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In order to arrive at creative solutions to the many challenging questions facing us in today’s complex world, we must first open our minds and begin to listen. At PwC, we believe that listening is an art that helps us to fine tune our ideas and find the right notes. That’s why we’re proud to be the Principal Innovation Partner of the ACO.
Is listening the first step to understanding?
Helping the AustralianChamber Orchestra soar
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NATIONALTOUR PARTNER On behalf of BNP Paribas, I’m delighted to welcome you to
the 2010 Viennese Masters Tour by the Australian Chamber Orchestra.
At BNP Paribas, we have a long tradition of supporting performing arts around the world and encouraging those, such as the ACO, who embody our core values of ambition, creativity and commitment.
As the ‘Bank for a Changing World’ BNP Paribas is constantly evolving, and this is something we have in common with the ACO. Each year that we continue to support the ACO, we are inspired by their individuality, unique artistic style and creative vision. For this reason we have been a proud National Tour Partner of the ACO since 2006 and this year, we are pleased to sponsor the Viennese Masters Tour.
BNP Paribas is a leader in global banking and fi nancial services and is recognised as one of the strongest banks in the world. We have been supporting Australian enterprise since 1881, as the fi rst major foreign bank in the country. Today, we provide leading Australian corporates, Financial Institutions and multinational companies with customised solutions in Corporate and Investment Banking, Asset Management and Securities Services.
We are delighted to bring you this ACO tour. With a repertoire including Schubert, Brahms and Beethoven, wetrust that you will enjoy it immensely.
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AUSTRALIAN CHAMBER ORCHESTRA 3
SPEED READ
The 19th century was a time of unparalleled development in the technology of instrument making, and this program — from Beethoven at the beginningof the century to Brahms at the end — gives us some insight into that evolution.
Schubert’s Rondo Brilliante is hardly known today, although it was one of only three of his chamber works that he saw in print. Paganini had introduced the notion of the travelling virtuoso and Slavík, for whom the Rondo was written, had been hailed “a second Paganini”. It’s probably the closest Schubert got to conceiving a violin concerto, and this arrangement for violin and instruments brings it one step closer.
Beethoven complained that the great popularity of the Septet overshadowed all his other works; ironically, the Septet is now almost entirely eclipsed in fame by his orchestral compositions. It is a vastly different Beethoven from that of the 5th or 9th Symphonies, however. The Septet was one of the last works he wrote before his deafness began to take hold, and it is airy, exuberant and light-hearted.
Brahms famously came out of retirement to compose his Clarinet Quintet, a work consciously modelled on Mozart’s similar work of just over a century earlier. His close friend Clara Schumann hailed it a work of genius: “It is a really marvellous work, the wailing clarinet takes hold of one; it is most moving. And what interesting music, deep and full of meaning!”
TOUR SIXVIENNESE MASTERS
Th e Australian Chamber Orchestra reserves the right to alter scheduled
programs or artists as necessary.
ADELAIDE
Town Hall
Tue 28 Sep 8pm
BRISBANE
QPAC
Mon 4 Oct 8pm
CANBERRA
Llewellyn Hall
Sat 25 Sep 8pm
MELBOURNE
Town Hall
Sun 26 Sep 2.30pm
Mon 27 Sep 8pm
PERTH
Concert Hall
Wed 29 Sep 8pm
SYDNEY
Angel Place
Tue 5 Oct 8pm
Wed 6 Oct 7pm
Sat 9 Oct 8pm
SYDNEY
Opera House
Sun 10 Oct 2.30pm
WOLLONGONG
IPAC
Th u 7 Oct 7.30pm
Approximate durations (minutes):
15 • 40 • INTERVAL • 33
Th e concert will last approximately two hours.
SCHUBERT (arr. Ross)Rondo Brilliante in B minor, D895
BEETHOVENSeptet in E fl at major, Op.20
Adagio – Allegro con brio
Adagio cantabile
Tempo di Menuetto
Tema con variazione: Andante
Scherzo: Allegro molto e vivace
Andante con moto alla Marcia – Presto
INTERVAL
BRAHMSClarinet Quintet in B minor, Op.115
Allegro
Adagio
Andantino – Presto non assai
Con moto
AUSTRALIAN CHAMBER ORCHESTRA 5
FREE PROGRAMSTo save trees and money, we ask that you share one program between two people where possible.
PREPARE IN ADVANCERead the program before the concert. A PDF version of the program will be available at aco.com.au and on the ACO iPhone app one week before each tour begins, together with music clips and podcasts.
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HAVE YOUR SAYWe invite your feedback about this concert at aco.com.au/yoursay or by email to aco@aco.com.au.
FREE MONTHLY E-NEWSLETTERFor news, special offers and to be sent background information about the concerts, sign up for the ACO’s free monthly e-newsletter at aco.com.au.
ACO ON THE RADIO
2MBS FM
Wed 10 Nov, 12pmInterview with an artist from the Kreutzer vs. Kreutzer tour.
NEXT TOUR
KREUTZER VS. KREUTZER
11 — 24 Nov
MESSAGE FROM THE GENERAL MANAGER
Th e ACO has just returned from our most ambitious
international tour ever. Not only did this tour traverse two
continents with a Beethoven-sized orchestra of 40 musicians,
it also encompassed an extraordinary range of performance
venues, from the Le Poisson Rouge nightclub in New York to
the recently reconstructed baroque Frauenkirche in the heart
of Dresden; from the ancient fort overlooking the Croatian
port city of Dubrovnik to the near perfect acoustics of a
converted malthouse near Aldeburgh; and from the gently
undulating lawns of Tanglewood to the restrained Edwardian
elegance of London’s Cadogan Hall. While the architecture
and acoustics of the spaces varied enormously, the reactions
of the audiences were decidedly consistent – cheering,
stomping, standing ovations at the conclusion of every
concert.
Th e reviews have been equally glowing; “Th e ACO is a crack
ensemble” Th e Guardian, “Th e fi nest concert of the summer”
Th e Arts Desk, “Tognetti and his badass classical band don’t
play New York nearly often enough” Time Out New York.
Our National Touring Partner BNP Paribas has enabled us
to bring much great music to audiences across the whole
country for many years and this month we proudly present
a program of Viennese classics in which so many individual
musicians of the ACO have the chance to shine. While
Assistant Leader Satu Vänskä is often seen “holding the fort”
while Richard steps into the solo spotlight, in this concert
the roles are reversed, Satu taking the limelight in Schubert’s
Rondo Brilliante with Richard in the supporting role.
Response to the recently launched ACO 2011 National
Concert Season has been wonderfully enthusiastic with
thousands of subscribers rushing to secure their seats for
another year of great music. If you haven’t received a 2011
season brochure, you can request one online or download it
directly from aco.com.au.
TIMOTHY CALNIN
GENERAL MANAGER, ACO
6 AUSTRALIAN CHAMBER ORCHESTRA
It is a quirk of cultural history, perhaps, but
as empires go into decline the arts in their
capitals seem to fl ourish. We might think of
Venice in the late 16th century, Paris after its
defeat by the Prussians in 1871, or London
in the 1960s. All were cities aware of their
declining political infl uence, but which
were also enjoying a remarkable outburst
of creativity across all the arts. Above all,
however, we might think of Vienna, whose
own empire seemed to go gently into that
good night throughout the long 19th century
(before coming to a catastrophic end at the
conclusion of the First World War). During
this time, notwithstanding the fact that the
musical economies of Paris, London, and
New York were at least quantitatively more
signifi cant, Viennese musical culture became
essentially synonymous with Western
music itself. Th e ‘First Viennese School’
of Mozart, Haydn and Beethoven came
to defi ne how we expect classical music
should sound, and codifi ed the standard
genres – symphony, string quartet, piano
trio, etc. – through which we should expect
to hear it. To be sure, 19th-century Europe
was also characterised by musical evolution,
experimentation, and occasional revolution,
but such change occurred under a most
extraordinary anxiety of infl uence whose
wellspring was in Vienna.
Why that should have been the case
remains something of a puzzle for historians
and musicologists alike, but one aspect
of Viennese musical culture that stands
out is the cultivation, particularly by the
aristocratic class, of an interest in what we
might call ‘musical seriousness’. By this we
mean music that was valued above all for its
perceived intrinsic, purely ‘musical’, qualities,
such as an adherence to principles of motivic
unity and internal structural coherence. Such
music typically rejected virtuosic display
for its own sake, or the inclusion of crude
extra-musical themes. It instead strove to
be elevated, refi ned, and sublime, conveying
aesthetic values that an aristocratic class, in
particular, would have seen as particularly
‘aristocratic’. Indeed, a prominent serious
musical culture in Vienna seems to have
acted as a kind of cultural defensive position
for an aristocracy which was, by the early
19th century, under the very real threat
of annihilation by the force of Napoleon’s
armies.
Th e exemplary form of serious music of the
day was without doubt the genre we now
know as ‘chamber music’. Th e term has its
origins in descriptions of music written for
performance under domestic circumstances
or for performance in a drawing-room or
‘chamber’ before an audience of limited size,
or indeed, without the need for listeners
at all. Today, however, chamber music is
rarely heard (perhaps lamentably) in such
circumstances, and even in early 19th-
century Vienna it was becoming increasingly
common to hear chamber works such as
string quartets and piano trios as part of
public subscription concerts. It is more
accurate, then, to defi ne chamber music as
fi rst and foremost a type of music that is
composed using intimate musical resources
but with high aesthetic ambition. Above
all, chamber music is music that uses the
possibility of close dialogue between a small
number of solo instruments to foreground
the importance of ‘pure’ musical argument.
