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

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

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One of the most celebrated pianists of our time, Elisabeth Leonskaja, takes on Mozart’s

Jeunehomme Piano Concerto, perhaps the first unequivocal masterpiece of the Classical style.

“ELISABETH LEONSK AJA HAS SOMETHING PRECIOUS AND R ARE” THE TELEGRAPH (UK)

Elisabeth Leonskaja Piano Roman Simović Guest Leader

R STRAUSS Sextet from Capriccio MOZART Piano Concerto No.9 in E-flat major ‘Jeunehomme’

BEETHOVEN (arr. strings) String Quartet in E-flat major, Op.127

6 SEPTEMBER ADELAIDE TOWN HALL

4 & 5 SEPTEMBER MELBOURNE, ARTS CENTRE MELBOURNE

7 SEPTEMBER PERTH CONCERT HALL

26, 30 -31 AUGUST & 3 SEPTEMBER SYDNEY, CITY RECITAL HALL

27 AUGUST WOLLONGONG TOWN HALL

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C H O O S I N G O N E O F O U R 540 R E L A I S & C H ÂT E A U X I S T H E F I R S T S T E P T O D I S C O V E R I N G E X C E P T I O N A L S E T T I N G S B U T A L S O , P E R H A P S M O R E I M P O R TA N T LY, T O M E E T I N G M E N A N D W O M E N W H O A R E PA S S I O N AT E A B O U T W H AT T H E Y D O B E S T : L I S T E N I N G T O Y O U R E V E R Y W I S H A N D PAY I N G AT T E N T I O N T O T H E S L I G H T E S T D E TA I L T O E N S U R E

T H AT E A C H M O M E N T I S T R U LY U N I Q U E .

E X C E P T I O N A L M O M E N T S

A L W A Y S G O T O O F A S T .

B U T W E W I L L D O E V E R Y T H I N G

T O S L O W T H E M D O W N .

R E L A I S & C H Â T E A U X

R E S E R V AT I O N S 1 3 0 0 1 2 1 3 4 1 ( T O L L - F R E E )

W W W . R E L A I S C H A T E A U X . C O M

ANNONCE 150x240 AUSTRALIE.indd 1 13/04/2016 13:53

Prec i se per formance a t the h ighes t le ve l i s c r i t i ca l i n the boardroom and the concer t ha l l .

We a r e d e d i c a t e d s u p p o r t e r s o f b o t h .

jws.com.au

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Prec i se per formance a t the h ighes t le ve l i s c r i t i ca l i n the boardroom and the concer t ha l l .

We a r e d e d i c a t e d s u p p o r t e r s o f b o t h .

jws.com.au

Johnson, Winter & Slattery is very proud to be the ACO’s National Tour Partner of Sequenza Italiana, featuring the brilliant Italian cellist and composer, Giovanni Sollima, and outstanding ACO soloists Satu Vänskä and Maxime Bibeau.

As the National Tour Partner for Giovanni’s first Australian appearances in 2014, we are delighted to be associated with his second tour. His first tour was widely acclaimed for his sublime artistry and creativity. Giovanni thrilled audiences around Australia. I recall the spontaneous, irresistible outbursts of applause at the end of the first movement of his composition, LB Files (composed by Giovanni in honour of Luigi Boccherini) and the wide exuberant smiles of orchestra members as he led them on a different path every night. Amongst many other admirers we encouraged him to return as soon as possible.

JWS is also proud to be the ACO’s national legal adviser on many exciting and creative projects. We appreciate the extraordinary support we receive in return in organising our participation in this tour.

We look forward to Sequenza Italiana!

N AT I O N A L T O U R P A R T N E R

John KenchChairman Johnson Winter & Slattery

NATIONAL TOUR PARTNER

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E N G A G E W I T H U S

S O C I A L LY We’d love to hear from you – join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don’t forget the hashtag #ACO16.

@a_c_o facebook.com/AustralianChamberOrchestra @AustChamberOrchestra

L I S T E N Join us for a Spotify Session, hear concert tasters and playlists, and revisit past concerts on Spotify.

aco.com.au/Spotify

A C O B L O G Visit the ACO Blog for up-to-date Orchestra news, interviews and insights. aco.com.au/blog

L O O K Watch us Live in the Studio, go behind-the-scenes and watch ACO concert footage on YouTube.

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Y O U R S AY Did you enjoy the concert? What was your favourite piece? Is this your first ACO experience? We love to hear what you think about our concerts and recordings or anything else you’d like to tell us. aco@aco.com.au

R A D I O ACO concerts are regularly broadcast on ABC Classic FM.

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Richard EvansManaging Director

M E S S A G E F R O M T H E M A N A G I N G D I R E C T O R

Richard Tognetti first became acquainted with Italian musical dynamo Giovanni Sollima in Slovenia at Festival Maribor, where Richard serves as Artistic Director. Their friendship has continued to grow, and everyone at the ACO is delighted to welcome Maestro Sollima back.

Among the many enthusiastic ovation-givers at Giovanni Sollima’s first performances with the ACO in 2014 was John Kench, Chairman of Johnson Winter & Slattery. JWS presented that first tour and as soon as they heard that Sollima was returning, immediately put up their hand to present his return run. We thank all of the team at  JWS, who not only support our national touring, but provide us with indispensable legal advice in our endeavours at home and abroad.

