ACO Trout Quintet Program

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AUSTRALIAN CHAMBER ORCHESTRA 1

NATIONALTOUR PARTNER Schubert and Messiaen are composers who, each in

their own way, had a keen appetite for experimentation,

and who weren’t afraid to push up against the bounds

of what was accepted, or fashionable, at the time. The

creativity that fosters this kind of innovation continues

today. For over 56 years Transfi eld has applied similar

creativity to the many engineering projects it has

pioneered, and today our investment in solar energy

technology continues that tradition.

Transfi eld’s founder, my father Franco, recognised

a very clear link between the creativity expressed

in art and that which is applied in business. In

2011 we celebrated the 50 year anniversary of the

establishment of the Transfi eld Art Prize, which led to

the founding of the Biennale of Sydney. This year marks

the 18th Biennale and Transfi eld is proud to remain its

founding partner.

Transfi eld has supported the ACO for over a decade.

In that time Richard Tognetti and his incredibly talented

musicians have not only inspired Transfi eld, they have

captivated local and international audiences with their

delicately crafted and uniquely magnifi cent music.

As Chairman of the ACO, it is a privilege to welcome

you to this performance of the Trout Quintet and

Quartet for the End of Time.

GUIDO BELGIORNO-NETTIS AM

NATIONAL TOUR PARTNER


Cover photo: Timo-Veikko Valve © Jon Frank

TOUR FOURTROUT QUINTET & QUARTET FOR THE END OF TIMEHELENA RATHBONE Violin

CHRISTOPHER MOORE Viola

TIMO-VEIKKO VALVE Cello

MAXIME BIBEAU Double Bass

PAUL DEAN Clarinet

SALEEM ABBOUD ASHKAR Piano

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

Approximate durations (minutes):37 – INTERVAL – 48Th e concert will last approximately two hours including a 20-minute interval.

BRISBANE QPACWed 11 Jul 8pm

NEWCASTLECity HallTh u 12 Jul 7.30pm

SYDNEYCity Recital Hall Angel PlaceSat 14 Jul 7pm, Tue 17 Jul 8pm, Wed 18 Jul 7pm

SYDNEY Opera HouseSun 15 Jul 2pm

MELBOURNERecital CentreMon 16 Jul 8pm, Sun 22 Jul 2.30pm, Mon 23 Jul 8pm

WOLLONGONGTown HallTh u 19 Jul 7.30pm

CANBERRALlewellyn HallSat 21 Jul 8pm

ADELAIDETown HallTue 24 Jul 8pm

SCHUBERT Piano Quintet in A major, D.667 ‘Trout’

I N T E R VA L

MESSIAENQuatuor pour la fi n du temps (Quartet for the End of Time)

SPEED READOver 120 years separate the works on this program, both of which are chamber music masterworks with vivid circumstances surrounding their creation.

Schubert’s “Trout” Quintet takes its nickname from Schubert’s song “Die Forelle”. It was written at the request of Austrian arts patron Sylvester Paumgartner, who regularly hosted soirees at his home. Schubert participated in these soirees, and apparently Paumgartner was so enamoured with the 22 year old composer’s “Forelle” that his stipulation was that the new quintet should include the melodic line from the song, along with very specifi c instrumentation. The quintet is amongst the most unabashedly joyous of Schubert’s works, refl ective of the blissful times the composer enjoyed on holiday while writing the quintet.

Messiaen’s Quartet for the End of Time has its genesis in much darker circumstances. Messiaen was drafted as part of the French Army during World War II, and was captured by the Germans and sent to a work camp as a prisoner of war. The Germans, having an interest in music, provided Messiaen with tools to compose. He befriended a violinist, clarinettist, and a cellist and recalled, “I wrote an unpretentious little trio for them… Emboldened by this fi rst experiment called ‘Intermede’, I gradually added the seven movements which surrounded it.” A concert of the quartet was presented in the work camp to an audience which Messiaen remembered as “the most diverse mixture of all classes in society — farm workers, labourers, intellectuals, career soldiers, doctors and priests”. Messiaen’s quartet stands as one of the great achievements of chamber music, with harmonic and rhythmic sophistication employed to dazzling and profound effect.

© Alan J. Benson


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ACO ON THE RADIO

ABC CLASSIC FM

Mon 16 Jul, 8pmDirect to air:Trout Quintet & Quartet for the End of Time

Mon 6 Aug, 8pmDanielle de Niese & ACO

2MBS FMWed 1 Aug, 12pmMusician interview about the upcoming Beethoven 9 program

NEXT TOURBeethoven 9 4 — 15 August

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

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

July is an especially busy month for the Australian Chamber Orchestra. While Helena Rathbone leads this tour of two masterpieces of chamber music – Schubert’s Trout Quintet and Messiaen’s Quartet for the End of Time – Richard Tognetti is directing ACO2 on an extraordinary tour around the north-west coast of the continent to premiere Th e Reef. Meanwhile, back in the ACO Studio, Aiko Goto is leading the ACO Academy – our fi rst venture into the formation of a youth string orchestra based on the ACO model. Th is means that the ACO’s July performance schedule ranges from the Sydney Opera House to a sunset open-air performance on Broome’s Cable Beach, and from our fi rst appearance in the splendid Dame Elisabeth Murdoch Hall of the Melbourne Recital Centre to the fi rst music education experiences for primary school children at Our Lady of Mount Carmel in the inner Sydney suburb of Waterloo.

Such diversity is typical of the scope of the ACO’s programs and projects each year. Underpinning the ACO’s ability to achieve this breadth is the generous and sustained support of our long-term National Tour Partners such as Transfi eld. Since 2000, Transfi eld has demonstrated its faith in the ACO’s vision through its sponsorship of our nationwide program of activities. We are immensely grateful to Transfi eld Holdings and the Transfi eld Foundation for enabling us to fulfi l our mission.

After splitting into various ensembles and fanning out over the whole country in July, the full ACO will regroup in August for our biggest-ever program – Beethoven’s Ninth Symphony, with an orchestra of 54, four great soloists and the Choir of Clare College, Cambridge. Audiences in Adelaide, Brisbane, Canberra, Melbourne, Perth and Sydney will be able to catch this major event between 4 and 15 August.

TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA

6 AUSTRALIAN CHAMBER ORCHESTRA

SCHUBERT Piano Quintet in A major, ‘Trout’, Op.114, D.667 (Composed 1819, published 1829)

Allegro vivaceAndanteScherzo (Presto)Th ema (Andantino) – Variazioni I-V (Allegretto)Finale (Allegro giusto)

Th e ‘Trout’ Quintet, like most of Schubert’s chamber music, seems to have been composed without the intention of having it publicly performed. It is, as usual, ‘domestic’ music, written for Schubert to enjoy with his friends in the intimacy of the salon. However, we know more about the genesis of this piece than the bulk of the substantial corpus of chamber music unearthed after Schubert’s death at the age of 31. In the 1850s Anton Stadler, Schubert’s childhood friend, told a writer preparing a biography of the composer that “He (Schubert) wrote it at the special request of my friend Sylvester Paumgartner, who was completely captivated by the precious little song. It was his wish that the Quintet should maintain the form and instrumentation of Hummel’s Quintet – recte Septet – which at that time was quite new. Schubert soon fi nished the piece and kept the fi eld to himself.”

Sylvester Paumgartner lived in the upper Austrian town Steyr, where he was assistant manager of an iron ore mine. Th e wealthy music-lover and cellist of modest ability hosted Schubert on three occasions. Although the autograph is lost, it is likely that the Quintet was composed on his fi rst visit in 1819 (Schubert was 22), where it shared a bill with the Hummel Quintet, an arrangement of his wind, string and piano septet for the same slightly unusual instrumentation that Schubert used: violin, viola, cello, double bass and piano (rather than the normative ensemble of string quartet plus piano). As with his later String Quintet in C major, Schubert exploits the expanded, quasi-orchestral, range and colouristic possibilities of his group to the fullest, the double bass for instance, contributing resonant pedal tones. Th e virtuoso piano writing is concentrated in the upper registers of the keyboard for maximum contrast with the predominantly low strings, and much of the melodic passage-work is in parallel octaves for a more brilliant and limpid eff ect. Th e Piano Quintet is substantial, but in three of the movements the fi rst half is simply repeated in a diff erent key.