PETER TREGEAR
© ACO 2010
CHAMBER MUSIC
AUSTRALIAN CHAMBER ORCHESTRA 7
SCHUBERT (arr. Graham Ross)
Rondo Brilliante, D895
(Composed 1827; arranged for solo violin and septet 2010)
It was not just Napoleon’s armies that caused Vienna’s
aristocratic patrons of the arts to adopt a defensive
aesthetic position in the early 19th century. Another cause
of concern for them was the rise of a mass musical culture.
Second to the popularity of Italian opera, especially the
works of Rossini, the most prominent sign of this was the
emergence of the travelling virtuoso, a fi gure who would
come to dominate public musical life in the 19th century
in a manner not dissimilar to a rock star in the latter half of
the 20th.
It was for such a virtuoso that Schubert’s Rondo Brilliante
was composed, in this case the Czech violinist and child
prodigy Josef Slavík. He, and Schubert’s close friend, the
pianist Karl Maria von Bocklet, gave the fi rst performance
of this work at the residence of the music publishers
Artaria & Co. in early 1827 and it was Artaria who gave it
the sobriquet “brilliant”. Brilliant, indeed, it is. Slavík was
later described by Frédéric Chopin as “a great and inspired
violinist – a second Paganini”, and there is no doubt that
Schubert composed this piece with the desire to exploit
Slavík’s particular abilities in mind.
Th is Rondo therefore has something of the character of
a piece of ‘public’, as opposed to ‘chamber’, music. Th e
composer signals this to us from the very opening bars
where the portentous double-dotted rhythm in the piano
and the rising fl ourish in the violin suggest that we’re not
so much in a drawing room as a theatre or symphonic
hall. It is no surprise, then, that the piano accompaniment
lends itself particularly well to the kind of arrangement
prepared for today’s performance. We err, however, if we
conclude that, because of this, the work itself must per se
be of an inferior quality. Reviewing an early performance,
the Wiener Zeitschrift für Kunst of 7 June 1829 declared:
“Th ough brilliant on the whole, the work owes its
existence not merely to those fi gures that leer at us from
so many compositions in thousand-fold gyrations to tax
the spirit. Here, the mind of the inventor has often spread
Franz Schubert(b. Vienna, 1797 — d. Vienna, 1828)
Schubert transformed our understanding of the art song, but in life he was considered largely a domestic composer; indeed, he was a master of all forms of chamber music. His fame increased after his premature death, however, and he is now one of the most highly-regarded composers.
ABOUT THE MUSIC
8 AUSTRALIAN CHAMBER ORCHESTRA
Allegro “fast and lively” or “fast and bright”.
rondo a form of composition where a main theme or section is returned to throughout, in the manner of a chorus or refrain.
its wings with considerable force and carries us along with
him.”
Th e reviewer was perceptive; the work encompasses a
remarkable range of poetic moods, and is also formally
quite unusual. Th e slow introduction is followed by an
Allegro which includes several passages that extend in a
manner reminiscent not so much of a rondo but a fantasy.
Certainly, Slavík’s rendering of the work so impressed
Schubert that he was inspired to compose his Fantasie for
Piano and Violin in C major, D934 the following year, and
dedicate it to the violinist.
AUSTRALIAN CHAMBER ORCHESTRA 9
Ludwig van Beethoven(b. Bonn, 1770 — d. Vienna, 1827)
Beethoven is the archetypal troubled genius, a composer whose nine symphonies remain at the pinnacle of what can be achieved in that form. In 1810 the critic E.T.A. Hoffman named him as “one of the three great Romantic composers”. Now, most critics would hail him the greatest.
BEETHOVEN
Septet in E fl at major, Op.20
(Composed 1799)
Adagio – Allegro con brio
Adagio cantabile
Tempo di Menuetto
Tema con variazione: Andante
Scherzo: Allegro molto e vivace
Andante con moto alla marcia – Presto
Many of the works upon which Beethoven built his fame
during his lifetime are today considered mere curio pieces,
if not entirely forgotten; works like the oratorio Christ on
the Mount of Olives, or the ‘battle’ symphony Wellington’s
Victory, or his incidental music to Th e Ruins of Athens.
Without an awareness of just how successful these works
were, however, it is easy to develop quite erroneous
ideas about the early reception of Beethoven’s music. For
instance, ask someone which of his nine symphonies they
think was the most performed in the fi rst half of the 19th
century, the usual answer will be one of 3, 5, 7, or 9. It
was, however, his Symphony No.1, Op.21. As it happens
this Symphony was premiered at the same concert, on
20 December 1799, as Beethoven’s Septet. It too was to
become one of Beethoven’s most successful and beloved
compositions, and it too seems to have lessened in
signifi cance today.
In part, this is because the Septet also had origins away
from the core of the chamber music tradition. Here it was
the genre of music we have come to know, especially from
works by Haydn and Mozart, as ‘divertimento’. A local
resident recalled in a Viennese almanac of the day that it
was common – especially in the Summer – for musicians
to play divertimenti as a form of outdoor serenading (today
we would probably call it busking!). “On fi ne summer
nights you may come upon serenades in the streets at
all hours. Th ey are not, as in Italy, a mere matter of a
singer and a guitar. Here serenades are not meant for
declarations of love, for which the Viennese have better
opportunities. Such night music may be given by a trio
or a quartet of wind instruments, and works of some
extent may be played… and however late a serenade is
given, all windows are soon fi lled and in a few minutes the
musicians are surrounded by an applauding crowd.”
Wind instruments were particularly eff ective in an outdoor
setting, and the Viennese especially enjoyed music
10 AUSTRALIAN CHAMBER ORCHESTRA
written, or arranged, for consorts of winds. Beethoven’s
comparative indiff erence to the peculiar scoring of his
Septet was apparent from the outset, however, when he
suggested to the publisher Hofmeister that “the 3 wind
instruments, namely bassoon, clarinet, and horn, might
for common use be replaced by an additional violin, an
additional viola and an additional cello”. Yet in the same
letter he was also at pains to note that “I can write nothing
that is not obbligato for I came into the world with an
obbligato accompaniment”. By this he meant that the
work also had pretensions to high musical value, that is,
pretensions to chamber music no less. Indeed, in 1803
Beethoven published an arrangement of the Septet for a
more typical ‘chamber’ ensemble of piano, clarinet, and
cello.
Certainly, Beethoven took some care to ensure the
Septet had structural coherence. Both the fi rst and last
movements have slow introductions, which, apart from
‘bookending’ the work, also means that it proceeds as a
neat succession of eight slow and fast sections across six
movements. Th e Minuet also borrows its main theme
from Beethoven’s Piano Sonata in G major, Op.49/2 (an
earlier work despite its higher opus number). But for all
this care and attention, it nevertheless says much about
the emerging musical culture of the day that the great
success of this work actually became the cause of some
embarrassment to him late in life. From our (hopefully
more nuanced) perspective, we might not so much be
troubled as rejoice in the fact that the commonplace and
sublime might so easily co-habit as they do here.
ACO Performance History
Beethoven’s Septet for strings and winds has been played previously in only one ACO national tour — 11 performances in 2002.
obbligato literally “obligatory”, used to denote a musical line that is not only indispensable but is also in some way special or unusual.
AUSTRALIAN CHAMBER ORCHESTRA 11
falling third think of the Beatles’ “Hey Jude”.
One of the great Romantics, Brahms wrote masterpieces in every form of composition except opera. He was a dedicated student of earlier music, but was a true innovator as well as a nostalgist, and he proved highly infl uential well into the 20th century.
Johannes Brahms(b. Hamburg, 1833 — d. Vienna, 1897)
BRAHMS
Clarinet Quintet in B minor, Op.115
(Composed 1891)
Allegro
Adagio
Andantino – Presto non assai
Con moto
We should not be surprised to learn that it was as a
chamber music performer and composer that Brahms fi rst
introduced himself to his Viennese audiences when he
moved there from Germany in 1862. He did not, however,
write chamber music specifi cally for the clarinet until late
in life; indeed the circumstances by which he came to do
so have become the stuff of musical legend.
Ostensibly retired from composing, in 1891 Brahms
happened to be introduced to the playing of Richard
Mühlfeld, and was so greatly impressed that he determined
to come out of retirement and compose a work worthy
of what was obviously a remarkable talent. His model
was Mozart’s Clarinet Quintet K.581, itself composed for
a particular clarinetist, Anton Stadler. In so consciously
composing a work after such an example, Brahms
produced what many critics believe to be his greatest piece
of chamber music.
No mere quartet-plus-clarinet, Brahms presents an
integrated musical texture throughout and the work
is unifi ed musically through the recurrence across
all movements of an interval of a falling third. As it
happens, a scientifi c study published just this year has
demonstrated that we tend to use the interval of a minor
third (whether we are musically trained or not), to
express sadness, and there is no doubt this work conveys
an overarching character of melancholy. In part this is a
facet of the clarinet itself as an instrument that can sound
both extremely quiet and plaintive, but it also refl ects the
contemplative, retrospective character of the work as a
whole. As noted by the reviewer of its London premiere in
1892, the key, B minor, “is hardly departed from during the
whole work”.
Furthermore, the last movement is a theme and variations
without the thematic transformation typical of the late
19th century. Instead, Brahms composes variations in
the style we might more ordinarily associate with Mozart
or Haydn, that is, simple decorations of a stable melody.
We are given no musical expression of triumph over fate,
12 AUSTRALIAN CHAMBER ORCHESTRA
rather the work remains resolutely in B minor to the very
end. Th is is, unquestionably, music of resignation.
Towards the end of the second movement adagio,
however, there is a section, marked più lento (a little
slower) in which Brahms breaks away from the strictly
‘chamber music’ character of the work. For a moment
we are presented with a musical texture that sounds
more like a work for solo clarinet and strings. It has been
suggested that this section is an allusion to Brahms’ fi rst-
hand experience of Hungarian gypsy bands, in which
the clarinet would often feature prominently as a soloist.