The Orchestra begins another exciting tour of Europe at the end of July. The tour starts with performances at the Gstaad Menuhin Festival in Switzerland, a reciprocal invitation arising from our exchange last year with the Basel Chamber Orchestra. From there, it is back to London and four performances of Weimar Cabaret with Barry Humphries and Meow Meow in Cadogan Hall. Then, another quick continental side trip to Copenhagen, before coming back to the Edinburgh Festival for three more concerts. Finally, the Orchestra comes home via Massachusetts and the prestigious Tanglewood Festival.

International touring not only gives us the opportunity to meet and play with soloists like Giovanni Sollima, but benchmarks the ACO against the very best in the world. This is only possible thanks to the unstintingly generous support of our patrons, and we thank in particular our International Patrons and members of our Chairman’s Council.

I do hope that you enjoy the concert, and many thanks for all of your continued support of the ACO.

To donate please visit aco.com.au/2016education For more information, please phone Sally Crawford, Patrons Manager,

on (02) 8274 3830 or email sally.crawford@aco.com.au

INSPIRE THE NEXT GENERATION OF MUSICIANS

Our National Education Program includes a wide range of programs focused on bringing music to young people regardless of background – from primary school children in significantly disadvantaged communities to talented young musicians at the post-tertiary level.

Your contribution will help fund our schools’ programs, which allow us to make quality music education available to children across Australia, delivering tangible benefits above and beyond the music itself.

Your donation will make a difference – please join us by supporting our National Education Program.

Richard Tognetti AO Artistic Director

Julian Thompson with students from Soldiers’ Settlement Public School Matraville, following a workshop presented in partnership with the Australian Children’s Music Foundation. Image © Fiora Sacco.

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

S E Q U E N Z AI T A L I A N A

Approximate durations (minutes): 7 – 13 – 17 – 6 – INTERVAL – 10 – 3 – 20

The concert will last approximately 1 hour and 40 minutes, including a 20-minute interval.

Giovanni Sollima Director & Cello

Satu Vänskä Leader & Violin

Maxime Bibeau Double Bass

MONTEVERDI (arr. strings) Lamento della ninfa (The Nymph’s Lament)

BERIO Sequenza VIII for Solo Violin & Sequenza XIVb for Solo Double Bass

LEO Cello Concerto No.3 in D minor, L.60

I. Andante grazioso II. Con spirito III. Amoroso IV. Allegro

PAGANINI Introduction and Variations on ‘Dal tuo stellato soglio’ from Rossini’s Mosè in Egitto

Interval

ROSSINI (arr. Eliodoro Sollima) Une Larme: Thème et Variations from Péchés De Vieillesse (A Tear: Theme and Variations from Sins of Old Age)

SCELSI C’est bien la nuit from Nuits

GIOVANNI SOLLIMA Fecit Neap. 17. . . for Cello, Strings and Continuo

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Sequenza Italiana celebrates Italian composers from the middle of the 16th century through to the present day, complete with an original concerto by our visiting Italian soloist, Giovanni Sollima.

There is a deliberate Neapolitan thread that runs through this program, spanning five centuries of Italian music – Leo was part of the so-called Neapolitan School of which Monteverdi was an immediate precursor, Rossini wrote numerous ‘Neapolitan’ operas (including the one on which Paganini based his Fantasy), and Sollima’s own concerto is ‘in the Neapolitan style’.

But what of Berio and Scelsi? While they were unflinchingly avant-garde, both were Italian to the core.

Berio’s Sequenzas are not for the faint of heart. This is music that grabs you by the throat. It is worth keeping in mind that Berio is exploring the concept of a single line opening out into a series of dialogues, just as Monteverdi does in his Lament. So while each sequenza is notionally for one voice, there is something masterful and Italianesque in the way he unfolds the music's polyphonic twists and turns.

Scelsi’s double bass solo, C’est bien la nuit, is a mere three minutes in duration, but within those 180 seconds we glimpse the inner workings of a man who was consumed by ‘the art of sound’. Scelsi could happily play a single note over and over, in his quest to drain every last ounce of timbral diversity from it.

Giovanni Sollima is not only a brilliant performer and director, but also an exceptional composer: ‘I see through sound, and so it’s like a flow . . . sound is liquid matter, it encompasses you, it covers you, disappears, it transfixes you. It can also be violent; it may be like a blade. It depends. But it’s never something you can grasp, because it embraces you, it takes you with it.’

W H AT Y O U A R E A B O U T T O H E A R

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PICTURED, ABOVE: Joining guest director and cellist Giovanni Sollima as soloist for the Berio and Paganini is ACO Principal Violin Satu Vänskä and for the Berio and Scelsi is ACO Principal Double Bass Maxime Bibeau.

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A B O U T T H E M U S I C

PICTURED: Monteverdi by Bernardo Strozzi, c.1630

CLAUDIO MONTEVERDI Born Cremona, 1567. Died Venice, 1643.

LAMENTO DELLA NINFA (THE NYMPH’S LAMENT) FROM MADRIGALI GUERRIERI, ET AMOROSI, LIBRO OTTAVO (MADRIGALS OF WAR AND LOVE, BOOK EIGHT)

Published 1638.

The assertion that Monteverdi was the ‘creator of modern music’ might be somewhat hyperbolic, but it’s not that far from the truth. He was the first great operatic composer – L’Orfeo being one of the earliest examples of opera and still a stalwart of the modern repertory – and without him, musical style would have undoubtedly moved in a very different direction.

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It is about a woman mourning her lost love, and is filled with passion, heartache and utter devastation.

Monteverdi published a collection of three-part motets when he was just 15, and his first book of madrigals led to his first job – in Mantua, in the Court of Duke Gonzaga – where he eventually rose to the position as maestro di cappella.