Franz SCHUBERT(b. Vienna, Austria 1797 — d. Vienna, Austria 1828)

Schubert’s death at age 31 was one of music history’s great tragedies. Despite his short life, Schubert somehow managed to leave behind more than 600 art songs, an extensive catalogue of ingenious piano and chamber music, and several masterpieces in large-scale genres. Shockingly underappreciated in his own day, Schubert now receives due recognition as one of the fi rst Romantics and has assumed his rightful place in the musical pantheon.

Glossary

recte: correctly/rightly

Septet: work for seven instruments


Th e work opens with a fl amboyant gesture: a rich string chord and a sweeping upward piano arpeggio – an important motif in this work – repeated a few times by way of introduction before the main theme. Schubert uses his favourite mediant and submediant modulations: moving into keys related by thirds and sixths, instead of the more Classical moves to keys a fi fth or fourth away. Th e keys a third and sixth away are less closely related to the home key and imbue Schubert’s music with a sometimes irresolute and yearning quality.

Schubert’s harmony in the second movement Andante is even more surprising: the serene main theme is presented in F major but, after a brief modulatory passage led by the piano (a sequence of tumbling triplets), the secondary theme, a viola and cello duet is in the very distant key of F-sharp minor. Th e music then snaps in to a vacillating D major/G major and fi nds brief repose before it all begins again, this time a half-step higher in G-sharp (but spelled enharmonically as A-fl at). In fact the plan of this whole movement is a slowly rising tonal corkscrew, moving in half-steps before falling back at the last possible moment to the opening F major.

Th e brief three-in-a-bar Scherzo contrasts two ideas: a tense string fl ourish and an unhurried trio section, redolent of the Austro-Germanic ideal of gemütlichkeit or ‘coziness’. Th is mood is carried over into the most famous part of the Quintet, a set of variations on Schuberts lied Die Forelle (Op.32/D.550) composed in 1817. Th e text of Th e Trout, by Christian Schubart, is a ribald allegory of sexual politics. Briefl y summarised, the poet describes the little fi sh swimming in a bright stream as an angler – with his rod at the ready – watches the trout cold-bloodedly, knowing that while the stream remains clear he’ll never catch her with his tackle. He muddies the water and catches the deceived fi sh. In German, ‘rod’ and ‘tackle’ have exactly the same connotations as in English. Schubert wisely didn’t set a further editorialising stanza which makes the plainly obvious moral even more explicit, warning young ladies to watch out for predatory men.

Schubert sets this text with almost naive cheeriness, setting a bouncy melody against the bubbling rising sextuplet (grouping of six) arpeggiated fi gure – which he lends to the Quintet’s opening gesture. Th e narrator of the poem, like Schubert, sympathises with the fi sh, not the ruthless angler. Th e second section, describing the fi sh’s demise is cast in an agitated and tragic minor key, before it burbles to a close. Th e larger scale of the Trout theme and variations allows


Schubert to expand upon some of the ideas, and the drama, only hinted at in the tiny song, while more or less preserving the overall plan of the original. Th e theme is given to strings alone – without its watery piano accompaniment – in a solemn, almost chorale-like harmonisation. Th e fi rst variation presents the theme in luminous octaves on the piano, surrounded by liquid trills and ornamentation in the strings. In Variation II, the violin takes fl ight over the theme in a virtuoso moto perpetuo. Th e third variation plays off rapid piano scales against a humorously ponderous statement of the theme in the cello and double bass. Th e outraged minor-key music accompanying the trout’s demise is now amplifi ed hysterically, with pounding piano and string sextuplets. Th e fourth variation, led by the cello, seems to allude in its skipping rhythms to the aria ‘Là ci darem la mano’ from Mozart’s Don Giovanni – an apt reference to another perfi dious seducer (the deep-voiced cello being a good stand-in for the bass-baritone Don). Th e fi nal variation at last brings the original piano accompaniment into play along with the same jolly mood of the song, fi rst on the keyboard but then tossed among the strings before fading into the distance.

Th e fi nale begins with some classic Schubertian misdirection with a pedal E in the piano implying that the piece is in E major (the dominant – a fi fth away – from the home, or tonic, key of A major). Once the piece is fi nally settled in A, Schubert again subverts expectations by setting the contrasting theme in D major (the subdominant, where we’d expect it to move to the dominant) but denies us any kind of developmental section. He simply repeats the whole thing a fi fth higher (properly in E now), so that this time when he modulates upwards we land back in the home key of A to fi nish the piece, revealing the neatness of the harmonic plot, but perhaps trying the patience of the listener with three long repetitions of some fairly slight music.

While we don’t know Paumgarten’s reaction to the work he elicited, Schubert’s publisher Joseph Czerny ran an ad for Trout Quintet in Wiener allgemeine Th eaterzeitung in 1829 “Since this Quintet has already been performed in several circles at the publisher’s instigation, and declared by those musical connoisseurs present to be a masterpiece, we deem it our duty to draw the musical public’s attention to this latest work by the unforgettable composer…”

Th e musical public paid attention, and quickly made this one of the best-loved pieces of chamber music by any composer.


Legendary French organist, teacher, and composer Messiaen followed in the continuum of French musical tradition after Debussy, reconciling tradition with innovations of Bartók and Stravinsky. As an avid ornithologist Messiaen observed, documented, and memorised birdsong, which inspired and was expressed in many of his compositions. His devout Catholicism informed much of his œuvre, and many of his works seek to express awe of the divine through inventively sublime and vivid, colourful writing. Counted among Messiaen’s students are Pierre Boulez, Qigang Chen, Tristan Murail, Karlheinz Stockhausen, Iannis Xenakis, and George Benjamin.

Olivier MESSIAEN (b. Avignon, France 1908 — d. Paris, France 1992)

MESSIAEN Quartet for the End of Time(Composed 1941)

1 Liturgie de cristale2 Vocalise, pour l’Ange qui annonce le fi n du Temps3 Abîme des oiseaux4 Intermède5 Louange à l’Eternité de Jésus6 Danse de la fureur, pour les sept trompettes7 Fouillis d’arc-en-ciel, pour l’Ange qui annonce le fi n du Temps8 Louange à l’Immortalité de Jésus

[For a discussion of the Quartet’s individual movements, turn to page 13.]

On a crisp winter day in 1988, Olivier Messiaen (1908-1992) and his wife, the pianist Yvonne Loriod, walked in the bush near Canberra. Messiaen wasn’t optimistic about his chances of fi nding his quarry – even in Australia, birds are muted and scarce in winter – but then, as Madame Loriod describes, “In a sunlit forest of giant eucalypts, like cathedral columns in the vibrating light, the composer suddenly saw the bird a few yards away, majestically raising its plumes to form a lyre twice his height. Moved by this ritual, he thought of the Betrothed of the Apocalypse, ‘adorned for her husband’.”

Messiaen later wove the virtuoso song of the Superb Lyrebird, transcribed in the wild that day, along with other Australian, Oceanic and Asian birds, into his late magnum opus, Éclairs sur l’Au-Delà... (Illuminations of the Beyond…)

Loriod’s anecdote neatly encapsulates many of the images of the composer that make Messiaen one of the most fascinating, infl uential (and sometimes derided) fi gures in 20th-Century music: birdsong and light, mysticism and visions, nature and transcendence. Éclairs was Messiaen’s fi nal major orchestral work, a summa of many of his techniques and preoccupations, musical and religious. Its subject is the end of the world, as described in the Book of Revelations, and it consummates a 50-year cycle of works that began with the piece on this program.

Messiaen’s Quatour pour le fi n du Temps (Quartet for the End of Time), was also a product of winter, the much more savage winter of 1941 near Görlitz, Silesia, in the easternmost part of Germany, right on its border with


Poland. Olivier Messiaen was captured by invading Germans at Verdun, where he was a medical auxiliary (he had been drafted), in 1940, with three other musicians. Th ey were taken to Stalag VIIIA at Görlitz, Messiaen toting a knapsack with a precious cargo, ‘a little library of musical scores… going from Bach’s Brandenburg Concertos to the Lyric Suite of Berg’.