Th is it may well be, but it might also be an exploitation by
Brahms of the peculiar poetic potential a slow movement
has, as the elegiac ‘heart’ of a multi-movement work, to
express something precisely from the heart, something
very personal. Here, it is as if the clarinet has paused the
musical journey and is trying, literally, to speak to us, but
just cannot fi nd the words.
Th is, of course, is a particularly powerful expressive
gesture made possible precisely because of the elevated
character of chamber music, its concern with innate
musical problems and solutions. As is true of the best
Romantic music, it enables the composer to highlight his
own subjectivity in bold relief.
PROGRAM NOTES BY PETER TREGEAR
© ACO 2010
adagio literally “at ease” (Italian: “ad agio”) and usually used to mean slowly
14 AUSTRALIAN CHAMBER ORCHESTRA
ABOUT THE WIND INSTRUMENTS
In this program, the three guest artists are playing historic versions of the instruments with which the composers of the three pieces would have been familiar. Here each of them gives a brief explanation of what this entails.
Craig Hill writes:
Th e clarinets used in this program represent three distinct phases in the development of the clarinet in the late 18th & 19th centuries, beginning with its simplest and perhaps purest form with just six keys (in the Beethoven), progressing to 12 keys which operate separately (Schubert), and fi nally to the elaborate system of integrated keys known as the Baermann – Ottensteiner system (Brahms).
Georg Ottensteiner (1815- 1879) was perhaps the most advanced instrument builder of his era, while Carl Baermann (1810-1885), one of the greatest German clarinet teachers and virtuosi of the 19th century, was one of Ottensteiner’s earliest supporters. During the 19th century, it was Ottensteiner’s clarinets that were favoured by leading players in Germany. My clarinet is a copy of the Ottensteiner clarinet played by Brahms’ famous collaborator, Richard Mühlfeld, which is now preserved at the Meiningen Schloss Museum.
Technically, the Ottensteiner clarinet is a study in balancing extreme parameters, existing on the very fringe of what is possible in clarinet design. At a time when other makers were experimenting with denser woods from Africa such as grenadilla (which, stained black, is still used for the best modern clarinets), Ottensteiner retained the traditional European boxwood, which is lighter and softer to turn on the lathe, and which produces a lighter sound with a more evenly distributed harmonic spectrum, but with less power than grenadilla.
At 15mm, the diameter of the bore of Ottensteiner’s clarinet is almost as wide as acoustically possible, and helps produce the breadth and warmth of tone we might imagine is suitable for Brahms. Th e tone holes on the Ottensteiner clarinet are radically fl ared as they meet the inside bore (think cartoon nuclear- reactor shaped), smoothing the airfl ow as the tone hole meets the bore, and creating a melting legato which is unequalled by any modern designs. Th ese attributes, which in themselves might lead to an overly spread and unfocussed sound, are counterbalanced by a small, slender mouthpiece with a narrow opening, which requires great fi nesse in blowing.
Th e keywork of the Ottensteiner clarinet is of greater complexity than found on most clarinets today, while still permitting the cross fi ngerings and subtle fi nger shadings used on the previous generation of clarinets. Th e exact adjustment of the keys is critical and has to be recreated by trial and error. I have been most fortunate to be able to work with Jason Xanthoudakis, a dedicated instrument technician in Melbourne who in addition hand crafted each leather pad in 19th-century style. Th is kind of engagement with the nuts and bolts aspect of playing the clarinet would have been very much the experience of 19th-century players; indeed the whole century is characterized by relentless experimentation and innovation.
If at fi rst glance it seems like a lot of trouble to master so many diff erent instruments, reeds, mouthpieces and techniques, then I am encouraged and inspired by the words from Carl Baermann’s method which hang over the entrance to my study:
Whoever would dedicate themself to playing the clarinet should carefully examine himself to see whether he possesses the mental fortitude and patience to learn this diffi cult instrument. Th e physical requirements are these: good health, a strong, solid chest and healthy strong teeth, at least the front teeth must be in perfect condition. Th e mental requirements are the same as those of every artist,
AUSTRALIAN CHAMBER ORCHESTRA 15
namely, soulfulness, poetic imagination and a true deep sensitivity, enthusiasm for the beautiful in art, perceptiveness, a fi nely tuned ear, unbiased examination and understanding of one’s own abilities, acknowledgement and appropriate honour of the merits of other artists and the force of will for an endless striving and struggle towards perfection.
Instruments:Beethoven: Clarinet in Bb by Joel Robinson after Heinrich Grenser, Dresden 1800 Boxwood with six brass keys.Schubert: 12 key Clarinet in A by J. Robinson after H. Grenser, Dresden 1810Brahms: Clarinet in A by Schwenk & Seggelke after Georg Ottensteiner, Munich 1875.
© CRAIG HILL 2010
Darryl Poulsen writes:
Although the natural horn is generally thought of as being a simple horn without valves, it is important to note that there are two diff erent natural horns, the Baroque horn and the Classical hand-horn. Whilst both are simple, unsophisticated, coiled lengths of tubing, their sounds and playing techniques are nonetheless distinctly diff erent.
Th e Baroque horn is played with the bell held high and without the hand being inserted into it. Th e resultant sound is bright and penetrating. Th e Classical horn, by contrast, has the right hand inserted into the bell, and hence its name, the hand-horn. Th is change in the manner of holding the instrument came about after the renowned Dresden horn player Anton Josef Hampl discovered, circa 1740, that by placing the hand in the bell he was able to change the pitch of the instrument. Importantly, this meant that he was able to produce non-harmonic notes thus completing the diatonic scale, something that was not possible on the earlier Baroque horn. One of the side eff ects of this new found chromaticism of the Classical horn was that the sound had now become darker, broader and more mellow– and therefore eminently suited to its new role of blending in the homophonic textures of the nascent Classical period.
Th e instrument used in this program is a modern replica of a Bohemian Classical horn by J. A. Laussman of Graslitz (c.1790) made by Andreas Jungwirth in Plank am Kamp, Austria.
© DARRYL POULSEN 2010
Jane Gower writes:
Th e bassoon I am playing is a copy of one built in 1806 by the Alsatian instrument atelier Bühner & Keller. Th e six or seven keyed bassoons of the early 19th century possess completely diff erent sound qualities and technical considerations than the intricate machinery that is today’s Heckel system bassoon. Th e latter has been redesigned and fi nessed over the centuries for maximum technical facility as well as evenness and homogeneity of tone across its entire range. On the earlier bassoons, each chromatic note, for which there is a specifi c key on the modern bassoon, has to be fi ngered by means of complicated cross-fi ngering patterns, each having its own specifi c tone-colour and attack. Th e composers of the day were well aware of these characteristics and exploited them to full musical eff ect rather than attempting to cover them up as faults of the instrument. Playing a bassoon of the period may be more risky in a purely technical sense, but also reveals all the variations in colour, dynamic and articulation distinctive to the instrument; and thus to the music itself.
© JANE GOWER 2010
These and many other recordings featuring the Australian Chamber Orchestra are available to purchase online at aco.com.au/shop or by telephone 02 8274 3800.
JS BACH VIOLIN WORKS ABC CLASSICS - ABC4766168
Tognetti’s 3-time ARIA award-winning Bach. All the sonatas, partitas and concertos for violin in one specially-priced set. 5-CD Box Set.
ENJOY THE ACO AT HOME:Selected CDs and DVDs
TANGO JAM MULBERRY HILL MHRC001
Quintets by Astor Piazzolla.
VIVALDI - FLUTE CONCERTOSEMI - 3472122
Includes Vivaldi’s six Opus 10 Flute Concertos with Emmanuel Pahud.
JS BACH - KEYBOARD CONCERTOSHYPERION – VOL 1 CDA67307 / VOL 2 CDA67308
Gramophone CD of the Month 2005
The complete Bach keyboard concertos with Angela Hewitt.
MOZART – ELGAR – GRIEG – BACHSONY – SK53356
Orchestral favourites by four great composers.
CARNIVAL OF THE ANIMALS MACMILLAN 0732910706
Music by Saint-Saëns with a book of poems and images by Michael Leunig, with narration by Peter Garrett.
SONG OF THE ANGEL CHANDOS - CHAN10163
Works by Astor Piazzolla.
MUSICAL RENEGADESABC CLASSICS ABC476102-6
2-CD set containing live performances of music featured in the documentary. Also available on DVD.
BEETHOVEN & MOZART ABC CLASSICS ABC465425-2
Beethoven’s Violin Concerto and Mozart’s Symphony No.40.
CLASSICAL TROMBONE CONCERTOS BIS-CD-1248
Christian Lindberg plays trombone concertos by Michael Haydn, Wagenseil Albrechtsberger and Leopold Mozart. Also available: Christian Lindberg – A Composer’s Portrait II and Baroque Trombone.
CELEBRATING 20 YEARSABC CLASSICS – ABC4763304
2-CD compilation celebrating Richard Tognetti's 20th Anniversary with the ACO.
MUSICA SURFICA DVD AND CD
Richard Tognetti and surfing virtuoso Derek Hynd bring together a unique gathering of classical musicians and top surfers.
THE MUSIC FROM CLASSICAL DESTINATIONS IISONY BMG – 88697359472
The soundtrack for acclaimed music/ travel series Classical Destinations II. Also available on DVD.
LUMINOUS DVDOVATION - 198896
The ACO’s collaboration with Bill Henson and Katie Noonan filmed live.
AUSTRALIAN CHAMBER ORCHESTRA 17
‘You’d have to scour the universe hard to fi nd another band like the ACO.’ THE TIMES, UK
‘The energy and vibe of a rock band with the ability of a crack classical chamber group.’WASHINGTON POST
To be kept up to date with ACO tours and recordings, register for the free e-newsletter at aco.com.au.