One of the key points of difference between Monteverdi and other composers of the time was that he believed that text was the ‘mistress of the harmony’ and not vice-versa – an opinion that sparked an altercation with theorist Giovanni Maria Artusi, whose firmly held belief was that musical form took precedence over words and that rules should be strictly observed at all times.

The eighth of his nine books of madrigals, published in 1638, represents, in many ways, the genre’s absolute pinnacle. The dramatic expressiveness is pushed to the extreme. Monteverdi called it ‘Madrigals of War and Love’, and whether or not it was intended, there is a definite narrative progression to the opus.

The Lamento della Ninfa is one of the most famous of Monteverdi’s madrigals from the ‘Madrigals of War and Love’. With its rich and dynamic tonalities, it is designed to not so much pull at the heartstrings, but to rip them to shreds. It is about a woman mourning her lost love, and is filled with passion, heartache and utter devastation. A hypnotic four-note ground bass accompanies her anguished cries.

While this performance is arranged for strings alone, the beauty of the writing is such, that one can hear the exquisite words by Ottavio Rinuccini.

Lamento della ninfa The Nymph’s Lament

Non havea Febo ancora The Sun had not brought recato al mondo il dí, The day to the world yet, ch’una donzella fuora When a maiden del proprio albergo uscí. Went out of her dwelling

Sul pallidetto volto On her pale face scorgeasi il suo dolor, Grief could be seen, spesso gli venia sciolto Often from her heart un gran sospir dal cor. A deep sigh was drawn.

Sí calpestando fiori Thus, treading upon flowers, errava hor qua, hor là, She wandered, now here, now there,

PICTURED: Monteverdi’s Madrigals, Libro Ottavo (Book 8).

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i suoi perduti amori And lamented her lost loves cosí piangendo va: Like this:

“Amor”, dicea, il ciel “Oh Love” she said, mirando, il piè fermo, Gazing at the sky, as she stood. “dove, dov’è la fè “Where’s the fidelity, ch’el traditor giurò?” That the deceiver promised?”

Miserella. Poor her!

“Fa’ che ritorni il mio “Make my love come back amor com’ei pur fu, as he used to be o tu m’ancidi, ch’io Or kill me, so that non mi tormenti più.” I will not suffer anymore.”

Miserella, ah più no, no, Poor her! She cannot bear tanto gel soffrir non può. All this coldness.

“Non vo’ più ch’ei sospiri “I don’t want him to sigh any longer se non lontan da me, But if he’s far from me. no, no che i martiri No! No he will not make me suffer più non dirammi affè. Anymore, I swear!

“Perché di lui mi struggo, “Because he’s proud tutt’orgoglioso sta, That I languish for him. che si, che si se’l fuggo Perhaps if I fly away from him ancor mi pregherà? He will come to pray to me again.

“Se ciglio ha più sereno “If her eyes are more serene colei, che’l mio non è, Than mine,

già non rinchiude in seno, O Love, she does not hold in her heart Amor, sí bella fè. A fidelity so pure as mine.

“Ne mai sí dolci baci “And you will not receive from those lips da quella bocca havrai, Kisses as sweet as mine, ne più soavi, ah taci, Nor softer. Oh don’t speak! taci, che troppo il sai.” Don’t speak! You know better than that!”

Sí tra sdegnosi pianti So, amidst disdainful tears, spargea le voci al ciel; She spread her crying to the sky; cosí ne’ cori amanti Thus, in the lovers’ hearts mesce amor fiamma, e gel. Love mixes fire and ice.

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PICTURED: Luciano Berio

LUCIANO BERIO Born Oneglia, 1925. Died Rome, 2003.

SEQUENZA VIII FOR SOLO VIOLIN

Composed 1976.

SEQUENZA XIVb FOR SOLO DOUBLE BASS

Composed for Cello in 2002. Posthumous authorised revision by Stefano Scodanibbio for double bass in 2004.

Luciano Berio was the original enfant terrible of the avant garde. With all his ancestors dating back to the 18th-century musicians, it seemed inescapable that Berio too would take up the family trade. His style is notable for combining lyric and expressive musical qualities with the most advanced techniques of electronic and aleatoric music.

Berio was one of the most prolific and pioneering composers of the 20th century and the leading Italian composer of his generation. His extensive and varied output included five major works for the stage along with several shorter dramatic pieces, an array of both choral and orchestral music, such as the Sinfonia, instrumental works and vocal pieces, of which many were written for his first wife, Cathy Berberian.

However, as Richard Whitehouse wrote, ‘the music of Luciano Berio is encapsulated in the Sequenza series running through 34 years of his creativity.’ The composer himself said of the Sequenzas that they were ‘written for performers whose virtuosity is above all a virtuosity of knowledge.’

There were 14 in all, although several were arranged for alternate instruments:

Sequenza I, written in 1958 for the flautist Severino Gazzelloni.

Sequenza II, written in 1963 for the harpist Francis Pierre.

Sequenza III, written in 1966 for the vocalist Cathy Berberian.

Sequenza IV, written in 1966 for the pianist Jocy de Corvalho.

Sequenza V, written in 1965 for the trombonist Stuart Dempster.

Sequenza VI, written in 1967 for the violist Serge Collot.

Sequenza VII, written in 1969 for the oboist Heinz Holliger.

Sequenza VIIb, arranged in 1995 for soprano saxophonist Claude Delangle.

Sequenza VIII, written in 1976 for violinist Carlo Chiarappa.

Sequenza IXa, written in 1980 for the clarinettist Michel Arrignon.

Sequenza IXb, arranged in 1981 for alto saxophonist Claude Delangle.