Prior to his capture Messiaen’s growing reputation as a composer and teacher made him the most prominent member of the avant-garde group called La Jeune France (Young France). La Jeune France were an earnest crowd, who reacted against the fl ippant music of Les Six (and their ringleader Francis Poulenc) and the dry neoclassicism of Stravinsky with highly serious and intricately wrought works. At this point, Messiaen’s musical style was maturing into a blend of the cutting-edge and the archaic, the high-fl own and the deplorably low-rent, at least to the ears of the musical establishment of the mid-1930s. Messiaen’s devout Catholicism was also problematic – especially when couched in a highly personal style of gaudy eclecticism and soul-baring candour. Increasingly, faith was the subject of his concert music, eventually to the exclusion of everything else.

Messiaen already had an outlet for his religious music in his other job as organist for the Church of the Holy Trinity in north Paris, where he performed and improvised every Sunday on the Basilica’s magnifi cent Romantic organ. His organ teacher Marcel Dupré (1886–1971) – the ‘Liszt of the organ’, according to Messiaen – passed on his interest in exotic modes and scales and ancient Greek poetic meters to the younger composer, who used them as the basis of his compositional technique in and out of the organ-loft.

Few composers have had as much objectivity about their style as Messiaen, or been as adept at explaining in detailed forewords to his pieces and in his theoretical works, Th e Technique of My Musical Language and the eight-volume Treatise of Rhythm, Colour and Ornithology. Briefl y, the foundation of Messiaen’s harmony is the use of what he called ‘modes of limited transposition’. Th ese are scales which can only be transposed (have their starting note moved up or down) a limited number of times before they repeat exactly again (unlike the conventional diatonic scale which can be transposed twelve times before it repeats). Th e most familiar of these modes is the whole-tone scale – which lends an exotically ‘oriental’ sound to some of Debussy (e.g. ‘Pagodes’ from Estampes) and Ravel’s works. As the name suggests, each note is separated by the

Église de la Sainte-Trinité (Church of the Holy Trinity) Paris, ca. 1890–1900.


interval of a tone (a whole ‘step’ or major second), and in Messiaen’s system Mode 1 has two transpositions. Mode 2 alternates whole and half steps and has three transpositions (this ‘octatonic’ scale’s mysterious and ambiguous sound can be heard in Stravinsky’s early Russian ballets). Th ese modes – there are 16 – expand the palette of melodic and harmonic colours far beyond the conventional Western duality of major and minor, though Messiaen used those too, spiced with his modes, as well as the Church modes of plainchant. Th ey also possess a quality of symmetry that appealed to Messiaen: chords and melodies created with the modes ‘refl ect’ around a central pivot, often dissonant interval of the tritone (diminished fi fth/augmented fourth).

Rhythmically, Messiaen drew on the rhythms of Greek poetry and ancient Indian rhythmic patterns called tala, as a way to create rhythmic cells from these musical found objects. When harnessed to his modes in a more or less methodical way, Messiaen discovered a powerful generative force for his music, which he could further manipulate with a set of techniques such as augmentation and diminution (expanding or contracting all the rhythmic values while maintaining their relative proportions) and by arbitrarily lengthening, shortening or substituting silences for certain values, the technique of ‘added value’. Messiaen also used what he described as ‘non-retrogradable rhythms’, which are simply rhythmic palindromes, refl ected (symmetry again) around a central common value. For Messiaen, the ideal rhythm of music ‘eschews repetition, bar lines and equal divisions, which ultimately takes its inspiration from the movements of nature which are free and unequal in length.’

All of this theoretical baggage might seem to impose a heavy burden on any composer yearning for unfettered creation, but not for Messiaen. He revelled in what he described as the ‘charm of impossibilities’; “It is a glistening music that we seek, giving to the aural sense voluptuously refi ned pleasures. At the same time, this music should be able to express some noble sentiments (and especially the most noble of all, the truths of the Catholic faith). Th is charm, at once voluptuous and contemplative, resides particularly in certain mathematical impossibilities in the modal and rhythmic domains.”

How are these impossibilities impressed upon the listener? By Messiaen’s own admission, we may not be able to consciously hear palindromic rhythms, but we might sense the symmetrical patterning. Th e chords based on his modes seem to be propelled by a diff erent harmonic ‘engine’ than


the one which powers conventional Western harmony. Th e Greek and Indian rhythms chatter against themselves, moving according to the dictates of an alien (to us) musical aesthetic. Somehow, the strength of Messiaen’s musical personality pulls these heterogeneous ingredients together to form his unmistakable voice.

But while the essentials of Messiaen’s technique were already in place in 1940, as is to be expected, his experience in the Stalag catalysed these elements into something new, powerful and more self-confi dent. In addition to the self-imposed constraints of rhythm and mode, Messiaen found himself having to work with the instruments and musicians available to him in camp: violinist Jean Le Boulaire, Henri Akoka, clarinetist, and Etienne Pasquier, a cellist. Somehow, Le Boulaire and Akoka had held onto their instruments, a beaten up cello, and Messiaen composed a trio for them which was performed in the ablution block. Th e work’s unsung benefactor was Karl-Albert Brüll, a sympathetic guard at Stalag VIIIA, who provided Messiaen with materials and space to compose, and even placed a guard at his door so that he wouldn’t be disturbed. Th ey are as much responsible for bringing the Quartet into the world as the composer; it would not exist at all but for the happenstance that threw them all together.

In the confi nes of a prisoner of war camp in the depths of the winter of 1941, Messiaen might well have believed that the end of time – and indeed his own end – were imminent. He signals his grander intentions by heading the score with a lengthy quotation from Book of Revelation of St John the Divine: “And I saw another mighty angel descend from heaven clothed with a cloud: and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fi re… and he said… there should be time no longer.” (Revelation 10:1–7, KJV).

Th is program immediately creates a problem for the composer: how do you remove time from a medium that is entirely temporal? Is it, like some minimalist music, harmonically static and repetitive? Is it just an endless drone? Messiaen’s solution is more subtle, counterintuitive and interesting. He uses his rhythmic techniques of augmentation/diminution and added values to makes us aware of and then manipulate the fabric of time, pinching it tightly together to speed it up or stretching it out in infi nite slowness. At other times, time seems to stop altogether as a long-breathed melody unfolds. Any kind of symmetry – for instance the palindrome rhythms – thwart time’s


inexorable forward momentum, they are the same whether time runs forwards or backwards. While time might end for the audience, musicians are all too aware of it: the irregular, constantly shifting time signatures of the Quartet requires the players to subdivide the beat in tiny increments. Messiaen’s music often moves with glacial, rapt slowness, Infi niment lent, extatique (infi nitely slow, ecstatic) is a fairly typical instruction (conversely, sometimes his music is hyperactively quick, there’s just nothing in between). Th ese tempos attune the audience to the beyond, but also make this music a special challenge to musicians who must move with yogic control and discipline. Th e concentrated inwardness required to perform the Quartet casts an additional halo around the work, which radiates into the auditorium.

Messiaen provided the notes on each of the eight movements (eight having a mystical signifi cance – God rested on the seventh day of creation, a day extended eternally into the ‘eighth day’ of perfect light and peace). Some further annotations are provided beneath Messiaen’s descriptions.

1) Liturgie de cristal (Crystal Liturgy) [quartet]: Between 3 and 4 in the morning, the dawn chorus of birds: a blackbird or a nightingale soloist improvises, surrounded by powdery sonorities, by a halo of trills lost in the heights of the trees. Transpose this onto a religious plane: you have the harmonious silence of heaven.

Th e violin and clarinet impersonate birds, innocent heralds of God, while on a separate plane the cello and piano play two distinct cycles of rhythmic and harmonic patterns. In the piano’s case there is a harmonic sequence of 29 chords played to a rhythm based on a tala of 17 values, one chord per value. Harmony and rhythm are independent of each other, so that the beginnings of each cycle coincide with every 29 repetitions of the tala. To further complicate this, the cello has a diff erent set of 15 rhythmic values and fi ve tones. For cello and piano to play out their complete cycles and re-synchronise would take two hours. Given that Messiaen abruptly cuts off this movement after ten repetitions of the tala (about three minutes) what we are given is a window into an enormous (virtually endless in audience time) structure, a powerful metaphor for eternity, and of the inscrutable mechanism of the cosmos. It is the simple, natural birds (probably blackbirds, despite Messiaen’s uncharacteristic vagueness), which halt the movement’s inexorable progress.