Select Discography
Bach Violin ConcertosABC 476 5691
Vivaldi Flute Concertoswith Emmanuel PahudEMI 3 47212 2
Bach Keyboard Concertoswith Angela HewittHyperion SACDA 67307/08
Tango Jamwith James CrabbMulberry Hill MHR C001
Song of the AngelMusic of Astor Piazzollawith James CrabbChandos CHAN 10163
Sculthorpe: works for string orchestra including Irkanda I, Djilile and Cello DreamingChandos CHAN 10063
Giuliani Guitar Concertowith John WilliamsSony SK 63385
These and more ACO recordings are available from our online shop: aco.com.au/shop or by calling 1800 444 444.
AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI AO ARTISTIC DIRECTOR
Australia’s national orchestra is a product of its country’s
vibrant, adventurous and enquiring spirit. In performances
around Australia, around the world and on many recordings,
the ACO moves hearts and stimulates minds with repertoire
spanning six centuries and a vitality and energy unmatched
by other ensembles.
Th e ACO was founded in 1975. Every year, this ensemble
presents performances of the highest standard to audiences
around the world, including 10,000 subscribers across Australia.
Th e ACO’s unique artistic style encompasses not only the
masterworks of the classical repertoire, but innovative cross-
artform projects and a vigorous commissioning program.
Under Richard Tognetti’s inspiring leadership, the ACO has
performed as a fl exible and versatile ‘ensemble of soloists’, on
modern and period instruments, as a small chamber group, a
small symphony orchestra, and as an electro-acoustic collective.
In a nod to past traditions, only the cellists are seated – the
resulting sense of energy and individuality is one of the most
commented-upon elements of an ACO concert experience.
Several of the ACO’s principal musicians perform with
spectacularly fi ne instruments. Tognetti performs on a
priceless 1743 Guarneri del Gesù, on loan to him from an
anonymous Australian benefactor. Principal Cello Timo-
Veikko Valve plays on a 1729 Giuseppe Guarneri fi lius
Andreæ cello, also on loan from an anonymous benefactor,
and Assistant Leader Satu Vänskä plays a 1759 J.B. Guadagnini
violin on loan from the Commonwealth Bank Group.
Forty international tours have drawn outstanding reviews at
many of the world’s most prestigious concert halls, including
Amsterdam’s Concertgebouw, London’s Wigmore Hall, New
York’s Carnegie Hall and Vienna’s Musikverein.
Th e ACO has made acclaimed recordings for labels including
ABC Classics, Sony, Channel Classics, Hyperion, EMI,
Chandos and Orfeo and currently has a recording contract
with BIS. A full list of available recordings can be found at
aco.com.au/shop. Highlights include the three-time ARIA
Award-winning Bach recordings and Vivaldi Concertos with
Emmanuel Pahud. Th e ACO appears in the television series
Classical Destinations II and the award-winning fi lm Musica
Surfi ca, both available on DVD and CD.
In 2005, the ACO inaugurated an ambitious national education
program, which includes outreach activities and mentoring
of outstanding young musicians, including the formation of
ACO2, an elite training orchestra which tours regional centres.
18 AUSTRALIAN CHAMBER ORCHESTRA
RICHARD TOGNETTI AOARTISTIC DIRECTOR AND LEADERAUSTRALIAN CHAMBER ORCHESTRA
Australian violinist and conductor Richard Tognetti has
established an international reputation for his compelling
performances and artistic individualism. He studied at the
Sydney Conservatorium with Alice Waten and in his home
town of Wollongong with William Primrose, and at the
Bern Conservatory (Switzerland) with Igor Ozim, where he
was awarded the Tschumi Prize as the top graduate soloist
in 1989. Later that year he led several performances of the
ACO, and was appointed Leader. He was subsequently
appointed Artistic Director of the Orchestra.
Tognetti performs on period, modern and electric
instruments. His numerous arrangements, compositions
and transcriptions have expanded the chamber orchestra
repertoire and have been performed throughout the world.
Highlights of his career as director, soloist or chamber
music partner include the Sydney Festival (as conductor of
Mozart’s Mitridate); and appearances with the Handel &
Haydn Society (Boston), Hong Kong Philharmonic, Camerata
Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra and
the Nordic Chamber Orchestra. He is Artistic Director of the
Maribor Festival in Slovenia.
As soloist Richard Tognetti has appeared with the ACO and
the major Australian symphonies, including the Australian
premiere of Ligeti’s Violin Concerto with the Sydney Symphony.
He has collaborated with colleagues from various art forms,
including Joseph Tawadros, Dawn Upshaw, James Crabb,
Emmanuel Pahud, Neil Finn, Tim Freedman, Paul Capsis, Bill
Henson and Michael Leunig. In 2003, Richard 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 be heard performing on the award-winning soundtrack.
In 2005, with Michael Yezerski, he co-composed the soundtrack
to Tom Carroll’s surf fi lm Horrorscopes and, in 2008, created
Th e Red Tree.
Richard Tognetti 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.
Alongside numerous recordings with the ACO, Richard
Tognetti has recorded Bach’s solo violin repertoire, winning
three consecutive ARIA Awards for Best Classical Album
(2006–8) and the Dvorák Violin Concerto.
Richard Tognetti holds honorary doctorates from three Australian
universities and, was made a National Living Treasure in 1999
and in 2010 was awarded an Order of Australia. He performs
on a 1743 Guarneri del Gesù, made available exclusively 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) 2006
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:
VIVALDI Flute Concertos, Op.10Emmanuel Pahud, FluteEMI Classics 0946 3 47212 2 6Grammy Nominee
PIAZZOLLA Song of the AngelChandos CHAN 10163
All available from aco.com.au/shop.
AUSTRALIAN CHAMBER ORCHESTRA 19
BEHIND THE SCENES
EXECUTIVE OFFICE
Timothy Calnin
General Manager
Jessica Block
Deputy General Manager
and Development Manager
Michelle Kerr
Executive Assistant to
Mr Calnin and
Mr Tognetti AO
ARTISTIC
Richard Tognetti AO
Artistic Director
Michael Stevens
Artistic Administrator
FINANCE
Steve Davidson
Chief Financial Offi cer
Shyleja Paul
Assistant Accountant
DEVELOPMENT
Kate Bilson
Events Manager
Tom Carrig
Senior Development
Executive
Vanessa Jenkins
Senior Development
Executive
Lillian Armitage
Patrons Manager
Helen Margolis
Grants Program Manager
Liz D’Olier
Development Coordinator
OPERATIONS
Damien Low
Artistic Operations Manager
Gabriel van Aalst
Orchestra Manager
Erin McNamara
Deputy Orchestra Manager
Vicki Stanley
Education and Emerging
Artists Manager
Sarah Conolan
Education and
Operations Assistant
Jennifer Collins
Librarian
MARKETING
Georgia Rivers
Marketing Manager
Rosie Rothery
Marketing Executive
Chris Griffi th
Box Offi ce Manager
Mary Stielow
National Publicist
Dean Watson
Customer Relations Manager
INFORMATION SYSTEMS
Martin Keen
Systems and Technology
Manager
Emmanuel Espinas
Network Infrastructure
Engineer
ARCHIVES
John Harper
Archivist
AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182
Australian 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 1225
Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801
Box Offi ce: 1800 444 444
Email: aco@aco.com.au Website: aco.com.au
BOARD
Guido Belgiorno-Nettis AM (Chairman)
Angus James (Deputy Chairman)
Ken Allen AM
Bill Best
Glen Boreham
Liz Cacciottolo
Chris Froggatt
Janet Holmes à Court AC
Brendan Hopkins
Tony Shepherd
John Taberner
Peter Yates
MANAGEMENT
20 AUSTRALIAN CHAMBER ORCHESTRA
ABOUT THE ARTISTS
SATU VÄNSKÄVIOLIN
Satu Vänskä studied with Pertti Sutinen at the Lahti
Conservatorium and the Sibelius Academy and was a pupil of
Ana Chumachenco at the Hochschule für Musik in Munich.
Satu studied at the Kuhmo Violin School in Finland attending
masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov
and performing at the Kuhmo Chamber Music Festival.
In 1998 Sinfonia Lahti named her Young Soloist of the Year, in
2000 she was a prizewinner of the Deutsche Stiftung Musikleben
and, from 2001, she played under the auspices of the Live Music
Now Foundation founded by Lord Yehudi Menuhin.
Satu has played with the Munich Philharmonic and Bavarian
Radio Symphony Orchestras, was a tutor with the Young
Bavarian Philharmonic and has performed as soloist in Finland,
Germany, Spain and Canada and as a chamber musician in
festivals in Australia, Slovenia, Finland and Germany.
Satu performs on a 1759 J.B. Guadagnini violin, kindly made
available to her by the Commonwealth Bank Group.
CHRISTOPHER MOOREVIOLA
Christopher Moore originally studied the violin with Suzuki
teachers, Marjorie Hystek and Harold Brissendon. He completed
his Bachelor of Music in Newcastle with violinist and pedagogue
Elizabeth Holowell.
After working with the Adelaide and New Zealand Symphony
Orchestras as a violinist, Chris decided to take up a less highly-
strung string instrument and moved his musical focus and
energy to the viola. He played as a rank and fi le violist with the
Melbourne Symphony Orchestra for one and a half years before
becoming Associate Principal Viola with the same orchestra.
During his association with MSO, Chris performed regularly as a
chamber musician.
In 2006 Chris appeared as Guest Principal Violist with the ACO
and then successfully auditioned for the ACO’s Principal Viola
position.