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. . . the Sequenzas were ‘written for performers whose virtuosity is above all a virtuosity of knowledge.’ LUCIANO BERIO

Sequenza X, written in 1984 for the trumpeter Thomas Stevens.

Sequenza XI, written in 1988 for the guitarist Eliot Fisk.

Sequenza XII, written in 1995 for the bassoonist Pascal Gallois.

Sequenza XIII, written in 1995 for the accordionist Teodoro Anzellotti.

Sequenza XIV, written in 2002 for the cellist Rohan de Saram.

Sequenza XIVb, arranged posthumously by and for double bassist Stefano Scodanibbio.

Berio’s Sequenzas are difficult both to play and to listen to. He makes the performer and the audience work for it. This is not prosaic music. But one could argue that no good music is, because without effort there is no reward. Music journalist for The Guardian Tom Service described the Sequenzas as ‘a compositional love-letter from Berio to the repertoires and possibilities of each instrument,’ and this love runs deeply and passionately through both the Double Bass and Violin Sequenzas you will hear.

For this performance, our soloists, Max and Satu, have chosen to heighten the inner theatrics of the works by shortening both individual Sequenzas and combining them to create a unique interplay. This linear narrative will cross and diverge as both players tackle the many extended techniques and challenges of the works. The Double Bass Sequenza calls for specific tuning and requires a very bright and resonant sound to highlight the harmonics of the score, so Max will play on a different instrument for the Berio.

The composer writes:

Sequenza VIII

To compose Sequenza VIII has been like paying a personal debt to the violin, which to me is one of the most subtle and complex of instruments. I studied violin myself, while I was already learning the piano and before starting the clarinet (my father wanted me to practise ‘all’ the instruments), and I have always maintained a strong attraction for this instrument, mixed, however, with rather tormented feelings (perhaps because I was already 13 – much too late – when I started my violin lessons).

While almost all the other Sequenzas develop to an extreme degree a very limited choice of instrumental possibilities,

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Sequenza VIII deals with a larger and more global view of the violin . . . BERIO

Sequenza VIII deals with a larger and more global view of the violin: and can be listened to as a development of instrumental gestures.

Sequenza VIII is built around two notes (A and B), which – as in a chaconne – act as a compass in the work’s rather diversified and elaborate itinerary, where polyphony is no longer virtual but real, and where the soloist must make the listener constantly aware of the history behind each instrumental gesture. Sequenza VIII, therefore, becomes inevitably a tribute to that musical apex which is the Ciaccona from Johann Sebastian Bach’s Partita in D minor, where – historically – past, present and future violin techniques coexist.

Sequenza VIII was written in 1976 for Carlo Chiarappa.

Stefano Scodanibbo writes:

Sequenza XIVb

This version was prompted by an invitation I received from Luciano Berio in 2002 to ‘re-invent’ (rather than transcribe) for the double bass his Sequenza XIV for violoncello, putting into play the innovations that have transformed the instrument over the last decades. Hence the employment of a great diversity of instrumental techniques, the adaptations to the physical characteristics of the double bass and the exploitation of its particular timbral qualities.

My reflection on some passages of the original, that are particularly suited for further development on the double bass, has led me to add three short, newly composed ‘tributes’ (among which is a ‘cadenza’) that make explicit reference to other Sequenzas (Sequenza XI for guitar, Sequenza VIII for violin).

In his note for the original cello version of this sequenza, Berio wrote about the influence of the Sri Lankan Kandyan drumming tradition. The cellist for whom he wrote Sequenza XIV, Rohan de Saram, taped and transcribed Kandyan drum rhythms. Berio requires the player to be both instrumentalist and drummer, treating the body and the strings of the instrument as a percussion instrument – thus transforming it into a hybrid, the instrument and the drum together in one instrument.

PICTURED: Luciano Berio

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LEONARDO LEO Born San Vito degli Schiavoni, 1694. Died Naples, 1744.

CELLO CONCERTO NO.3 IN D MINOR, L.60

Composed 1737/38.

I. Andante grazioso II. Con spirito III. Amoroso IV. Allegro

Leonardo Leo was one of the leading Neapolitan composers of his day, particularly in the genres of theatre and church music.

He studied with Nicola Fago (‘Il Tarantino’) at the Conservatorio S Maria della Pietà del Turchini and his first known major work, a sacred drama called S Chiara, o L’infedeltà abbattuta, was performed in 1712 at the conservatory. Its performance must have impressed the right people, because shortly thereafter, he was appointed both supernumerary organist in the viceroy’s chapel and Marchese Stella’s maestro di cappella. He may also have been maestro di cappella of S Maria della Solitaria.PICTURED: Leonardo Leo

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The D minor Concerto . . . requires remarkable virtuosity, not just in the fast movements, but throughout the piece.

Leo was a prolific composer of opera, although they are rarely performed today and are virtually unknown. He was also a prominent teacher and held positions at the Conservatorio S Onofrio and eventually succeeded his old teacher, Fago, at the Conservatorio S Maria della Pietà del Turchini. One of his greatest contributions to musical development of the time was attempting to reform Neapolitan religious music. In fact there was a great deal of rivalry between Leo and the other great composer of church music in Naples at the time, Francesco Durante – you were either a ‘Leisti’ or a ‘Durantisti’.

He became principal organist of the vice-regal chapel on Alessandro Scarlatti’s death in 1725. But this marked the start of a bit of a rough patch for Leo – his compositional rivals Vinci and Hasse took hold until 1730, when Vinci died and Hasse left Naples. In the last year of his life, he finally became the maestro di cappella of the royal chapel.