2) Vocalise, pour l’Ange qui annonce le fi n du Temps (Vocalise, for the Angel who announces the end of Time) [quartet]: Th e fi rst and third part (very brief ) evoke the power of this mighty angel, crowned by a rainbow and clothed in a cloud, who places one foot in the sea and the other foot on the earth. In the middle [section], these are the impalpable harmonies of heaven. On the piano, cascades of gentle orange-blue chords, enveloping, with their distant carillon the quasi-plainchant song of the violin and cello.

Th e Angel is introduced by brusque chords and an alarmed call from the clarinet, a motif which returns in the Interlude. Th e ‘cascades’ of chords are in Messiaen’s Th ird Mode of Limited Transposition centered on D, which create an iridescence which he describes as ‘drops of water in a rainbow’. Messaien was synaesthetic, and ‘saw’ colours associated with chords. He would more fully develop the colour technique in his later works.

3) Abîme des oiseaux (Abyss of the Birds) [clarinet solo]: Clarinet alone. Th e abyss is time with its sorrow and lassitude. Th e birds are the opposite of time: they are our desire for light, for stars, for rainbows and jubilant songs!

In addition to synthetic birdsong, the ‘abyss’ is a hall of mirrors: melodies are inverted and reversed. Messiaen uses his rhythmic stretching and shrinking techniques extensively.

4) Intermède (Interlude) [violin, clarinet, cello]: Scherzo, of a more superfi cial character to the other movements, but, just the same, linked to them by melodic reminiscences.

Th is was evidently the trio that Messiaen composed for the toilet block performance. Th e clarinet’s ‘alarm call’ returns in a more relaxed guise. Th ere is also a premonition of the sixth movement. Th e pulse is regular and quick, the better to contrast with the Louange which follows.

5) Louange à l’Eternité de Jésus (Paean to the Eternity of Jesus) [cello, piano]: Jesus is here considered as the Word. A long cello phrase, infi nitely slow, magnifi es with love and reverence the eternity of this powerful and gentle Word “which the years cannot eff ace”. Majestically, the melody spins itself out in a kind of tender and lordly distance. “In the beginning was the Word, and the Word was in God, and the Word was God.” [John 1:1]

Messiaen recycled the cello’s ‘infi nitely slow, ecstatic’ melody from a sextet for ondes Martenots called Fête des belles eaux, composed to accompany a fountain-and-fi rework


show at the Paris Exposition. Th e tune accompanied the climax of the fountain part of the display, a jet of water. Messiaen’s critics would argue that this meeting of piety and vulgarity is typical of his work. Messiaen countered by saying that they are ‘not at all luscious and sweet; they are noble, bare, austere’. As critic Paul Griffi ths says about such judgments of taste (which are by defi nition specifi c to a certain time, place and culture), “a work situating itself at the end of time may well demonstrate its special position by ignoring them.” Griffi ths continues: “Th e challenge to the religious artist is to make all things sacred, and to deny the self that would discriminate.” Th e two paeans (songs of praise), both in radiant E major, are some of the most exquisitely beautiful moments in 20th century art.

6) Danse de la fureur, pour les sept trompettes (Dance of fury, for the seven trumpets) [quartet]: Rhythmically, this is the most typical piece of the set. Th e four instruments in unison have the eff ect of gongs and trumpets (the fi rst six trumpets of the Apocalypse followed by several catastrophes, the trumpet of the seventh angel announcing the consummation of the mystery of God). Th e use of added values, rhythmic augmentation or diminution and non-retrogradable rhythms. Music of stone, awesome granite sonorities, irresistible steely motion, of enormous blocks of purple fury, of icy intoxication. Listen especially to the terrible fortissimo of the theme in augmentation and changes of register of its diff erent tones, towards the end of the piece.

After the vigorous, metrically unpredictable dance climaxes with a rush increasing speed, the distant fanfare-like melody theme fairly clearly in D major suggests the trumpets of the title, before being submitted to the various rhythmic procedures Messiaen mentions, so that it seems to warp before our ears.

7) Fouillis d’arc-en-ciel, pour l’Ange qui annonce le fi n du Temps (Welter of rainbows, for the Angel who announces the end of Time) [quartet]: Return of certain passages from the second movement. Th e mighty Angel appears, above all, his rainbow crown (the rainbow: symbol of peace, of wisdom, and of all luminous and sonorous vibrations). In my dreams I hear chords and melodies which I know, I see known colours and forms, but, after this transitory stage, I pass into the unreal and submit in ecstasy to spinning, a gyratory interpenetration of superhuman sounds and colours. Th ese swords of fi re, these fl ows of blue-orange lava, these sudden stars: that’s the turmoil of rainbows!


Th is is the most visionary movement, and could be heard as the climax of the piece (after all, time ends after the angel makes his announcement, and so literally nothing can happen afterwards). Messiaen further develops some ideas introduced in the Vocalise (and the blue-orange synaesthetic chords of the sixth mode return). Th e arch-like symmetry of the movement (in seven sections) suggests the rainbow itself (with its seven hues).

8) Louange à l’Immortalité de Jésus (Paean to the Immortality of Jesus) [violin, piano]: Long violin solo, a pendant to the cello solo of the fi fth movement. What is this second paean? It is addressed especially to the second aspect of Jesus, to the Man-Jesus, the Word made fl esh, resurrected immortally to give us life. It is all love. It slowly climbs into the extreme high register, this is the ascension of man towards his God, of the son of God towards his Father, of divine Being towards paradise.

How does eternity diff er from immortality? It is perhaps a matter of timbre. Th is warmly human – even sensual – Louange climbs to heaven over a heart-beat pattern in the piano before fading beyond our hearing (in this life, at least). Messiaen borrowed the ravishing melody (marked avec amour) from his earlier organ work, Diptyque, but provided new perfectly-judged piano accompaniment.

Th e Quartet was premiered in Barracks 27 of Stalag VIII on the frozen night of 15 January, 1941 with metres of snow piled outside. In the unheated room, 400 or so inmates and guards shivered as they listened, enraptured, to the end of time and Messiaen’s vision of an eternity of hope and love. “Never”, the composer recalled, “was I listened to with such rapt attention and understanding.’ Messiaen was repatriated to France the following spring.

PROGRAM NOTES © ROBERT MURRAY, 2012


HELENA RATHBONEVIOLIN

Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s second ensemble ACO2 which sources musicians from the Emerging Artists Program.Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff , Canada.Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin in the Fields.When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, Christchurch Arts Festival, Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. Th e group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008.Helena performs on a 1759 J.B. Guadagnini violin, kindly made available to her by the Commonwealth Bank Group.

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Chair sponsored by Hunter Hall Investment Management Limited

CHRISTOPHER MOOREVIOLA

Born in Newcastle, Christopher Moore’s strongest childhood memory was seeing his mother Patricia (a long time ACO Newcastle subscriber) pulling into the driveway of his Valentine home with a tiny blue violin case on the back seat. Pat was and still is a dedicated amateur musician and took Chris to concerts long before he learned to tie his shoelaces. After studying with prominent Sydney Suzuki teachers, Marjorie Hystek and the late 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 instrument and moved his musical focus and energy to the viola. He had always thought the violin made his head look big! He accepted a position as violist with the Melbourne Symphony Orchestra – a position he held for eighteen months before successfully auditioning for the position of Associate Principal Viola with the same orchestra.During the 2006 ACO season, Chris appeared as Guest Principal Violist and then accompanied the ACO on their Malaysian tour. It was during this time that Chris successfully auditioned for the ACO’s Principal Viola position.Christopher plays on a 1937 Arthur E. Smith viola (Sydney).

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Chair sponsored by Tony Shepherd AO


TIMOVEIKKO VALVECELLO

Timo-Veikko Valve began his studies at the age of 6 at the West-Helsinki Music Institute. He went on to study at the Sibelius Academy with Heikki Rautasalo, Marko Ylönen and Teemu Kupiainen. Valve then studied in Edsberg, Stockholm with Torleif Th edéen and Mats Zetterqvist. He graduated from Edsberg and the Sibelius Academy focusing on Chamber Music in both institutions.Timo-Veikko has performed as a soloist with the Helsinki Filharmonia, Finnish Radio Symphony Orchestra, Sinfonia Lahti, Tampere Filharmonia and the Ostrobothnian Chamber Orchestra among others. He has also appeared as soloist and chamber musician in Europe, Asia, Australia and the US.Timo-Veikko has performed at many festivals including the Helsinki Festival, Kemiö Music Festival, Musica Nova Helsinki, Kuhmo Chamber Music, Lahti Sibelius-festival and Järvenpää Sibelius-festival. Timo-Veikko records regularly for the Finnish Broadcasting Company and has given world premiere performances of works by Jean Sibelius and other contemporary composers.In 2006 he was appointed Principal Cello of the Australian Chamber Orchestra, with whom he often appears as soloist. Timo-Veikko is also a guest teacher at the Australian National Academy of Music and a founding member of Jousia Ensemble and Jousia Quartet. He performs regularly with pianist Joonas Ahonen and accordionist Veli Kujala.Timo-Veikko plays a 1729 Giuseppe Guarneri fi lius Andreæ cello kindly on loan from Mr Peter Weiss AM.

