monteux, with admirable sang-froid, piloted his musicians through to the end.

The curtain had risen on Nicholas Roerich’s setting for the tableaux of pagan Russia which were his scenario. He and Stravinsky later disputed who first had the idea for the ballet, with Stravinsky’s dream of a maiden dancing herself to death given priority. But the Rite was a collaborative project, and Vaslav Nijinsky’s choreography was, in its way, as radical as Stravinsky’s music: stylised gestures, heads in profile contrasted with bodies full-on, elbows hugged into the waist, and the renouncing of conventional dance ensembles and story-telling.

Stravinsky’s music had required Nijinsky to develop a new way of rehearsing the dancers by numbers, and his preparations seemed to one observer like arithmetic classes. Stravinsky claimed later that the music, which broke every mould of convention, transcended him: ‘I was the vessel through which Le Sacre passed.’ Rhythm, one basis of the Rite’s innovation, included static repeated figures (ostinati), not regular, but additive in rhythm, so that the strong beats are irregularly spaced, and the time-signature is constantly changing. Even the composer was baffled as to how to write out the Sacrificial Dance. These patterns, thrillingly projected with enormous orchestral impact, reach a state of hypnotic motion, which can only be broken by the start of the next dance.

This music made a quantum leap into a new sound-world. The discordant effects resulted from Stravinsky’s harmonic innovations: accumulations of notes and chords, creating polyharmonies which textbook writers have been trying to codify ever since. But this complexity was really simplicity – the reduction of harmony to essentials allowed rhythm a dominant place.

The bad reception the Rite received in Russia, his home, was, according to Stravinsky, the greatest rebuff of his career. It encouraged him to deny its Russianness. The opening bassoon solo, said Stravinsky, ‘is the only folk melody in the Rite’, concealing the indebtedness of most of its musical material to Russian folksong, as Richard Taruskin has shown.

It was the Russian spring which Stravinsky celebrated – that spring which busts out so quickly with a terrifying noise. The libretto boiled down to the succession of episodes described by the titles in the score. The music took over, and created the dance. As Boulez says: ‘this ritual of “Pagan Russia” attains by itself a dimension quite beyond its formal point of departure: It has become the ritual – and the myth – of modern music.’

David Garrett © 1999/2006

Program notes

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Zoe Freisberg Violin

AYO International Tour Fund 2013Thank you to our donors

Australian Youth Orchestra is very grateful to all our supporters who have generously donated towards our fundraising appeals. Without our donors’ support we simply would not be able to provide the variety of programs we are able to offer to Australia’s finest young musicians.

THE JOHN BISHOP CIRCLE Members of the Circle have made a commitment to sustain the AYO into the future.

Mr Patrick & Mrs Allyne BrislanMs Virginia GordonMrs Jan Gracie & Mr Laurence Mulcahy EstateDr Barry LandaThe Estate of Kevin William LanyonMr Leonard Spira OAM & Mrs Gail SpiraMs Mary Vallentine AOMr Ray Wilson OAMEmeritus Professor Di Yerbury AO

THE CONDUCTOR’S CIRCLE Members of the Circle enable the AYO to engage the world’s finest conductors to tutor our musicians.

Mr John DaleyMs Erin Flaherty & Mr David MaloneyGroeneveld Family TrustMr Simon Johnson & Mr David NicholsMr Wayne KratzmannThe Honorable Justice Jane Mathews AOMr Frank Zipfinger

SCHOLARSHIPSDonors help to ensure AYO musicians can accept their place in an AYO program regardless of financial position or geographical location.