AUSTRALIAN CHAMBER ORCHESTRA 21
MAXIME BIBEAUDOUBLE BASS
Maxime studied at the Conservatoire de Musique du Québec
à Montréal with René Gosselin and at Rice University with
Timothy Pitts and Paul Ellison, where he was awarded a full
university scholarship as well as grants from the Canada Arts
Council and the Canadian Research Assistance Fund. Maxime
has been Principal Double Bass of the ACO since 1998.
He has performed with the SHIRA International Symphony
Orchestra, Jeunesses Musicales World Orchestra, Sydney
Symphony Orchestra, Montreal Symphony Orchestra and
WDR Symphony Orchestra. He has also appeared in the
Spoleto, Australian Chamber Music, Huntington and Sydney
Festivals and has featured as soloist with the ACO on numerous
occasions.
Maxime has been involved with the AYO National Music Camp,
Sydney Youth Orchestra, University of NSW and Australian
National Academy of Music and is a lecturer at the Sydney
Conservatorium of Music.
TIMOVEIKKO VALVECELLO
Timo-Veikko Valve studied at the West-Helsinki Music Institute,
the Sibelius Academy and in Edsberg. His main teachers were
Heikki Rautasalo, Marko Ylönen, Teemu Kupiainenin, Torleif
Th edéen and Mats Zetterqvist.
Timo-Veikko has performed as soloist with the Helsinki
Filharmonia, Finnish Radio Symphony Orchestra, Sinfonia
Lahti, Tampere Filharmonia and the Ostrobothnian Chamber
Orchestra and appeared as soloist and chamber musician in
Europe, Asia, Australia and the US including appearances at
the Helsinki, Kemiö, Musica Nova Helsinki, Kuhmo Chamber
Music, Lahti Sibelius and Järvenpää Sibelius Festivals.
In 2006 he was appointed Principal Cello of the ACO. He
appears as a soloist with the ACO frequently and is a founding
member of Jousia Ensemble and Jousia Quartet. He performs
regularly with pianist Joonas Ahonen and accordionist Veli
Kujala.
Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri
fi lius Andreae cello, made available to him by an anonymous
benefactor.
22 AUSTRALIAN CHAMBER ORCHESTRA
ABOUT THE ARTISTS
CRAIG HILLCLARINET
Craig Hill studied with Phillip Miechel at the Victorian
College of the Arts and with Dieter Kloecker at the Freiburg
Musikhochschule. Following his solo debut in 1997, Craig has
come to national recognition for his performances on period
clarinets in repertoire spanning from Telemann to Mozart,
Weber and Brahms. His recording of Mozart’s Clarinet Concerto
with the Australian Brandenburg Orchestra and Paul Dyer has
been released by ABC Classics.
Performance highlights include collaborations with Geoff rey
Lancaster, Bart van Ort, the Australian Bach Ensemble, Elizabeth
Wallfi sch and Lucinda Moon and appearances at festivals
throughout Australia and the United States. Since 2004 Craig has
been guest principal clarinet of the period instrument orchestra
Concerto Copenhagen (under Lars Ulrik Mortensen). In April
2009 he was the artistic director of Concertino Copenhagen,
a mini festival of period instrument chamber music resident at
the newly opened Melbourne Recital Centre, which brought
together musicians from Australia and Europe. Craig has been a
member of the Melbourne Symphony Orchestra since 1992.
DARRYL POULSENHORN
Darryl Poulsen graduated with distinction from the
Conservatoria of Luxembourg and Liège in the horn classes of
Professor Francis Orval. Formerly Professor and Head of Music
at the University of Western Australia he is now Professor and
Associate Dean (Academic) at the Sydney Conservatorium.
For many years Principal Horn with the ACO, Darryl is currently
Principal Horn with the Australian Brandenburg Orchestra, and
he has performed and recorded with the Joshua Rifkin New York
Bach Ensemble, Concertino Copenhagen, Anthony Halstead,
Geoff rey Lancaster, Bart Van Oort, Cantus Cölln, and the Sirius
Ensemble.
His research into classical hand-horn playing has resulted in
the publication of the fi rst English translation of the Méthode
de premier et de second cor by Heinrich Domnich, the most
important source on the history of classical horn playing.
AUSTRALIAN CHAMBER ORCHESTRA 23
Photo © Steven Godbee
JANE GOWERBASSOON
Jane Gower studied at the Canberra School of Music and the
Royal Conservatory in Th e Hague. She has appeared as principal
bassoonist with many of the world’s fi nest period instrument
orchestras. In 2005 she was appointed principal bassoon of Sir
John Eliot Gardiner’s English Baroque Soloists and l’Orchestre
Révolutionnaire et Romantique, and since 2007 has lectured at
the Royal College of Music, London.
Jane founded the quartet for classical bassoon and strings,
Island, which has just recorded its fourth CD. In collaboration
with Torbreck Vintners she launched the Barossa Klassik
chamber music series in 2010. Jane is in demand as soloist
on the historical bassoon and has performed with Concerto
Copenhagen, Les Agrémens, Sirius Ensemble and the Australian
Brandenburg Orchestra. In 2002 she recorded Mozart’s
Bassoon Concerto with Anima Eterna with her cadenzas and
performance practice notes published by Bärenreiter. Her latest
solo recording is of bassoon concertos by Franz Danzi.
Providing a complete service in hospitalityOne call
One contactOne manager to organise the complete event
Corporate launches, office drinks, Christmas occasions, weddings and birthdays.
Katering Pty Ltd has built a reputation that it has maintained for the past 10 years, in providing a complete service with an eye for detail.
Ph: 02 9319 2700Email: info@katering.com.au
www.katering.com.au
24 AUSTRALIAN CHAMBER ORCHESTRA
ACKNOWLEDGEMENTS
GOVERNMENT SUPPORT
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.
VENUE SUPPORT
We are also indebted to the following organisations
for their support:
AEG OGDEN (PERTH) PTY LTD
PERTH CONCERT HALL
General Manager
Andrew Bolt
Deputy General Manager
Helen Stewart
Technical Manager
Peter Robins
Event 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 LTD
Chief Executive Rodney M Phillips
THE PERTH THEATRE TRUST
Chairman
Dr Saliba Sassine
St George’s Terrace, Perth
PO Box Y3056,
East St George’s Terrace,
Perth WA 6832
Telephone: 08 9231 9900
VENUE SUPPORT
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM
(Chair)
Ms Catherine Brenner
Rev Dr Arthur Bridge AM
Mr Wesley Enoch
Ms Renata Kaldor AO
Mr Robert Leece AM RFD
Ms Sue Nattrass AO
Dr Th omas Parry AM
Mr Leo Schofi eld AM
Mr Evan Williams AM
EXECUTIVE MANAGEMENT
Chief Executive
Richard Evans
Director, Building Development & Maintenance
Greg McTaggart
Director, Commercial & Operations
Maria Sykes
Director, Finance & Innovation
David Antaw
Director, Marketing & Development
Victoria Doidge
Director, Performing Arts
Rachel Healy
SYDNEY OPERA HOUSE
Bennelong Point
GPO Box 4274, Sydney NSW 2001
Administration: 02 9250 7111
Box Offi ce: 02 9250 7777
Facsimile: 02 9250 7666
Website: sydneyoperahouse.com
LLEWELLYN HALL
School of Music, Faculty of Arts
Th e Australian National University
William Herbert Place (off Childers Street),
Acton, Canberra
ACO CONCERT BOOKINGS
Ticketek: Phone: 132 849; Online: premier.ticketek.com.au
VENUE HIRE INFORMATION
Phone: +61 2 6125 2527 Fax: +61 2 6248 5288
Email: arts.venues@anu.edu.au
AUSTRALIAN CHAMBER ORCHESTRA 25
ACKNOWLEDGEMENTS
VENUE SUPPORT
PO Box 3567
South Bank, Queensland 4101
Telephone: 07 3840 7444
Chairman Henry Smerdon AM
Deputy Chairman Rachel Hunter
Trustees
Simon Gallaher
Helene George
Bill Grant
Sophie Mitchell
Paul Piticco
Mick Power AM
Susan Street
Rhonda White
EXECUTIVE STAFF
Chief Executive: John Kotzas
Director – Presenter Services: Ross Cunningham
Director – Patron Services: Helen Jacobs
Director – Marketing & Ticketing: Anne-Maree Moon
Director – Corporate Services: Kieron Roost
Executive Manager – Human Resources: Alicia Dodds
Executive Manager – Production Services: Bill Jessop
ACKNOWLEDGMENT
Th e Queensland Performing Arts Trust is a
Statutory Authority of the State of Queensland and is
partially funded by the Queensland Government
Th e Honourable Anna Bligh MP
Premier and Minister for the Arts
Director-General, Department of the Premier and Cabinet:
Ken Smith
Deputy Director-General, Arts Queensland:
Leigh Tabrett
Patrons are advised that the Performing Arts Centre has
EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM
system and EXIT passageways. In case of an alert, patrons
should remain calm, look for the closest EXIT sign in GREEN, listen
to and comply with directions given by the inhouse trained attendants
and move in an orderly fashion to the open spaces outside the Centre.