Chair sponsored by Mr Peter Weiss AM

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MAXIME BIBEAUDOUBLE BASS

Inspired by the sounds of jazz, Maxime began playing the double bass in his native Canada at the age of 17, where he completed his undergraduate degree at the Conservatoire de Musique du Québec à Montréal with René Gosselin. He went on to obtain a Master’s of Music at Rice University in Houston with Timothy Pitts and Paul Ellison where he was awarded a full university scholarship, as well as grants from the Canada Arts Council and the Canadian Research Assistance Fund. Maxime has been Principal Double Bass of the ACO since 1998.He has performed in several orchestras including the SHIRA International Symphony Orchestra Israel, Jeunesses Musicales World Orchestra, Sydney Symphony, Montreal Symphony Orchestra and WDR Symphony Orchestra in Cologne. He has participated in festivals such as the Spoleto Festival in Italy, Australian Festival of Chamber Music, Sydney Festival and Huntington Festival.He featured as a soloist with the ACO in performances of Piazzola’s Kicho and Contrabajissimo, James Ledger's Folk Song and Mozart’s Per questa bella mano with Teddy Tahu Rhodes. As an educator he has been involved with the AYO National Music Camp, Sydney Youth Orchestra, University of NSW and Australian National Academy of Music. He is currently a lecturer at the Sydney Conservatorium of Music.

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Chair sponsored by John Taberner & Grant Lang


SALEEM ABBOUD ASHKARPIANO

Saleem Abboud Ashkar made his New York Carnegie Hall debut at the age of 22 and has since worked with many of the World’s leading orchestras including the Vienna Philharmonic, Israel Philharmonic, Chicago Symphony, La Scala Philharmonic, Leipzig Gewandhaus, Deutsche Symphony Orchestra Berlin, Radio Symphony Orchestra Berlin, Maggio Musicale, New Zealand Symphony Orchestra, Bergen Philharmonic, Mariinsky Orchestra and the Orchestra of the Royal Danish Th eatre.He performs regularly with conductors such as Zubin Mehta, Daniel Barenboim, Riccardo Muti, Lawrence Foster, Bertrand de Billy, Philip Jordan and Ludovic Morlot and following a highly successful debut with Christoph Eschenbach and the NDR Hamburg Orchestra, with whom he was immediately re-invited to work, Eschenbach invited Ashkar to play the Schumann Concerto with the Dusseldorf Symphony Orchestra in the Schumann Birthday Concert in 2010. He toured extensively with Riccardo Chailly and the Leipzig Gewandhaus Orchestra performing Mendelssohn’s First Piano Concerto, including appearances at the Proms and Lucerne Festivals, in a tour celebrating the bicentennial anniversary of the composer’s birth and Chailly has re-invited Saleem for concerts and to record with him for Decca in the 12/13 season. Appearances in this and future seasons include invitations to make debuts with the Concertgebouw Orkest and the London Symphony Orchestra playing concerts in London and Bucharest, the Konzerthaus Orchestra Berlin, Danish National Symphony Orchestra, Royal Liverpool Philharmonic and National Arts Centre Orchestra Ottawa on the invitation of Pinchas Zukerman.A dedicated recitalist and chamber musician, Ashkar appears regularly in series at venues such as the Concertgebouw, Mozarteum Salzburg, Musikverein Vienna, Conservatorio Guiseppe Verdi Milan, Florence and at festivals including Salzburg with the Vienna Philharmonic, the Proms with Leipzig Gewandhaus Orchestra, at Tivoli with the Israel Philharmonic and Zubin Mehta, in Lucerne, Ravinia, Risor, Menton and the Ruhr Klavier Festival, collaborating with artists including Daniel Barenboim, Nikolaj Znaider and Waltraud Meier.Ashkar studied at the Royal Academy of Music in London with Maria Curcio, and with Arie Vardi at the University of Music and Drama in Hanover.

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PAUL DEANCLARINET*

Players dressed by AKIRA ISOGAWA

Clarinettist Paul Dean is a renowned soloist, recitalist, chamber musician and artistic director. He is founder and Artistic Laureate of chamber ensemble Southern Cross Soloists, the Bangalow Music Festival, SunWater and the Stanwell Winter Music School. He has commissioned and premiered over 100 works, including his brother Brett’s clarinet concerto Ariel’s Music and Andrew Schultz’s Clarinet Quintet. Ariel’s Music gained international acclaim for both performer and composer and Paul’s recording of this work was fi nalist in the 1999 ARIA Awards. Between 1987 and 2000 Paul was Principal Clarinet with the Queensland Symphony Orchestra and appeared as soloist with the Orchestra on over 30 occasions. Th roughout the years, Paul has performed with the ACO, West Australian Symphony Orchestra, Melbourne Chamber Orchestra, Australian String Quartet, Goldner Quartet, Flinders Quartet, Tin Alley Quartet, Seraphim Trio and many major orchestras in Australia and New Zealand.Paul’s recording of Mozart’s clarinet works (Melba label) and his recording of English composer Benjamin Frankel’s clarinet music (German label CPO) are internationally critically acclaimed.Paul grew up in a house full of music. His father’s love of Mendelssohn, Tchaikovsky and Beethoven imbued his life from his fi rst steps.Artistic Director of the Australian National Academy of Music and a passionate supporter of youth and regional music education, Paul’s extensive work throughout Australia has left a lasting imprint on many budding musicians. Paul is also composing works for Michael Kieran Harvey, Th e Flinders Quartet, cellist Patrick Murphy and the Southern Cross Soloists.*Appears courtesy of the Australian National Academy of Music


AUSTRALIAN CHAMBER ORCHESTRA

ACO MUSICIANS

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal 2nd Violin

Satu Vänskä Assistant Leader

Madeleine Boud Violin

Rebecca Chan Violin

Alice Evans Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

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 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 plays a 1743 Guarneri del Gesù violin, on loan to him from an anonymous Australian benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri fi lius Andreæ cello, on loan from Peter Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius violin owned by the ACO Instrument Fund, through which investors participate in the ownership of historic instruments.

Fifty 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 and Chandos 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 the complete set of Mozart Violin Concertos. Th e ACO appears in the television series Classical Destinations II and the award-winning fi lm Musica Surfi ca.

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.

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.


RICHARD TOGNETTI AOARTISTIC DIRECTORAUSTRALIAN CHAMBER ORCHESTRA

Select DiscographyAs soloist:

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

BACH Violin ConcertosABC Classics 476 56912007 ARIA Award Winner

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

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

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

As director:

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

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.

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

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

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

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

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

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

THE DAILY TELEGRAPH (UK)

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AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Offi ce: 1800 444 444 Email: [email protected] Website: aco.com.au

BEHIND THE SCENES

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

ARTISTIC & OPERATIONSLuke ShawHead of Operations and Artistic Planning Alan J. BensonArtistic AdministratorErin McNamaraTour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian

EDUCATIONVicki NortonEducation and Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCESteve Davidson Chief Financial Offi cerCathy Davey Senior AccountantShyleja PaulAssistant Accountant

DEVELOPMENTAlexandra Cameron-FraserCorporate Relations andPublic Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveLillian ArmitagePhilanthropy ManagerSally-Anne BigginsPatrons ManagerStephanie IngsInvestor Relations ManagerJulia GlassDevelopment Coordinator

MARKETINGGeorgia RiversMarketing & Digital Projects ManagerRosie RotheryMarketing ExecutiveChris Griffi thBox Offi ce ManagerAli BrosnanBox Offi ce AssistantMary StielowPublicistDean WatsonCustomer Relations ManagerDavid SheridanOffi ce Administrator &Marketing Assistant

INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestLiz CacciottoloChris Froggatt

Janet Holmes à Court ACAndrew Stevens

John TabernerPeter Yates AM

BOARD

Guido Belgiorno-Nettis AM Chairman Angus James Deputy Chairman

Richard Tognetti AOArtistic Director


ACKNOWLEDGEMENTS

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.