Accenture AustraliaThe Australian Government, Office for the Arts

Ruth Alexander Memorial ScholarshipMrs Christine BishopThe Bowness Family FoundationThe Cybec FoundationErnest Llewelyn AwardMr Max & Mrs Wendy Ellis Dorothy Fraser ScholarshipGadens LawyersMr John & Mrs Irene GarranMr Stanley GillettMrs Louise Gourlay OAMMr David Greatorex AO & Mrs Deirdre GreatorexDr Leslie & Mrs Ginny GreenMr Maurice Green AM & Mrs Christina Green Groeneveld Family TrustKenneth Hunt Memorial Fund ScholarshipHenry Jacono Memorial FundMr Christopher JohnMr Andrew & Mrs Renata Kaldor AOThe Ilma Kelson Music FoundationThe Hon Rod Kemp MP & Mrs Daniele KempKing & Wood MallesonsDr Barry LandaMr Geoffrey LintonMr Simon & Mrs Leonie MarksMr Alan McCormack & Ms Elizabeth BrandMcCusker Charitable FoundationDr George Michell AMThe Lydia Morberger Piano TrustNational Music Camp TrustMr Edward & Mrs Annie SimpsonPCF CapitalPeter Seymour Memorial FundThe Standish Roberts Trumpet ScholarshipFriends of the Tasmanian Symphony OrchestraMr Ion TeskaKenneth Tribe Arts Administration ScholarshipMs Mary Vallentine AOPeter Weiss FoundationMichael & Mary Whelan Trust ScholarshipMrs Jill WranAnonymous donors

$20,000+Mrs Janet Cooke & Mrs Joyce Sproat, The Cybec Foundation, Mr Cameron Williams, Professor Bruce and Mrs Jocelyn Wolfe, Anonymous donors

$10,000+Sirius Foundation, Mr Ian & Mrs Cass George, Dr Barry Landa, Mr Leonard Spira OAM & Mrs Gail Spira, Mr Kim Williams AM & Ms Catherine Dovey, Ms Mary Vallentine AO, Mr Randal & Mrs Asako Williams, Anonymous donors

$5,000+Mr Paul Armstrong, Mr Philip Bacon AM, R & M Champion de Crespigny Foundation, Mr Daniel & Mrs Helen Gauchat, Mr Peter Grant, Mr Peter & Mrs Liz Kelly, Mr Wayne Kratzmann, Mr David Marr & Mr Sebastian Tesoriero, Mr Stephen Minns, Mr Ron & Mrs Lynn Ogden & Mr Marcus Ogden, Dr Damien Thomson & Dr Glenise Berry, Mr Frank & Mrs Susan Zipfinger, Emeritus Professor Di Yerbury AO, Anonymous donors

$3,000+Mrs Christine Bishop, Mrs Tanya Branwhite, Mr Alan & Mrs Jillian Cobb, Mr Martin Dickson AM & Mrs Susie Dickson, Dr Linda English, Ms Erin Flaherty & Mr David Maloney, Dr Des Griffin AM & Mrs Jeanette Griffin, Mrs Louise Gourlay OAM, Mr Maurice Green AM & Mrs Christina Green, Mr Tony Grybowski, Ms Nancy Fox & Mr Bruce Arnold, Mr Christopher John, Ms Siobhan Lenihan, Mr Nicholas & Mrs Denise Le Messurier, Mrs Tempe Merewether OAM, Patricia H. Reid Endowment Pty Ltd, Anonymous donors

$250 - $2,999Professor Chris & Mrs Wendy Adam, Mrs Antoinette Albert, Mr David Alexander, Ms Karen Alexander*, Mr Len Amadio AO, Mr Philip Amery, Dr N L Arthur, Austcham Beijing, Ms Valerie Awburn, Mr William Barnard & Mrs Maureen Everson-Barnard, Mr Lance Bartholomeusz & Ms Claire Mitchell, Mrs Annabel Baxter, Mr Mark Bayliss, Mr Christopher & Mrs Merrilyn Beeny*, Ms Nicole Berger, Mr Mark Bevins, Mrs Sheila Bignell, Mr Patrick & Mrs Allyne Brislan, Mr Andrew Brookes, Mr David & Mrs Penny Buckland, Mr Rod Cameron, Ms Rosemary Cann*, Mr Lloyd & Mrs Mary Jo Capps, Ms Annabelle Chaplain, Mr Chris Charles, Ms Gillian Clyde, Mr John & Dr Rosalie Cooper, Mr Colin Cornish, Mrs Judith Crawford, Mr Robert & Mrs Johanna Daniels, The Deloitte Foundation, Mr Rob & Mrs Jane Diamond, Mr Espie Dods, Dr Elizabeth Douglas, Mr Anthony Doukakis, Mrs Nicola Downer AM, Mrs Jane Dubsky*, Mr Marcus & Mrs Jodie Elsum, The Farrands Family, Ms Kerry Gardner & Mr Andrew Myer, Mr John & Mrs Irene Garran, Mr Dean Giannarelli, Professor Robert G. Gilbert, Dr Ross & Mrs Majorie Gilby, Mrs June Gordon, Ms Virginia Gordon, The Greatorex Foundation, Mr Richard Griffin AM & Mrs Jay Griffin, Mrs Gillian Halliday, Ms Berenice Harrison-Bell, Mr Alan Hauserman & Ms Janet Nash, Mrs Janet Hayes, Ms Louise Henderson, Mr Hans & Mrs Petra Henkell, Mrs Jennifer Hershon, Ms Sue Hewitt, Mr Richard & Mrs Evelyn Hill, Mr Frank Hills, Mr Darryl & Mrs Katherine Hodgkinson,