Domenico Marzio Carafa, the Duke of Maddaloni, and his wife Anna Colonna, welcomed the new king of Naples, Carlos de Borbón, to their palace in 1734. The Maddaloni Palace had a tradition of encouraging performers and composers, and many works had, over the years, been dedicated to the Maddalonian Dukes.

Leonardo Leo was another such composer to enjoy the patronage of the Duke of Maddaloni. Composed between September 1737 and August 1738, he wrote six cello concertos dedicated to the present Duke and his wife. The autograph scores of these magnificent pieces are today to be found at the library of the Naples Conservatorium.

The D minor Concerto, which has been dated as April 1738, requires remarkable virtuosity, not just in the fast movements, but throughout the piece. We have no idea who the first performer of this (or the other five) concerto was, but of this we can be sure: it was someone of enormous talent and technical capability.

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NICOLÒ PAGANINI Born Genoa, 1782. Died Nice, 1840.

INTRODUCTION AND VARIATIONS ON ‘DAL TUO STELLATO SOGLIO’ FROM ROSSINI’S MOSÈ IN EGITTO

Composed ?1819.

‘Paganini’s flame of life has now extinguished and with it that one powerful blast of nature’s breath, which is only given to us for a short time, only long enough for it to be withdrawn from us quickly once again; with it a wonderful spirit disappeared, and now it remains only as a spark in the sphere of art, but what a particularly great spark it was.’

So wrote Franz Liszt in his obituary for Nicolò Paganini.

PICTURED: Nicolò Paganini

Paganini lived his life with extraordinary colour. Much has been written about his brilliance on the violin and he was admired by such luminaries as Schubert and Chopin, who is said to have referred to Paganini as ‘perfect’. He was also great friends with Berlioz, about whom Paganini said, ‘Beethoven being dead only a Berlioz could reincarnate him. I who have fed on your divine compositions worthy of a genius as yours, feel it my duty to ask you to accept in homage the sum of 20,000 francs . . .’ (As a result of this generous gift, Berlioz’s Roméo et Juliette was dedicated to him.)

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It is easy to forget that even though Paganini was full of flash, he most certainly had the substance to back it up. He was an extraordinary talent, who from an early age was astounding teachers and performers across Europe. He was a virtuoso on both the violin and the guitar, rising to fame after a tour of Europe between 1828 and 1830.

Along with his superlative talent on both instruments, he was a prolific and accomplished composer. His works served as inspiration to many composers, such as ‘La Campanella’ and the 24th Caprice which are the basis of works by Liszt, Rachmaninoff, Brahms, Schumann, Lutoslawski, even Andrew Lloyd Webber! Rossini remarked of Paganini’s compositional gift that had he ever attempted to write an opera that he would have ‘knocked out all of us.’

The stories of his pact with the Devil are legendary. His technical virtuosity was so astounding that no-one believed it was possible for him to simply have been born with this gift – he must have entered into an arrangement with some dark and sinister force to become so extraordinary. Then there was his physical appearance – through illness and neglect he lost all of his teeth, which meant his mouth looked sunken and evil, and he was also painfully thin. And to put the final nail in the coffin, so to speak, of his satanic contract, when he was near death, he refused to see a priest, thus confirming (erroneously, of course) that he was damned. In fact, following his death in 1840, the Bishop of Nice forbade his interment in consecrated ground and he was not formally buried for 36 years, when he was laid to rest in a cemetery in Parma!

Paganini loved being a daredevil, a risk-taker, a showoff. While neither of these stories has anything to do with the Moses Fantasy as such, they do explain the kind of feeling, the method, the idea behind its composition. The first legend has it that while Paganini was performing, first, his E string broke, then the A, then the D, which left him with just the G. Refusing to stop, or to re-string, he played the remainder of the program on just the G string. The variation on this story has it that Paganini would intentionally file down his E string so it would snap mid-performance, thus enabling him to do his trick of playing on just the one string.

Even though in all likelihood both stories are complete fantasy, the introduction and set of variations based on an aria from Rossini’s opera Mosè in Egitto (Moses in Egypt), is, in fact, intended for performance on just the one string. Despite its mind-blowing difficulty, there is still plenty of serenely beautiful melodic artistry, as was the style of the bel canto opera whence it came.

Paganini loved being a daredevil, a risk-taker, a  showoff.

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GIOACHINO ROSSINI Born Pesaro, 1792. Died Passy, 1868.

UNE LARME: THÈME ET VARIATIONS FROM PÉCHÉS DE VIEILLESSE (A TEAR: THEME AND VARIATIONS FROM SINS OF OLD AGE)

Composed 1857–68.

Born just three months after Mozart died, Rossini’s extraordinary output of operas in his 20s and early 30s made him this medium’s natural successor to Mozart. But whereas opera was just one area which was touched by Mozart’s genius, Rossini’s achievements were mostly limited to vocal music – first opera, then song and sacred works.

When he was 37, for some reason, Rossini decided to ‘retire’ from public life. He moved to France and set up shop in a magnificent home in Passy. He continued to compose, primarily sacred music and this little gem, Une Larme: thème et variations for cello and piano – heard in this program in an arrangement for cello and strings by our soloist’s father. Une Larme can be found in the ninth of 14 volumes of what Rossini called Péchés de vieillesse. These musical ‘sins of old age’ (of which there were about a hundred or so!) were composed over an 11-year period and were written for a variety of chamber ensembles. Une Larme (A Tear) was one of the more conservatively titled ‘sins’ – others included Gherkins, Asthmatic Study, and Miscarriage of a polka-mazurka, to name just a few . . .