A CITY OF SYDNEY VENUE
Lord Mayor
Clover Moore
Managed by
PEGASUS VENUE MANAGEMENT (AP)
PTY LTD
Founder
Christopher Rix
MANAGEMENT AND STAFF
General Manager Bronwyn Edinger
Marketing Manager Gina Anker
Technical Manager Cally Bartley
Functions & Bar Manager Paul Berkeley
Technician Donald Brierley
Marketing Assistant Kim Bussell
Event Coordinator Katie Christou
Venue Services Manager James Cox
Accounts Coordinator Th atsany Geyer
Box Offi ce Assistant Adam Griffi ths
FOH Manager Barbara Keff el
Publicist Cassie Lawton
Operations Manager Graham Parsons
Executive Assistant Rosemary Penman
Operations Assistant Vico Th ai
Box Offi ce Manager Craig Th urmer
Technician Jeff Todd
CITY RECITAL HALL
ANGEL PLACE
2 –12 Angel Place,
Sydney, Australia
GPO Box 3339,
Sydney, NSW 2001
Administration 02 9231 9000
Box Offi ce 02 8256 2222
or 1300 797 118
Facsimile 02 9233 6652
www.cityrecitalhall.com
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Executive Chairman Brian Nebenzahl OAMB6RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production Classical Music Events Alan Ziegler
Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Lang Road, Moore Park NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au
26 AUSTRALIAN CHAMBER ORCHESTRA
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 AO
Lead Violin
Michael Ball AM &
Daria Ball
Joan Clemenger
Wendy Edwards
Prudence MacLeod
Helena Rathbone
Principal 2nd Violin
Satu Vänskä
Assistant Leader
Robert & Kay Bryan
Christopher Moore
Principal Viola
Tony Shepherd
Timo-Veikko Valve
Principal Cello
Peter Weiss AM
Maxime Bibeau
Principal Double Bass
John Taberner &
Grant Lang
CORE CHAIRS
Aiko Goto Violin
Andrew & Hiroko Gwinnett
Mark Ingwersen Violin
Alice Evans Violin
Jan Bowen,
Jo McKenzie & Scott Davies,
Th e Sandgropers
Ilya Isakovich Violin
Melbourne Community
Foundation – Connie &
Craig Kimberley Fund
Madeleine Boud Violin
Terry Campbell AO &
Christine Campbell
Stephen King Viola
Philip Bacon AM
Nicole Divall Viola
Ian & Nina Lansdown
Melissa Barnard Cello
Th e Bruce & Joy Reid
Foundation
Julian Th ompson Cello
Th e Clayton Family
GUEST CHAIRS FRIENDS OF MEDICI
Brian Nixon Principal Timpani Mr & Mrs R Bruce Corlett
Mr Robert Albert AO & Mrs Libby Albert
AUSTRALIAN CHAMBER ORCHESTRA 27
Th e ACO has returned from its adventurous and highly successful Trans-Atlantic Tour, which
spanned the USA and Europe and culminated in two performances at the Maribor Festival,
directed by Richard Tognetti for the third successive year.
Th e ACO would like to pay tribute to the following donors who have supported this exciting
adventure and helped make Richard’s dream a reality:
2010 TRANSATLANTIC TOUR PATRONS
MRS AMINA BELGIORNONETTIS, PATRON
TOUR PATRONS
Mr Barry Humphries AO CBE
Sir Michael Parkinson CBE
LEAD PATRONS $50,000+
Th e Belgiorno-Nettis Family
Th e Bruce & Joy Reid
Foundation
Mrs Janet L Holmes à Court AC
Connie & Craig Kimberley
Jan Minchin
Dame Elisabeth
Murdoch AC DBE
MAJOR PATRONS
$20,000 – $49,999
Mr Robert Albert AO &
Mrs Libby Albert
Philip Bacon AM
Liz Cacciottolo & Walter Lewin
Rowena Danziger & Ken Coles
Mr Peter Hall
Anthony & Sharon Lee
Louise & Martyn Myer
Foundation
Harry Triguboff AO &
Rhonda Triguboff
Ian Wallace & Kay Freedman
Anonymous (1)
ENSEMBLE PATRONS
$10,000 – $19,999Mr Bill & Mrs Marissa Best
Jenny & Stephen Charles
Mr & Mrs Robin Crawford
Martin Dickson AM &
Susie Dickson
Chris & Tony Froggatt
Ann Gamble Myer
Leslie & Ginny Green
Brendan & Bee Hopkins
PJ Jopling QC
Prudence MacLeod
Macquarie Group Foundation
Donald McGauchie
Mr Andrew Messenger
Gretel Packer
peckvonhartel architects
Julien & Michelle Playoust
John Taberner & Grant Lang
Michael & Eleonora Triguboff
Peter Weiss AM
SOLO PATRONS
$5,000 – $9,999
Antoinette Albert
Tony & Carol Berg
Robert & Kay Bryan
Ross & Rona Clarke
Wendy Edwards
Chris & Judy Fullerton
Phillip Isaacs OAM
Wayne N Kratzmann
Ian & Nina Lansdown
Irene Lee
Justice Jane Mathews AO
Carole & Peter Muller
Craig Ng
Graham J Rich
Dr Gillian Ritchie
Vivienne Sharpe
Tony Shepherd
Beverley Trivett
Anonymous (2)
PATRONS $500 – $4,999
Joy Anderson & Neil Th omas
Lord Jeff rey & Lady Archer
Jon & Deb Balderstone
Isla Baring
Mr Marc Besen AO &
Mrs Eva Besen AO
Jan Bowen
Th e Hon. Mr Laurie Brereton &
Th e Hon. Justice Trisha Kavanagh
Morena Buff on & Santo Cilauro
Elizabeth & Nicholas Callinan
Edmund Capon
David & Jane Clarke
Joan Clemenger
Mr & Mrs R L Cliff ord
Jillian Cobcroft
Paul Cochrane
Ann & Bruce Corlett
Terry & Lynn Fern
Bill & Lea Ferris
Brooke Fitzsimons
Ms Kerry Gardner
Alan & Joanna Gemes
Tom Griffi th & Adrienne
Cahalan
Peeyush & Shubura Gupta
Hugo & Julia Heath
Michael & Anna Joel
Ian Learmonth & Julia Pincus
Sue & Peter Lynch
Susan & Garry Rothwell
Carol Schwartz AM &
Alan Schwartz AM
Andrew Sisson
Mary Stephen
Th e Earl & Countess of
Stradbroke
Catherina Toh & Anthony Tobin
David Walsh
John & Cathy Walter
Peter & Susan Yates
Anonymous (3)
28 AUSTRALIAN CHAMBER ORCHESTRA
Mr Robert Albert AO &
Mrs Libby Albert
Mr Michael Ball AM &
Mrs Daria Ball
Steven Bardy
John & Patti David
Pamela Duncan
John Grill
Mrs Janet Holmes à Court AC
Miss Nancy Kimpton
Prudence MacLeod
Drs Alex & Pam Reisner
Christine Rothauser
Ian Wallace & Kay Freedman
Peter Weiss AM
Robert Whyte
Anonymous (1)
EMERGING ARTISTS PATRONS & EDUCATION PATRONS $10,000+
NATIONAL EDUCATION PROGRAM
TRUSTS AND FOUNDATIONS
THE ROSS TRUST THE THYNE REID FOUNDATION
LIMB FAMILY FOUNDATION
THE SUNJOTO FOUNDATION‘The Spirit of Giving’
ACO DONATION PROGRAM
Th e ACO pays tribute to all of our generous donors who support our many activities,
including our National and International touring, recordings, and our National Emerging
Artists and Education Programs.
Th is year, our donors have generously 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.