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AYO International Tour Fund 2013

Mr Martin Hoffman & Ms Andrea Koch, Mr Mark & Mrs Wendy Hogarth, Professor Hans Kuhn, Mr Leo & Mrs Valerie Hoogstad, Dr David & Mrs Sarah Howell, Mr R J & Mrs S H Hunt, Hunter Hall International Limited, Mr Richard Hyne & Mrs Loretta Bertoldo-Hyne, Mr Tony & Mrs Lee Ingman, Mrs Cynthia Jackson AM, Mr Alan Jenkins, Mr Merv Keehn & Ms Sue Harlow, Ms Leta Keens, Kenneth Hunt Memorial Fund, The Kemp Family, Mr Peter & Mrs Fiona Sinclair-King, The Koumoukelis Family, Mr Jeff & Mrs Rachelle Lee, Mrs Juliet Lockhart, Macquarie Group Foundation, Mr Dennis Mather & Mr John Studdart, Mr Andrew & Mrs Carolyn Marr, The Honorable Justice Jane Mathews AO, Mrs Jennifer Mattocks, Mr Alan McCormack & Ms Elizabeth Brand, Dr John & Mrs Jill McEwin, Mr Peter McLeod, Ms Rosslyn McLeod, Mrs L J McMullin, Mrs Catherine Money*, Mount Franklin House Concert, Dr Kenneth Muirden AO, Dame Elisabeth Murdoch AC DBE, Dr Peter & Mrs Jane Newland, Mr Marque & Mrs Rose Owen, Mrs Greeba Pritchard, Ms Shefali Pryor, Mr Neville & Mrs Petrine Quist, Ms Clare Pullar, Mr Peter & Mrs Karen Reid, Ms Susan Rix, Mr Ray & Mrs Ann Schoer, Mr Davis & Dr Susan Shannon, Mr John Sharpe & Ms Claire Armstrong, Sidney Myer Foundation, Dr Marie Siganto AM, Mrs Marjorie Sinclair, Ms Nicola Snekker, Mrs Elizabeth Storrs, Dr James Sullivan & Dr Judy Soper, Mr Robert & Mrs Nicola Swift, Mr Robert & Mrs Esther Toland, Mr Paul & Mrs Jane Tongs, Mr Kevin Troy, Dr John Vallentine, Mr Carl Vine, Ms Louise Walsh & Mr David Jordan,

Ms Michele Walsh, Mrs Robyn Walter*, Ms Cath Ward, Dr Penelope Weir, Peter Weiss Foundation, Dr Peter & Mrs Katrine Wickham, Mr R & Mrs J Williams, Mrs Janet Wilson, Mr Ray Wilson OAM, Mr Peter & Mrs Sineke Winter, Mr Graham Wood OAM, UBS Foundation, Mrs Pamela Yule, Anonymous donors.