Une Larme starts off with a brief ‘crying’ motif in the strings, which is developed by the rest of the orchestra, with the Rossini crescendo effect, until the piece opens up and in total serenity flows into the final theme. Although not a particularly substantial work, it does demonstrate Rossini’s superlative understanding of the cello and it makes for a brilliant party piece.

PICTURED: Gioachino Rossini, c.1850. (Lithograph by F. Perrin)

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PICTURED: Giacinto Scelsi

GIACINTO SCELSI Born La Spezia, 1905. Died Rome, 1988.

C’EST BIEN LA NUIT FROM NUITS

Composed 1972.

Giacinto Scelsi seemed determined to make it hard for people to find out about his music. Apart from the fact that he eschewed all interviews and requests to make analytical comments about his works, he was also known to do such things as deliberately redating compositions so as to confuse musicologists. He also refused to have his photo taken and instead preferred that he be represented by the symbol of a horizontal line placed under a circle.

Scelsi, who American composer Morton Feldman dubbed the ‘Italian Ives’, began his compositional life writing extraordinarily beautiful and melodic works, albeit quite conservative in their construction. But before his compositional voice was allowed to fully mature, he suffered a nervous breakdown which coincided with the start of the Second World War.

He wrote more than 100 works and by the 1980s, his music began to find its ways onto the stage and indeed recordings, despite his apparent reluctance to share his art – in fact, there is a collection on Mode records of the complete works of Scelsi. He did not restrict himself to any particular genre, writing for orchestra, chamber ensemble, string quartet, duos and solos, such as the work on this program for solo double bass.

Scelsi’s view of composition was that it had nothing to do with individualism but rather the composer was the creator of circumstances through which sound was revealed. He was very interested in the sonic possibilities of single notes and it is alleged that he would spend hours at the piano, playing the same note, over and over again, carefully listening to it and how it changed according to how he struck the key. This fascination with single note, drone-like repetition was part of the recovery process from his breakdown.

By the 1970s, he had refined his style, and his pieces were quite short and musically compact, as can be heard in ‘C’est bien la nuits’.

Maxime Bibeau says of the work: ‘From the incredible simplicity in writing, comes an extraordinary complexity. And hidden in plain sight are myriad timbres and colours that result in great exuberance, excitement, and a clearly Italian character, but also results in expressing something quite uneasy, tumultuous, disturbed even, which could have very well been a reflection of the state of mind of the composer at the time. Nevertheless, there is such passion in his writing, which is definitely more conceptual than practical in nature. Scelsi manages to create a brand new language in a very short piece. As with the Berio, the instrument has to be tuned differently from usual.’

25

PICTURED: Giovanni Sollima

GIOVANNI SOLLIMA Born Palermo, 1962.

FECIT NEAP. 17 . . . FOR CELLO, STRINGS AND CONTINUO

Composed 2011.

Cellist Giovanni Sollima has long been interested in expanding the expressive and sonic possibilities of his instrument. For his four-movement Terra Suite, commissioned for a dance performance at the 2001 Venice Biennale, Sollima was recorded multitracking on multiple cellos, and in Lasse Gjertsen’s accompanying video, Sollima can be seen sprouting extra arms to play all the parts on one cello.

As a musician, Sollima resists easy categorisation. Although he performs the traditional cello repertoire, he also has invented his own instruments, and he once played an ice cello in a mountain-top igloo theatre. For his work Caravaggio, he reconstructed the tenor violin that is depicted in the great Italian’s paintings (the  score itself is loosely based on the tiny scraps of music, thought to be by the Flemish composer Arcadelt, that can be seen in Caravaggio’s work). He regularly collaborates with artists, choreographers, and theatre directors who are as restless and innovative as he is; as a film composer, he has written music for Wim Wenders’s Palermo Shooting and Peter Greenaway’s Vaux to the Sea and Nightwatching. But the cello itself has been at the heart of Sollima’s life since childhood. ‘The cello,’ he once said, ‘both as an instrument (including its case . . .) that sounds, and as an object irresistibly fascinating for me, attracted my attention immediately.’

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The past, in particular the great Italian cultural heritage, is present in much of what Sollima does today. ‘I feel the past as a magnetic centre that is sending out signals,’ he has said.

Dinko Fabris said of Fecit Neap. 17. . . :

It can well be said that Giovanni Sollima appears to represent the reincarnation of the spirit of the Southern Italian virtuoso from three centuries past. Sollima’s own performances of 18th-century concertos not only recall in a thrilling manner a set of Baroque ‘gestures’ which cannot just be restored by merely the cold execution of all the written notes, but make them come to life once more with their unexpected dynamic leaps, effects of tone colour, warmth of the sonority and finally by means of the surprising cadenzas which the performer himself supplies.

For these reasons, the inclusion of one of his own original compositions ‘in the style’ of an 18th-century Neapolitan composer, sits in perfect harmony with the repertoire on this program. This work, dedicated to Antonio Florio, can be considered almost to carry a program title: Fecit Neap. 17 . . . . This is, of course, a recurrent abbreviated expression appearing in many manuscripts from the 18th century, through which the researcher can establish the autograph signature of a composer and, often also, some indications of the practical execution desired by the composer. The new work by Sollima, a highly-rated contemporary composer and one especially keen on the stylistic crossover between different genres, mixes here two deliberately contrasting moods.