DIRETTORE $5,000 $9,999
Th e Belalberi Foundation
Mr Guido Belgiorno-Nettis AM
& Mrs Michelle
Belgiorno-Nettis
Liz Cacciottolo & Walter Lewin
Elizabeth & Nicholas Callinan
John & Lynnly Chalk
Rowena Danziger & Ken Coles
Ian & Caroline Frazer
Dr & Mrs E C Gray
Maurice Green AM &
Christina Green
Melbourne Community
Foundation – Ballandry
(Peter Griffi n Family)
Fund
Susan Harte
Brendan & Bee Hopkins
Roger Massy-Greene &
Belinda Hutchinson
Keith Kerridge
Wayne N Kratzmann
Lorraine Logan
Marianna & Tony O’Sullivan
John Rickard
Allan Rogers
Anonymous (3)
MAESTRO $2,500 $4,999
Michael Ahrens
Mr L H & Mrs M C Ainsworth
Jane Allen
Will & Dorothy Bailey Bequest
Virginia Berger
Michael Cameron
Caroline & Robert Clemente &
Gloria Darroch
Kate Dixon
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO DONATION PROGRAM
Suellen & Ron Enestrom
Bridget Faye AM
Tony & Chris Froggatt
Andrew & Hiroko Gwinnett
Nereda Hanlon & Michael
Hanlon AM
Don Hart
Lindi & John Hopkins
Stephen & Michele Johns
Eleni & Bob Longwell
Hon Dr Kemeri Murray AO
Sandra & Michael Paul
Endowment
Stephen & Robbie Roberts
Greg Shalit & Miriam Faine
Mrs Carol Sisson
Ms Petrina Slaytor
Dr R & Mrs R Tinning
Alastair Walton
Ralph Ward-Ambler AM &
Barbara Ward-Ambler
Karen & Geoff Wilson
Sir Robert Woods
Anonymous (7)
VIRTUOSO $1,000 $2,499
Annette Adair
Peter & Cathy Aird
Andrew Andersons
Sibilla Baer
Doug & Alison Battersby
Th e Beeren Foundation
Ruth Bell
Bruce Beresford
Victoria Beresin
Patricia Blau
Sally Bufé
Neil Burley & Jane Munro
Mark Burrows & Juliet
Ashworth
Gerard Byrne & Donna
O’Sullivan
Bruce Caldwell
Drs James & Margaret
Cameron
Sandra Cassell
Ann Cebon-Glass
Alex & Elizabeth Chernov
John Colvin
Leith & Darrel Conybeare
P Cornwell & C Rice
K Croft
Judith Croll
Betty Crouchley
Diana & Ian Curtis
Marie Dalziel
Michael & Wendy Davis
Design by Sergio Pty Ltd
Christopher & Kathryn Dibden
Jennifer Dowling
Ari & Lisa Droga
G & L Dunn
Professor Dexter Dunphy
Professor Peter Ebeling &
Mr Gary Plover
Leigh Emmett
Anne-Maree Englund
Peter Evans
H E Fairfax
Elizabeth Finnegan
Nancy & Graham Fox
Anne & Justin Gardener
Colin Golvan SC
Aiko Goto
Warren Green
Elizabeth & Peter Harbison
Carrie & Stanley Howard
Pam & Bill Hughes
Phillip Isaacs OAM
David Iverach
Andrew Johnston
Angela James & Phil McMaster
Warren & Joan Johns
D & I Kallinikos
John Landers & Linda Sweeny
Bronwyn & Andrew Lumsden
Alison & Malcolm Mackinnon
Clive Magowan
Mr & Mrs Greg & Jan Marsh
Deidre & Kevin McCann
Brian & Helen McFadyen
Judith McKernan
Fran & Tony Meagher
P J Miller
Donald Morley
Nola Nettheim
Th e Hon Mr. Justice Barry
O’Keefe AM & Mrs Janette
O’Keefe
Jennie & Ivor Orchard
Anne & Christopher Page
Patagonian Enterprises
Pty Ltd
James & Diane Patrick
peckvonhartel architects
Th e Purcell Family
Ralph & Ruth Renard
Mark Renehan
Warwick & Jeanette Richmond
In Memory of Andrew
Richmond
Em Prof A W Roberts
Julia Champtaloup & Andrew
Rothery
Harry & Leigh Rundle
D N Sanders
Tony Shepherd
Edward Simpson
Diana & Brian Snape AM
Maria Sola & Malcolm Douglas
Dr Charles Su & Dr Emily Lo
Leslie C Th iess
Alden Toevs & Judi Wolf
Colin & Joanne Trumble
Ngaire Turner
Kay Vernon
Mrs M W Wells
Audrey & Michael Wilson
Nick & Jo Wormald
William Yuille
Dr Lawrie Zion
Anonymous (17)
CONCERTINO $500 $999
Antoinette Ackermann
Ross Adamson
A Annand
Bruce & Diane Bargon
Greg Baxter
Andrew & Margaret Birchall
Brian Bothwell
Denise Braggett
D J Brown
Arnaldo Buch
Colleen & Michael Chesterman
Stephen Chivers
Dr B Clubb
John & Christine Collingwood
Angela & John Compton
Michael Cook
Alan Fraser Cooper
Mrs Julie Ann & Mr Laurie
Cox
Money Warehouse
Lindee Dalziell
Anouk Darling
30 AUSTRALIAN CHAMBER ORCHESTRA
ACO DONATION PROGRAM
Mari Davis
Lucio Di Bartolomeo
Jane Diamond
Martin Dolan
In Memory of Raymond Dudley
M T & R L Elford
Michael Elsley & Susan
Richardson
Farago Hill Wines
Mr & Mrs R J Gehrig
Mirek Generowicz
Brian Goddard
Steve Gray
Anthony Grigg & Paul
Williamson
Richard W Gulley
William & Robin Hall
Matthew Handbury
Dr I J Hardingham QC
Lesley Harland
Annie Hawker
Tim Hemingway
John Hibbard
Dr & Mrs Michael Hunter
Stephanie & Michael
Hutchinson
Philip & Sheila Jacobson
Davina Johnson
Mrs Angela Karpin
Bruce & Natalie Kellett
David & Angela Kent
Margaret Kyburz
Len La Flamme
Alf Lester
Drew Lindsay & Karl Zebel
Greg Lindsay AO & Jenny
Lindsay
Joanne Frederiksen & Paul
Lindwall
Penelope Little
Sydney & Airdrie Lloyd
Ashley Marshall
Peter Mason AM
Donald C Maxwell
Adrian McDonald
John Mitchell
Marie Morton
Helen & Gerald Moylan
Sharyn Munro
Ian Murray
Ken Nielson
J Norman
Graham North
Robin Offl er
Graham & Glynn O’Neill
Josephine Paech
Leslie Parsonage
Deborah Pearson
Professor David Penington AC
Mr Kevin Phillips
Andrew & Deirdre Plummer
Jan Power
Keith & Joan Presswell
John & Virginia Richardson
Michael Ryan
Manfred & Linda Salamon
Garry E Scarf & Morgie Blaxill
Jeff Schwartz
Alison Scott
Mr Ted Springett
In memory of Dr Aubrey
Sweet
IT
Phillip & Brenda Venton
Pat & John Webb
G C & R Weir
Nick & Helen Withers
Dr Gwen Woodroofe
Woodyatt Family
Michael & Susan Yabsley
Don & Mary Ann Yeats
Anonymous (24)
CONTINUO CIRCLE
BEQUEST PROGRAM
Th e late Kerstin Lillemor
Andersen
Dave Beswick
Sandra Cassell
Mrs Sandra Dent
Th e late Colin Enderby
Suzanne Gleeson
Lachie Hill
Th e late Mr Geoff
Lee AM OAM
Mrs Judy Lee
Richard & Dawn Searle
Mr Peter Weiss AM
Margaret & Ron Wright
Mark Young
Anonymous (10)
LIFE PATRONS
IBM
Mr 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
CONTRIBUTIONS
If 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
Lillian.Armitage@aco.com.au.
AUSTRALIAN CHAMBER ORCHESTRA 31
ACO CAPITAL CHALLENGE
INSPIRE THE FUTURE…Th e ACO Capital Challenge is a secure fund, which will permanently strengthen the ACO’s future.
Revenue generated by the corpus will provide 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-Nettis
Mrs Barbara Blackman
OCTET $100,000 – $249,000Mr Robert Albert AO & Mrs Libby Albert
Mrs Amina Belgiorno-Nettis
Th omas Foundation
QUARTET $50,000 – $99,000Th e Clayton Family
Mr Peter Hall
Mr & Mrs Philip & Fiona Latham
Mr John Taberner & Mr Grant Lang
Mr & Mrs Peter & Susan Yates
SONATA $30,000 – $49,999Mr Martin Dickson AM & Mrs Susie Dickson
Brendan & Bee Hopkins
Mr John Leece OAM & Mrs Anne Leece
Ilma Peters
Mrs Patricia Reid
Mr Timothy Samway
Steve Wilson
ACO COMMITTEES
Chair – Bill Best
Ken Allen AMSenior AdvisorUBS Investment Bank
Guido Belgiorno-Nettis AMChairman ACO &Joint Managing DirectorTransfi eld Holdings
Liz CacciottoloSenior AdvisorUBS Australia
Ian DavisManaging DirectorTelstra Television
Chris Froggatt
Brendan HopkinsCEOAPN News & Media
Tony O’SullivanManaging PartnerO’Sullivan Partners
Tony ShepherdChairmanTransfi eld Services
John TabernerConsultantFreehills
SYDNEY DEVELOPMENT COMMITTEE
EVENT COMMITTEES Bowral
Elsa AtkinMichael Ball AM (Chairman)Daria BallLinda HopkinsKaren MewesKeith MewesTh e Hon Michael Yabsley
Brisbane
Ross ClarkeSteffi HarbertElaine MillarDeborah Quinn
Sydney
Deb BalderstoneMar BeltranCreina ChapmanGuillaume ChesneauSuzanne CohenPatricia ConnollyJudy Anne Edwards
Marella GibsonElizabeth HarbisonBee HopkinsSarah JenkinsPenny McDonaldJo McKenzieKatherine RevelasMary Stollery
MELBOURNE DEVELOPMENT COUNCIL Chair – Peter YatesChairman Royal Institution of Australia andPeony Capital
Libby Callinan
Stephen Charles
Paul CochraneInvestment AdvisorBell Potter Securities
Tom Griffi thDirector/Co-FounderEmma & Toms
Jan MinchinDirectorTolarno Galleries
Susan NegrauDevelopment & Corporate Relations Manager Melbourne International Arts Festival
Craig NgPartnerMaddocks Lawyers
32 AUSTRALIAN CHAMBER ORCHESTRA
ACO PARTNERS
CHAIRMAN’S COUNCIL
Th e Chairman’s Council is a limited membership association of high level executives who
support the ACO’s international touring program and enjoy private events in the company
of Richard Tognetti and the Orchestra.