GOVERNMENT SUPPORT

VENUE SUPPORT

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

QUEENSLAND PERFORMING ARTS CENTREPO Box 3567, South Bank, Queensland 4101Tel: (07) 3840 7444

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TrusteesSimon GallaherHelene GeorgeBill GrantSophie MitchellPaul PiticcoMick Power AMSusan StreetRhonda White

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

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

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

THE PERTH THEATRE TRUSTChairman Dr Saliba Sassine

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SYDNEY OPERA HOUSE TRUST

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EXECUTIVE MANAGEMENT

Acting Chief Executive Offi cer Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia PucciChief Financial Offi cer Claire Spencer SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001Administration: 02 9250 7111Box Offi ce: 02 9250 7777Facsimile: 02 9250 7666 Website: sydneyoperahouse.com


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

MEDICI PATRON

MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti AOLead Violin

Michael Ball AM & Daria BallJoan ClemengerWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal 2nd Violin

Satu VänskäAssistant Leader

Robert & Kay Bryan

Christopher MoorePrincipal Viola

Tony Shepherd AO

Timo-Veikko ValvePrincipal Cello

Peter Weiss AM

Maxime BibeauPrincipal Double Bass

John Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAndrew & Hiroko Gwinnett

Mark Ingwersen Violin

Alice Evans ViolinJan BowenTh e DaviesTh e Sandgropers

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Madeleine Boud ViolinTerry Campbell AO & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Viola ChairPhilip Bacon AM

Melissa Barnard CelloTh e Bruce & Joy Reid Foundation

Julian Th ompson CelloTh e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICI

Brian Nixon Principal Timpani Mr R. Bruce Corlett AM &Mr Robert Albert AO & Mrs Libby Albert Mrs Ann Corlett


2011 EUROPEAN TOUR PATRONSTh e ACO would like to pay tribute to the following donors who supported our highly successful 2011 European Tour.

Graeme & Jing AaronsSamantha AllenJohn & Philippa Armfi eldSteven BardyIsla Baring Linda & Graeme BeveridgeBG GroupPaul BorrudBen & Debbie BradyKay BryanMassel GroupTerry Campbell AO & Christine CampbellJenny & Stephen CharlesTh e Clayton FamilyPenny Clive & Bruce NeillJohn ColesCommonwealth BankRobin D’Alessandro & Noel PhilpJennifer Dunstan Bridget Faye AM

Ann Gamble MyerRhyll GardnerAlan & Joanna GemesTony GillGlobal Switch LimitedAndrew & Hiroko GwinnettPeter Henshaw & Fargana KarimovaPeter & Sandra HofbauerJanet L Holmes à Court ACCatherine Holmes à Court- Mather Brendan & Bee HopkinsP J Jopling QCLady KleinwortWayne KratzmannPrudence MacLeodBill Merrick P J MillerJan MinchinJustin Raoul Moffi ttAlf Moufarrige

Louise & Martyn Myer FoundationSir Douglas MyersMarianna & Tony O’Sullivanpeckvonhartel architectsDiana PolkinghorneRio Tinto LimitedGregory Stoloff & Sue LloydDavid StoneAndrew StraussTim & Sandie SummersJohn Taberner & Grant LangPatricia Th omas OBEBeverley TrivettLoretta van MerwykMalcolm WatkinsMichael WelchWesfarmers LimitedGillian WoodhouseMs Di YeldhamAnonymous (3)

ACO INSTRUMENT FUNDTh e ACO has established its Instrument Fund to off er patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. Th e Fund’s fi rst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Assistant Leader of the Orchestra.Th e ACO pays tribute to its Founding Patrons of the Fund, who have made donations or pledges to the Orchestra to assist the Fund in its acquisition of the Stradivarius violin.

VISIONARY $1m+Peter Weiss AM

LEADER $500,000 – $999,999

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

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

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

SONATA $25,000 – $49,999

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

SOLO $5,000 – $9,999

PATRONS$500 – $4,999June & Jim ArmitageAngela Roberts

PETER WEISS AM, PATRON


Edmund & Joanna CaponMr R. Bruce Corlett AM & Mrs Ann CorlettLeslie & Ginny GreenKatrina GroshinskiAngela Isles

Ian Lansdown in memory of Nina LansdownMr Anthony & Mrs Sharon LeeBernard & Barbara LeserRoss Steele AMVictoria TaylorEvan Williams

ACO RECORDINGS PROGRAM MENDELSSOHNTh e ACO pays tribute to our generous donors who have supported the ACO’s 2012 recording of glorious music by Mendelssohn – his Double Concerto for Violin, Piano and Orchestra featuring Richard Tognetti and renowned Russian pianist, Polina Leschenko; and his renowned Octet Op.20. Th e ACO’s recording program preserves the essence of the ACO as it is today and allows people to hear the ACO again and again, for many years to come.

ACO SPECIAL COMMISSIONSTh e ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2011 and 2012.

OTHER COMMISSIONSJan MinchinRobert & Nancy Pallin

QINOTH by Paul StanhopeSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinAustin Bell & Andrew CarterT Cavanagh & J GardnerChin Moody FamilyAnne Coombs & Susan VargaGreg DicksonJohn Gaden AMCathy GrayBrian Kelleher

Penny Le CouteurScott Marinchek & David WynneKate Mills Janne RyanBarbara Schmidt & Peter CudlippJane SmithRichard SteelePeter Weiss AMCameron WilliamsAnonymous (1)

LEAD PATRONSTony & Michelle Grist

PATRONSEuroz Charitable FoundationDon & Marie ForrestTony & Rose PackerNick & Claire Poll

Gavin & Kate RyanJon & Caro StewartSimon & Jenny Yeo

THE REEF

Jane AlbertSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinT Cavanagh & J GardnerAnne Coombs & Susan VargaAmy DenmeadeToni FreckerJohn Gaden AMCathy Gray

Susan Johnston & Pauline GardeBrian KelleherAndrew LeeceKate Mills & Sally Breen Martin PortusJanne RyanBarbara Schmidt & Peter CudlippRichard SteeleStephen Wells & Mischa Way


ACO DONATIONS PROGRAM

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUSTTHE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS

EMERGING ARTISTS & EDUCATION PATRONS $10,000+Th e Abercrombie Family FoundationMr Robert Albert AO & Mrs Libby AlbertDaria & Michael BallSteven BardyGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert-JonesDarin Cooper FamilyJohn B Fairfax AOChris & Tony FroggattAustralian Communities Foundation – Ballandry (Peter Griffi n Family) FundMiss Nancy KimptonPaula KinnaneJeff MitchellAlf MoufarrigeDrs Alex & Pam ReisnerJohn Taberner & Grant LangTh e Hon Malcolm Turnbull & Ms Lucy Turnbull AOPeter Weiss AMAnonymous (1)

DIRETTORE $5,000+Geoff Alder Th e Belalberi FoundationJenny & Stephen CharlesRoss & Rona ClarkeLeith & Darrel ConybeareBridget Faye AMIan & Caroline FrazerEdward C GrayAnnie HawkerRosemary Holden

Keith KerridgeWayne N KratzmannPhilip A LevyLorraine LoganDavid Maloney & Erin FlahertyHon Dr Kemeri Murray AOMarianna & Tony O’SullivanSandra & Michael Paul EndowmentJohn RickardTh e Roberts FamilyA J RogersPaul SalteriPaul Schoff Ian Wallace & Kay FreedmanIan Wilcox & Mary KostakidisCameron WilliamsE XipellAnonymous (1)

MAESTRO $2,500+Michael AhrensJane AllenWill & Dorothy Bailey BequestDoug & Alison BattersbyVirginia BergerPatricia BlauCam & Helen CarterJon Clark & Lynne SpringerCaroline & Robert ClementeM CrittendenJohn & Gloria DarrochKate DixonProfessor Dexter Dunphy AMLeigh EmmettRhyll GardnerLiangrove FoundationGoode FamilyMaurice & Tina GreenWarren Green