The first mood, all pensive and evocative of the most sensual and cantabile Baroque tone colours, derives from 18th-century Naples, especially with its gorgeous principal theme above an ostinato bass. The second mood is based on a rhythmic preoccupation – which reveals the mastery of the virtuoso of our own times – whilst demanding from the musicians playing historical instruments (expressly required) an almost inordinate amount of effort in the superimposition of irregular meters, in  the manner of Stravinsky. Here then is a score which transmits a great energy.

‘The cello . . . attracted my attention immediately.’ GIOVANNI SOLLIMA

27

G I O VA N N I S O L L I M AL E A D E R & C E L L O

Born in Palermo into a family of musicians, Giovanni Sollima studied cello with Giovanni Perriera and Antonio Janigro, and composition with his father Eliodoro Sollima, as well as Milko Kelemen.

His international career as a cellist began with collaborations with such artists as Claudio Abbado, Giuseppe Sinopoli, Jörg Demus, Martha Argerich, Katia and Marielle Labèque, Bruno Canino, DJ Scanner, Viktoria Mullova, Riccardo Muti, Ruggero Raimondi, Patti Smith, Philip Glass and Yo-Yo Ma.

Sollima has performed in prestigious places around the world, as well as many alternative venues – Carnegie Hall, BAM, Alice Tully Hall, and Knitting Factory in New York; Wigmore and Queen Elizabeth Halls in London; Salle Gaveau in Paris; Muziekgebouw in Amsterdam; Tchaikovsky Hall in Moscow; Kunstfest in Weimar; La Scala in Milan; Santa Cecilia in Rome; and the festivals of Kronberg, Kuopio, Istanbul, Tokyo, Venice, Ravenna, Spoleto, and Shanghai (Expo 2010).

As a composer, Sollima has been captivated by every kind of language and creates interesting blends among the most diverse genres by combining elements of classical and rock music, as well as music of the Mediterranean. He composes for both acoustic and electric instruments. He has worked with choreographers Karole Armitage, and Carolyn Carlson; for the theatre, Bob Wilson, Alessandro Baricco, and Peter Stein; and in film, Marco Tullio Giordana, Peter Greenaway, Lasse Gjertsen (DayDream), and John Turturro.

Together with cellist and composer Enrico Melozzi he created the 100 CELLOS project in 2012. Cellists of all ages get together for three days, playing music from the baroque through to rock and contemporary music written while they’re together. The project is now in its fifth incarnation.

In 2013 and 2014 Sollima was the Maestro Concertatore of ‘La Notte della Taranta’, a festival of traditional popular music from the Salento region, whose final concert reaches more than 140,000 people.

Recent recordings include Neapolitan Cello Concertos (Glossa), and Caravaggio and Aquilarco (Egea).

The Chicago Symphony Orchestra commissioned a double cello concerto for Sollima and Yo-Yo Ma, the premiere of which took place at Symphony Hall in Chicago in February 2014 to rave reviews.

Giovanni Sollima, teaches at the Academy of Santa Cecilia in Rome. He plays a cello by Francesco Ruggieri (1679, Cremona).

Photo by Gian Maria Musarra

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S AT U VÄ N S K ÄV I O L I N

Satu Vänskä was appointed Assistant Leader of the Australian Chamber Orchestra in 2004. Satu was born to a Finnish family in Japan where she took her first violin lessons at the age of three. Her family moved back to Finland in 1989 and she continued her studies with Pertti Sutinen at the Lahti Conservatorium and the Sibelius Academy.

At the age of 11 Satu was selected for the Kuhmo Violin School in Finland, a special institution for talented young violinists where she attended masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov and had the opportunity to perform at the Kuhmo Chamber Music Festival with the Kuhmo Virtuosi Chamber Orchestra. From 1997 Satu was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich where she finished her diploma in 2001. This led to her performances with the Munich Philharmonic, the Bavarian Radio Symphony Orchestra, at the Tuusulanjärvi Festival, and at Festivo Aschau.

In 1998 Sinfonia Lahti named her ‘young soloist of the year’. In 2000 she was a prize winner of the ‘Deutsche Stiftung Musikleben’ and from 2001 she played under the auspices of the Live Music Now Foundation founded by Lord Yehudi Menuhin which gave her the opportunity to perform with such musicians as Radu Lupu and Heinrich Schiff.

Satu performs regularly as lead violin and soloist with the ACO. She is also front woman and curator of the critically acclaimed electro-acoustic ensemble ACO Underground. Satu features in a variety of roles at festivals with the ACO in Australia, Niseko and Maribor. She was presented in recital in July 2012 by the Sydney Opera House as part of their Utzon Room Music Series.

In 2011, she became the custodian of the only Stradivarius violin in Australia – the magnificent 1728/29 violin on loan from the ACO’s Instrument Fund.

Photo by Jack Saltmiras

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M A X I M E B I B E A UD O U B L E B A S S

Canadian-born Maxime Bibeau’s musical career started, as many young musicians do, in a high school garage band! Initially he wanted to pursue a career as a scientist. But the lure of music, particularly jazz, inspired Maxime to take up double bass at 17. He completed his undergraduate degree at the Conservatoire de Musique du Québec à Montréal with René Gosselin. He received his Master’s of Music from Rice University in Houston with Timothy Pitts and Paul Ellison where he was awarded a full university scholarship, as well as grants from the Canada Arts Council and the Canadian Research Assistance Fund. Maxime has been Principal Double Bass with the ACO since 1998.

Early in his career, Maxime was given the opportunity to participate in several programs including the SHIRA International Symphony Orchestra Israel, Jeunesses Musicales World Orchestra, Music Academy of the West, Waterloo Festival, Centre d’Art d’Orford and Domaine Forget. These days he regularly appears as a chamber musician and has appeared as a guest artist with orchestras both in Australia and overseas.