Mr Guido Belgiorno-Nettis AMChairmanAustralian Chamber Orchestra &Joint Managing DirectorTransfi eld Holdings
Mr Michael Andrew Australian ChairmanKPMG
Mr Philip Bacon AMDirectorPhilip Bacon Galleries
Mr Brad BanducciChief Executive Offi cerCellarmasters Group
Mr Jeff BondGeneral ManagerPeter Lehmann Wines
Mr Glen Boreham Managing DirectorIBM Australia and New Zealand
Mr Robin BowermanHead of RetailVanguard InvestmentsAustralia
Ms Barbara ChapmanGroup Executive,HR & Group ServicesCommonwealth Bank of Australia
Th e Hon. Stephen Charles QC & Mrs Jenny Charles
Mr David Constable AMConstable Estate VineyardsSupervised Investments Australia Limited
Mr & Mrs Robin Crawford
Ms Anouk DarlingManaging DirectorMoon Communications Group
Mr Craig DrummondChief Executive Offi cer and Country HeadBank of AmericaMerrill Lynch Australia
Dr Bob EveryChairmanWesfarmersMr Robert ScottManaging DirectorWesfarmers Insurance
Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel
Mr John GrillChief Executive Offi cerWorleyParsons
Mr & Mrs Simon & Katrina Holmes à CourtObservant Pty Limited
Mr Brendan HopkinsChief ExecutiveAPN News & Media
Mr Robert Johanson, Mr John Sharkey & Mr Robert SymonsDirectorsRobert Salzer Foundation
Mr Mark JohnsonSenior Partner & CEOPricewaterhouseCoopers
Mr Warwick JohnsonManaging DirectorOptimal Fund Management
Ms Catherine Livingstone AOChairmanTelstra
Mr Steven Lowy AMGroup Managing DirectorWestfi eld Group
Mr Didier MahoutCEO Australia & NZBNP Paribas
Mr Michael Maxwell &Mrs Julianne Maxwell
Mr Geoff McClellanChairmanFreehills
Mr John MeacockManaging Partner NSW Deloitte
Ms Naomi Milgrom AO
Ms Jan MinchinDirectorTolarno Galleries
Mr Clark MorganChief ExecutiveUBS Wealth Management Australia
Mr Alf Moufarrige OAMChief Executive Offi cerServcorp
Mr & Mrs James & Diane PatrickManaging DirectorsWiltrans International Pty Ltd
Mr Scott PerkinsHead of Global BankingDeutsche Bank Australia/New Zealand
Mr Oliver RoydhouseManaging DirectorInlink
Mr Tim SamwayInstitutional BusinessDirectorHyperion Asset Management
Mr Peter SchiavelloManaging DirectorSchiavello Group
Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand
Mr Michio (Henry) TakiManaging Director & CEOMitsubishi Australia Ltd
Mr Michael Triguboff Managing DirectorMIR Investment Management Ltd
Ms Vanessa WallaceDirector Booz & Company
Mr Kim Williams AMChief Executive Offi cerFoxtel
Mr Peter YatesChairmanRoyal Institution of Australia & Peony Capital
AUSTRALIAN CHAMBER ORCHESTRA 33
Th e ACO receives around 50% of its income from the box offi ce, 35% from the business
community and private donors and less than 15% from government sources. Th e private
sector plays a key role in the continued growth and artistic development of the Orchestra.
We are proud of the relationships we have developed with each of our partners and would like
to acknowledge their generous support.
ACO PARTNERS
ACO2 PRINCIPAL PARTNERFOUNDING PARTNER
Th e ACO receives around 50% of its income from the box offi ce, 35% from the business
community and private donors and less than 15% from government sources. Th e private
sector plays a key role in the continued growth and artistic development of the Orchestra.
We are proud of the relationships we have developed with each of our partners and would like
to acknowledge their generous support.
ACO PARTNERS
PRINCIPAL INNOVATION PARTNER
NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS
ACO is supported by the NSW Government through
Arts NSW
GOVERNMENT SUPPORT ACCOMMODATION AND EVENT SUPPORT
BAR CUPOLA SWEENEY RESEARCH
CONCERT AND SERIES PARTNERS
PREFERRED TRAVEL PARTNER
OFFICIAL AIRLINE
PERTH SERIES AND WA REGIONAL TOUR PARTNER
QLD/NSW REGIONAL TOUR PARTNER
34 AUSTRALIAN CHAMBER ORCHESTRA
STACCATO: ACO NEWS STACCATO: ACO NEWS
For more information about donating to the ACO, please phone Lillian Armitage on
(02) 8274 3835 or email Lillian.Armitage@aco.com.au.
DONOR PROFILE: EDWARD GRAY
Queenslander Ted Gray comes
from a musical family and was
a violinist himself, until the end
of his secondary school years. A
strong supporter of live orchestral
performances, his fi rst exposure to
the ACO was on the radio. It was
the ACO’s consistent excellence and
the lightness, joyousness and the
disciplined enthusiasm of the ACO’s
music which inspired Ted and his wife to become
ACO subscribers around seven years ago.
Ted has generously supported the ACO’s Capital
Challenge Campaign and has been a consistent
and generous supporter of the ACO’s Emerging
Artists and Education Programs. For Ted,
supporting these programs follows on naturally
from his own experiences during three years of
struggle with fi ve children in tow at
the University of California, Berkeley
Campus from 1968 to 1971.
Ted has lived in Papua New Guinea,
the USA, Canada and Fiji and has
travelled extensively in Great Britain,
Europe, India and Sri Lanka. His
travels have taken him to numerous
concert halls outside Australia and
have aff orded him the opportunity to hear many
orchestras including the London Philharmonic,
Toronto Symphony, Hamilton Philharmonic, and
the San Francisco Symphony Orchestras, but as
Ted says, “None better than the ACO!”
It has been a privilege for the ACO to have Ted’s
support and we are extremely grateful to him.
ACO EVENTS
ANNUAL DINNERS SYDNEY AND MELBOURNETh e ACO’s Annual Dinners, held in late July
in Melbourne and Sydney, thanked the ACO’s
Chairman’s Council members, Medici Patrons,
lead International Patrons and Major Patrons for
their invaluable contribution to, and support of,
the Orchestra.
In Melbourne, this event was generously hosted
by Andrew and Shadda Abercrombie, who
opened their glorious home to seventy of the
ACO’s major patrons. Richard Tognetti and
the Orchestra performed a beautiful program,
crafted especially for the occasion.
In Sydney, this event was hosted by Park Hyatt
Sydney. Eighty loyal supporters of the Orchestra
enjoyed a delectable three course dinner, and a
stirring performance by the ACO.
At both dinners, guests enjoyed Peter Lehmann’s
exquisite wines, which were accompanied by
Taittinger Champagne, generously supplied by
Cellarmasters.
Mark Ingwersen, Penny Buckland and David Buckland
Julianne Maxwell, Alice Evans and Brendan Hopkins
Melissa Barnard and Carol Sroczynski
A glittering crowd gathered at Cadogan Hall
on 31 August for the Australian Chamber
Orchestra’s London concert, sponsored by
Macquarie Group and Global Switch. Th e
audience included Sir Michael and Lady
Parkinson, Barry Humphries and his eternally
elegant mother-in-law, Lady Natasha Spender,
actors Simon Callow and Miriam Margolyes,
conductor Sir Mark Elder, cellist Steven Isserlis
and soprano Dawn Upshaw.
At the end of a heart-racing performance of
Beethoven’s 5th Symphony, Parky brought the
800 strong audience to its feet for fi ve curtain
calls. Th e Orchestra performed the fi nal
movement of Mozart’s Jupiter Symphony as an
encore.
Guests then adjourned for a post-concert party
hosted by His Excellency Mr John Dauth LVO,
High Commissioner for Australia. Guests
including Transfi eld’s Tony Shepherd and APN’s
Brendan Hopkins were treated to a hilarious
oration by Barry Humphries, after which Richard
Tognetti told Humphries that his time had come
– Sir Les for Prime Minister!
Th e ACO gratefully acknowledges the generous
support of all of our 2010 Trans-Atlantic Tour
Patrons, Macquarie Group, Global Switch and
the Australain High Commission, without whom
the tour would not have been possible.
ACO LONDON CONCERT PARKY LEADS THE OVATION
STACCATO: ACO NEWS
For more information about supporting the ACO’s future international touring, please
phone Lillian Armitage on (02) 8274 3835 or email Lillian.Armitage@aco.com.au.
Lady Mary and SIr Michael Parkinson
Brendan, Tor and Bee Hopkins
Sir Michael Parkinson, Satu Vänskä, Barry Humphries
36 AUSTRALIAN CHAMBER ORCHESTRA
APN News & Media has had a long association with regional Queensland and New
South Wales, so it is a great honour to partner with the Australian Chamber Orchestra
in this signifi cant tour.
As Australia’s leading publisher of regional newspapers and websites, APN has long
championed the growth and development of the country’s provincial centres. Th is
tour by ACO2 recognises the vibrant and creative nature of our communities and will
showcase world-leading talent to an appreciative and knowledgeable audience.
It is indeed a privilege to bring the orchestra to our local towns and schools, where so
many people can benefi t from the skills of this ensemble. For many students, they will
experience a master class unlike any other, from some of Australia’s brightest musical
talents.
As APN News & Media continues to grow in its local markets, it is through partnerships
such as this one with the Australian Chamber Orchestra, that we can expand on the
important cultural and social cornerstone that we hold in our communities.
We are proud to be part of this very special tour of ACO2, showcasing some of Australia’s
fi nest musical talent.
BRENDAN HOPKINSChief ExecutiveAPN News & Media
APN ACO2
NSW/QLD TOURBangalow - A&I Hall
Tue 5 Oct, 7.30pm
Coffs Harbour - Jetty Memorial Theatre
Sat 2 Oct, 8pm
Logan Central - Logan Entertainment Centre
Fri 8 Oct, 8pm
Noosaville - Good Shepherd Lutheran College
Sun 10 Oct, 7.30pm
Tamworth - Capitol Theatre
Fri 1 Oct, 8pm
Toowoomba - Empire Theatre
Wed 6 Oct, 8pm
Parramatta - Riverside Theatres
Tue 28 Sep, 7.30pm
Sydney - Verbrugghen Hall
Wed 29 Sep, 7pm
COX & KINGSOVER 250 YEARS OF DISCOVERY
*Valid for bookings made any time from now until 31 December 2010.To be eligible for the discount, subscribers must provide their ACO membership number at the time of reservations enquiry. Reservations must be made by contacting Cox & Kings on:
sales@coxandkings.com.au or 1300 836 764
Cox & Kings, the world’s longest established travel company, is offering ACO subscribers 10% of all Escorted Small Group Journeys of 10 days duration or longer, for travel any time from now until 31 December 2011.
* ‘Business Partner’ is used informally and does not imply a legal partnership. © Copyright IBM Australia Limited 2010 ABN 79 000 024 733 © Copyright IBM Corporation 2010 All Rights Reserved. TRADEMARKS: IBM, the IBM logo, ibm.com, Smarter Planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade.shtml IBMNCA0494/MidMarket/ACO
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