Philip Griffi ths ArchitectsNereda Hanlon & Michael Hanlon AMLiz HarbisonLindi & John HopkinsAngela James & Phil McMasterDavid & Megan LaidlawPeter LovellAlastair Lucas AMTh e Marshall FamilyJan McDonaldTh e Michael FamilyP J MillerDonald & Jane MorleyLouise & Martyn Myer FoundationJennie & Ivor OrchardS & B PenfoldPatricia H Reid Endowment Pty LtdRalph & Ruth RenardD N SandersGreg Shalit & Miriam FaineMs Petrina SlaytorAmanda Staff ordTom Th awleyDr & Mrs R TinningLaurie WalkerRalph Ward-Ambler AM & Barbara Ward-AmblerKaren & Geoff WilsonJanie & Nevi WitteyAnonymous (1)

VIRTUOSO $1,000+Annette AdairPeter & Cathy AirdAntoinette AlbertDavid & Rae AllenAndrew AndersonsDavid ArnottSibilla Baer

Th e Beeren FoundationRuth BellVictoria BeresinKathy BorrudBen & Debbie BradyVicki BrookeIn memory of Elizabeth C. SchweigJasmine BrunnerSally BuféNeil Burley & Jane MunroG Byrne & D O’SullivanElizabeth & Nicholas CallinanJ & M CameronMichael CameronCannings CommunicationSandra CassellAnn Cebon-GlassGeorg & Monika ChmielAngela & John ComptonAlan Fraser CooperJudy CrollBetty CrouchleyDiana & Ian CurtisMarie DalzielLindee & Hamish DalziellMrs June DanksMichael & Wendy DavisAnne & Tom DowlingJennifer DowlingAnne-Maree EnglundBronwyn EslickPeter EvansJulie EwingtonHelen Elizabeth FairfaxElizabeth FinneganNancy & Graham FoxJoanne Frederiksen & Paul LindwallColonel Tim FrostAnne & Justin GardenerDaniel & Helen Gauchat

PATRONS NATIONAL EDUCATION PROGRAMJanet Holmes à Court AC Marc Besen AO & Eva Besen AO

Th e ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. Th ese initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.


ACO DONATIONS PROGRAMColin Golvan SCRichard & Jay Griffi nPaul HarrisLyndsey HawkinsPeter HearlPatagonian Enterprises Pty LtdMichael Horsburgh AM & Beverley HorsburghPenelope Hughes Wendy HughesPam & Bill HughesPhillip Isaacs OAMD & I KallinikosLen La FlammeJohn Landers & Linda SweenyMrs Judy LeeGreg Lindsay AO & Jenny LindsaySydney & Airdrie LloydBronwyn & Andrew LumsdenJudy LynchMr & Mrs Greg & Jan MarshJennifer MarshallRoderick & Leonie MathesonJane Mathews AOKevin & Deidre McCannBrian & Helen McFadyenIan & Pam McGawJ A McKernanMrs Helen MeddingsG & A NelsonNola NettheimGlen Hunter & Anthony NiardoneAnne & Christopher Pagepeckvonhartel architectsDavid Penington ACAyesha PenmanTomasz RawdanowiczMark RenehanDr S M Richards AM & Mrs M R RichardsWarwick & Jeanette Richmond in memory of Andrew RichmondDavid & Gillian RitchieEm Prof A W Roberts AMJulia Champtaloup & Andrew RotheryPaul SkamvougerasDiana Snape & Brian Snape AMMaria Sola & Malcolm DouglasEzekiel Solomon AMCisca Spencer

Peter & Johanna Stirling BensonGeoff rey StirtonMr Tom StoryJohn & Jo StruttDr Charles Su & Dr Emily LoRob Th omasAnne TonkinColin & Joanne TrumbleNgaire TurnerKay VernonBill WatsonM W WellsSir Robert WoodsNick & Jo WormaldAnna & Mark YatesDon & Mary Ann YeatsMark YoungWilliam YuilleAnonymous (16)

CONCERTINO $500+Antoinette AckermannMrs Lenore Adamson in memory of Mr Ross AdamsonElsa AtkinJeremy Ian BarthMax BenyonBaiba BerzinsBrian BothwellDenise BraggettDiana BrookesMorena Buff on & Santo CilauroDarcey BussellFred & Jody ChaneyStephen ChiversJohn ClaytonJoan ClemengerSam Crawford ArchitectsProfessor John DaleyTed & Christine DauberMari DavisDr Christopher DibdenMartin DolanIn memory of Raymond DudleyProfessor Peter Ebeling & Mr Gary PloverM T & R L ElfordBarbara FargherMichael FogartyPatricia GavaghanMirek GenerowiczPeter & Valerie GerrandPaul Gibson & Gabrielle CurtinBrian Goddard

Prof Ian & Dr Ruth GoughPhilip GrahamKatrina GroshinskiMatthew HandburyLesley HarlandMr Ken HawkingsVirginia HenryDr Penny Herbert in memory of Dunstan HerbertM John Higgins & Jodie MaunderPeter & Ann HollingworthDr & Mrs Michael HunterJohn & Pamela HutchinsonStephanie & Michael HutchinsonPhilip & Sheila JacobsonDeborah JamesBrian JonesMrs Caroline JonesMrs Angela KarpinBruce & Natalie KellettTony Kynaston & Jenny FaggRobert Leece AMMegan LoweAlexandra MartinDonald C MaxwellDr Hamish & Mrs Rosemary McGlashanPatricia McGregorMrs Robyn McLayI MerrickJan MinchinJohn Mitchell & Carol FarlowGraeme L MorganJulie MosesHelen & Gerald MoylanJ NormanGraham NorthRobin Offl erAllegra & Giselle OvertonSelwyn M OwenJosephine PaechL ParsonageDeborah PearsonKevin PhillipsMichael PowerLarry & Mickey RobertsonSophie RotheryTeam SchmoopyManfred & Linda SalamonGreg & Elizabeth SandersonRobert Savage AMGarry Scarf & Morgie BlaxillIn memory of H. St. P. ScarlettJeff SchwartzJennifer Sindel

John Sydney SmithDr Fiona StewartProf Robert SutherlandShaun TanMaster William TaylorLeslie C Th iessJoy Anderson & Neil Th omasDavid WalshJohn & Pat WebbG C & R WeirKim Williams AMGordon & Christine WindeyerMr Hugh WyndhamAnonymous (30)CONTINUO CIRCLE BEQUEST PROGRAMTh e late Kerstin Lillemor Andersen Dave BeswickRuth Bell Sandra Cassell Th e late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett Th e late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill Penelope Hughes Th e late Mr Geoff Lee AM OAM Mrs Judy Lee Th e late Richard Ponder Margaret & Ron Wright Mark Young Anonymous (10)

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

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


ACO CAPITAL CHALLENGETh e ACO Capital Challenge is a secure fund, which permanently strengthens the ACO’s future. Revenue generated by the corpus provides funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble.We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:

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

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

QUARTET $50,000 – $99,000Th e Clayton FamilyMr Peter HallMr & Mrs Philip & Fiona Latham

Mr John Taberner & Mr Grant LangMr Peter Yates AM & Mrs Susan Yates

ACO INSTRUMENT FUND BOARD MEMBERSBill Best (Chairman)Jessica BlockJanet Holmes à Court AC

John Leece OAMJohn Taberner

ACO COMMITTEES

Bill Best (Chairman)Guido Belgiorno- Nettis AMChairman ACO & Executive Director Transfield Holdings

Leigh BirtlesExecutive DirectorUBS Wealth ManagementLiz Cacciottolo Senior Advisor UBS Australia

Ian Davis Managing Director Telstra TelevisionChris Froggatt Tony Gill Rhyll Gardner

Tony O’Sullivan Managing Partner O’Sullivan PartnersPeter Shorthouse Client Advisor UBS Wealth ManagementJohn Taberner Consultant Freehills

SYDNEY DEVELOPMENT COMMITTEE

Peter Yates AM (Chairman)Chairman Royal Institution of AustraliaDirector AIAA Ltd

Debbie BradyBen BradyStephen Charles

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

Jan Minchin DirectorTolarno GalleriesSusan Negrau

MELBOURNE DEVELOPMENT COUNCIL

EVENT COMMITTEESBowral Elsa AtkinMichael Ball AM (Chairman) Daria Ball Cam CarterLinda Hopkins Judy LynchKaren Mewes Keith MewesTony O’Sullivan