* Indicates those who have donated in memory of Ruth Alexander

Correct as at June 2013

Principal Sponsor

Major Program Partner

Logistics Partner

Hotel Partner

AYO is supported by the Australian Government

AYO Regional Residencies Partners

Honorary AuditorsScholarship Partners

Media Supporter

McCuskerCharitableFoundation

2013 AYO February and July Season Partners

Legal Partners

AYO February Season Venue Partners 2013 International Tour Partner

The LydiaMorbergerPiano Trust

Supporting Partner

Chair of the AYO, Mary Vallentine AO, Board of Directors, staff and participants would like to thank everyone who supports Australia’s national youth orchestra.

The NBN - Enabled Education and Skills Services Program is brought to you by the Australian Government

July Season Venue Partner

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FOUNDERS Professor John Bishop OBE Ruth D Alexander

PATRON Emeritus Professor Di Yerbury AO

BOARD OF DIRECTORS Mary Vallentine AO, ChairmanPeter Grant, Deputy Chair Ron Ogden, Treasurer/Company Secretary Kellie Benda Dr Graeme L Blackman OAM Monica Curro Erin Flaherty Luke Nestorowicz Shefali Pryor Clare PullarFrank Zipfinger

FOUNDATION MEMBERS Ron Maslyn Williams

HONORARY LIFE MEMBERS Leonard Amadio AO Margaret Greene Donald Hazelwood AO OBE Emeritus Professor John Hopkins AM OBE J. Leonard Porter Professor Peter Sculthorpe AO OBE Maureen White Graham Wood OAM

ARTISTIC ADVISORY COMMITTEE Shefali Pryor, Chair Keith Crellin OAM Monica Curro Elizabeth Koch OAM Siobhan Lenihan Tim Matthies Marshall McGuire Michele Walsh

AYO COUNCIL Leonard Amadio AO Vladimir Ashkenazy Lin Bender AM Patrick Brislan Andrew Brookes Tim CalninAnnabelle Chaplain Associate Professor Carl Crossin OAMDiana Doherty Michael ElwoodAnthony Fogg Nancy Fox Jenny Garber Cass George Richard Gill OAM Professor Malcolm GilliesVirginia Gordon Deirdre Greatorex Christina GreenTrevor Green Antony Grybowski Donald Hazelwood AO OBE Virginia Henderson AMEmeritus Professor John Hopkins AM OBE Lawrence Jacks Daniele Kemp Arthur Koumoukelis Associate Professor Dr Geoffrey Lancaster AM Janis Laurs

William Lyne CBE AM Hon. Jane Mathews AO Donald McDonald AC Marshall McGuire Sir Jonathan Mills Dr Richard Mills AM Dene Olding Associate Professor Patricia Pollett Helena Rathbone Simon Rogers Clive Scott Professor Peter Sculthorpe AO OBE Professor Margaret Seares AO Yosi Tal Pamela Thornton Sheldon Trainor Michele Walsh Peter Waters Her Excellency Penelope Wensley AC John Williams AO OBE Ray Wilson OAMBruce WolfeEmeritus Professor Di Yerbury AO

CONTACT DETAILS Toll Free: 1300 668 500 Email: info@ayo.com.au Web: www.ayo.com.au

Sydney Suite 401, Level 4 40 Gloucester Street The Rocks NSW 2000 Phone: +61 2 9252 3855

Melbourne Level 1, 49 Garden Street South Yarra VIC 3141 Phone: +61 3 9823 5600

MANAGEMENTColin Cornish, Chief Executive Officer Kate O’Beirne, Business Manager Howie Huang, Financial Accountant Rossy Yang, Assistant Accountant Lucy Papworth, Operations & Planning Manager Meredith Potts, Program AdministratorMichelle Zarb, Operations & Music Coordinator Samuel Torrens, Orchestral Operations Coordinator Emma Muir-Smith, Operations AssistantSarah Gilchrist, Marketing & Communications ManagerSanja Simic, Marketing & Communications Coordinator Sally Quinn, Publicist Georgina Luck, Development Associate - Alumni & Community Relations Johanna Burnett, Development Coordinator Astrid Sugden, Development AssistantPatrick Brislan, VolunteerElizabeth Cooney, Volunteer

Australian Youth Orchestra

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Anastassia Korolev Percussion