Marianna O’SullivanTh e Hon Michael Yabsley

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

Sydney Helene BurtLiz Cacciottolo (Chair)Judy CrawfordDr Dee DebruynDi CollinsJudy Anne EdwardsChris FroggattElizabeth HarbisonSusan HarteBee HopkinsSarah Jenkins

Vanessa JenkinsCharlotte MackenziePrue MacLeodJulianne MaxwellMariana O’SullivanJulia PincusAmanda PurcellDavid StewartTom Th awleyNicky Tindill


ACO PARTNERS 2012 CHAIRMAN’S COUNCIL MEMBERSTh e Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

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

Mr Philip Bacon AM DirectorPhilip Bacon Galleries

Mr David Baff sky AO

Mr Brad BanducciDirector of Liquor Woolworths

Mr Jeff BondGeneral ManagerPeter Lehmann Wines

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr & Mrs Robin Crawford

Rowena Danziger AM & Kenneth G. Coles AM

Dr Bob EveryChairmanWesfarmersMr Robert ScottManaging DirectorWesfarmers Insurance

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr Colin Golvan SC & Dr Deborah Golvan

Mr John GrillChief Executive Offi cerWorleyParsons

Mrs Janet Holmes à Court AC

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

Mr John JamesManaging DirectorVanguard

Ms Catherine Livingstone AOChairmanTelstra

Mr Andrew LowChief Executive Offi cerRedBridge Grant Samuel

Mr Steven Lowy AMChief Executive Offi cerWestfi eld Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr David MathlinSenior PrincipalSinclair Knight Merz

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Geoff McClellanPartnerFreehills

Mr Donald McGauchie AOChairmanNufarm Limited

Mr John MeacockManaging Partner NSWDeloitte

Ms Naomi Milgrom AO

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Clark MorganVice ChairmanUBS Wealth Management Australia

Mr Alf Moufarrige OAMChief Executive Offi cerServcorp

Mr Scott PerkinsHead of Global BankingDeutsche Bank Australia/New Zealand

Mr Oliver RoydhouseManaging DirectorInlink

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Mr Paul Sumner DirectorMossgreen Pty Ltd

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

Mr Alden ToevsGroup Chief Risk Offi cerCommonwealth Bank of Australia

Mr Michael Triguboff Managing DirectorMIR InvestmentManagement Ltd

Th e Hon Malcolm Turnbull & Ms Lucy Turnbull AO

Ms Vanessa WallaceDirectorBooz & Company

Mr Kim Williams AMChief Executive Offi cerNews Limited

Mr Geoff WilsonChief Executive Offi cerKPMG Australia

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


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

FOUNDING PARTNER ACO2 PRINCIPAL PARTNER

EVENT PARTNERS

NATIONAL TOUR PARTNERS

CONCERT AND SERIES PARTNERS

Daryl Dixon

Peter Weiss AM

OFFICIAL PARTNERS

PERTH SERIES &WA REGIONAL TOUR PARTNER


newsACO NEWS • JULY 2012

ACO IN THE HIGHLANDSSaturday 2 June, BowralNow in its eighth year, ACO in the Highlands took place on Saturday 2 June at Bowral’s elegant Milton Park Country House. Once again the event, which has become a highlight of the Southern Highlands

social calendar, was hosted by Michael and Daria Ball and attended by local, interstate and international guests, among them The Hon Pru Goward MP. We performed a program of

Rameau, Bach and Schubert,

before guests bid on an

array of exquisite auction

items.

The following morning

Michael and Susie Yabsley

Clare Handbury, Nev Whittey, Matt Handbury, Janie Whittey

MID-YEAR CAMPAIGN22 June UpdateWe are enormously grateful to everyone who has made a donation in our 2012 Annual Giving Campaign, which supports our National Education Program. Our goal is to raise $500,000 to support our ever-expanding Education Programs which, this year, visit students in every state, across regional

and metropolitan Australia at every level of the education system.

As at 22 June, we have raised $183,120 towards our goal. Together we can continue to inspire young people across Australia. If you have not already done so, we hope you will consider supporting our National Education Programs.

ANNUAL GIVINGCAMPAIGN

Total Donations$ 500,000

$ 400,000

$ 300,000

$ 200,000

$ 100,000

$ 0

$ 183,120


We were was saddened to hear of the recent passing of John Holman, one of our Bequest Patrons and a jazz musician and arranger with a passion for music education. Although we were not aware of John’s proposed gift during his lifetime, he was a member of the broad community of ACO supporters.

John has left an extremely generous legacy to support our Emerging Artists Program, which provides intensive mentoring and professional development to highly talented string players from across Australia. John was determined to

assist young and emerging musicians across Australia to receive the mentoring and performance opportunities which he himself valued as a performer, mentor and arranger.

Throughout his own musical career, John worked tirelessly to promote music excellence through performance and through the fostering and development of young musicians. We are extremely honoured that John felt the ACO refl ected his own passions and commitment to music excellence and music education. We are enormously grateful for the overwhelming generosity

and vision of John’s bequest

in support of our Emerging

Artists Program.

PATRON PROFILEThe late John Holman

ACO IN THE HIGHLANDSgenerously welcomed guests to their home, Wombat Hollow, for a delicious champagne brunch. Guests were then treated to a private Masterclass during which violinist Madeleine Boud mentored three local music students. Madeleine is a wonderful teacher and guests were thrilled to be given an insight into the behind the scenes creative process.

The whole weekend was a wonderful success, raising over $130,000 in support of our Education Program.

We would like to thank Michael and Daria Ball, Michael and Susie Yabsley and the Southern Highlands Event Committee for all their support.

Paul Borrud, Robin Borrud, Angus Holden, Kimberley Holden

ACO violinist Madeleine Boud and Thomas Zachary


EDUCATION UPDATEMay/June Highlights

Iain Grandage (left) and young musicians in Carnarvon.

In May, we travelled to Canarvon, in Western Australia, with a host of surfers, photographers and musicians, including Australian composer Iain Grandage, to create music and footage for new multimedia concert The Reef. During our time in WA we worked with Iain and 60 students from Carnarvon and Geraldton to create a composition based on the

ocean and surfi ng. The students joined us, playing everything from the trumpet to guitar, premiering the new work to an audience of over 300 local primary school students.

In June we performed our fi rst Matinee Concert for Secondary Students in Melbourne; visited the Matraville Soldier’s Settlement School, NSW, for music classes and an

in-school performance; made our second visit of 2012 to Picton, NSW, to work and perform with the Picton Strings; and facilitated a String Workshop at Adelaide’s Marryatville High School.

Students at Matraville Soldier’s Settlement School watch an ACO performance.

ACO BABY NEWSCellist Melissa Barnard and partner Steve Larson (double bass player from Sydney Symphony) are proud to present the newest member of the ACO family, their fi rst child, daughter Maia.

“My husband and I had a wonderful musical experience in Wollongong. Danielle’s voice is magnifi cent especially her diction. The Chamber Orchestra was perfection.” Alison Freeman

“LOVED it! Now in love with Danielle de Niese and always in love with the ACO. Thank you team, and so nice to see Richard back at the Wollongong Town Hall.” Sharon Wall

“What a wonderful afternoon of music. Your soloist Danielle De Niese was extraordinary. I thought the placing of the Vine and Meale back to back was excellent especially given the similarities in their sonic palette and chording. The Meale was a real highlight – I was on the edge of tears.” Doron Kipen

“Fabulous concert Richard and all. ‘Death and the Maiden’ was fabulous and Danielle; words are just not enough, WOW.” Stephen Corelli

“The voice of Danielle was magical and her obvious love of her art a delight to watch. It was especially thrilling to have the premiere of this tour in Wollongong and to be graced with Richard Tognetti leading his superb orchestra. His inspirational playing is awe-inspiring and his generosity towards his fellow players is exemplary. Each time we hear the ACO it is pure joy for the audience.” Lucy & Chris Hill

“Richard and the slightly revised ACO line up, literally blew everyone away with Death and the Maiden. This was one of the most exciting performances you could hear anywhere at any time. Schubert must have been smiling from ear to ear, we certainly were.” Denys Gillespie

YOUR SAYFeedback from our June tour with Danielle de Niese

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

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ACO Trout Quintet Program

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Transcript of ACO Trout Quintet Program