Maxime enjoys playing music from all eras and loves the flexibility, drive, talent and commitment of his ACO colleagues. Solo performances with the ACO include Bottesini’s Gran Duo Concertante with Stefan Jackiw, Mozart’s Per questa bella mano with Teddy Tahu Rhodes, Piazzola’s Kicho, Contrabajeando and Contrabajissimo. He has also premiered James Ledger’s Folk Song and Matthew Hindson’s Crime and Punishment, and later this year, he will be a featured soloist in a new work by Australian composer, Elena Kats-Chernin.

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

When he isn’t collecting frequent flyer points, Maxime, like many of the ACO players, enjoys his downtime in the ocean as an avid diver and swimmer.

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

Photo by Will Huxley

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31

A U S T R A L I A N C H A M B E R O R C H E S T R A

From its very first concert in November 1975, the Australian Chamber Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the  ensemble.

Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 21 players (four part-time), giving more than 100 performances in Australia each year, as well as touring internationally: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper.

Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland.

The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries, and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank.

The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards, and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.

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

PART-TIME MUSICIANS

Zoë Black Violin Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello

‘If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK)

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M U S I C I A N S O N S TA G E

Players dressed by WILLOW and SABA

Satu Vänskä 1 Principal ViolinChair sponsored by Kay Bryan

Mark Ingwersen ViolinChair sponsored by Ian Wallace & Kay Freedman

Ilya Isakovich ViolinChair sponsored by The Humanity Foundation

Liisa Pallandi ViolinChair sponsored by The Melbourne Medical Syndicate

Maja Savnik 2 Violin

Ike See ViolinChair sponsored by Di Jameson

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Alexandru-Mihai Bota Viola Chair sponsored by Philip Bacon am

Melissa Barnard Cello Chair sponsored by Martin Dickson am & Susie Dickson

1 Satu Vänskä plays a 1728/29 Antonio Stradivari violin kindly on loan from the ACO Instrument Fund.

2 Maja Savnik plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund.

3 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.

Maxime Bibeau 3 Principal Bass Chair sponsored by Darin Cooper Foundation

Tommie Andersson Theorbo

Donald Nicolson Harpsichord (all concerts except Perth)

Erin Helyard Harpsichord (Perth only)

34

BOARD

Guido Belgiorno-Nettis am Chairman

Liz Lewin Deputy

Bill Best John Borghetti Judith Crompton John Grill ao Anthony Lee Heather Ridout ao Carol Schwartz am Naomi Shepherd (Observer) Julie Steiner Andrew Stevens John Taberner Nina Walton Peter Yates am Simon Yeo

ARTISTIC DIRECTORRichard Tognetti ao

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Richard Evans Managing Director

Jessica Block Deputy General Manager

Alexandra Cameron-Fraser Chief Operating Officer

ARTISTIC & OPERATIONS

Luke Shaw Head of Operations & Artistic Planning

Anna Melville Artistic Administrator

Lisa Mullineux Tour Manager

Danielle Asciak Travel Coordinator

Bernard Rofe Librarian

Cyrus Meurant Assistant Librarian

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

EDUCATION

Phillippa Martin ACO Collective & ACO Virtual Manager

Zoe Arthur Acting Education Manager

Caitlin Gilmour Education Assistant

FINANCE

Steve Davidson Corporate Services Manager

Fiona McLeod Chief Financial Officer

Yvonne Morton Accountant

Shyleja Paul Assistant Accountant

DEVELOPMENT

Rebecca Noonan Development Manager

Jill Colvin Philanthropy Manager

Penelope Loane Investor Relations Manager

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Derek Gilchrist Marketing Manager

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Hilary Shrubb Publications Editor

Leo Messias Marketing Coordinator

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Christina Holland Office Administrator

INFORMATION SYSTEMS

Ken McSwain Systems & Technology Manager

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A C O B E H I N D T H E S C E N E S

AUSTRALIAN CHAMBER ORCHESTRA

ABN 45 001 335 182

Australian Chamber Orchestra Pty Ltd is a not-for-profit 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 Box Office 1800 444 444

Email aco@aco.com.au Web aco.com.au

35

V E N U E S U P P O R T

QUEENSLAND PERFORMING ARTS

CENTRE

Cultural Precinct,

Cnr Grey & Melbourne Street,

South Bank QLD 4101

PO Box 3567,

South Bank QLD 4101

Telephone (07) 3840 7444

Box Office 131 246

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Christopher Freeman am Chair

John Kotzas Chief Executive

ADELAIDE TOWN HALL

128 King William Street,

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GPO Box 2252,

Adelaide SA 5001

VENUE HIRE INFORMATION

Telephone (08) 8203 7590

Email townhall@adelaidecitycouncil.com

Web adelaidetownhall.com.au

Martin Haese Lord Mayor

Peter Smith Chief Executive Officer

AUSTRALIAN NATIONAL UNIVERSITY

Llewellyn Hall School of Music

William Herbert Place

(off Childers Street),

Acton, Canberra

VENUE HIRE INFORMATION

Telephone (02) 6125 2527

Email music.venues@anu.edu.au

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PO Box 7585,

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Telephone (03) 9281 8000

Box Office 1300 182 183

Web artscentremelbourne.com.au

Tom Harley President

Victorian Arts Centre Trust

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5 St Georges Terrace,

Perth WA 6000

PO Box 3041,

East Perth WA 6892

Telephone (08) 9231 9900

Web perthconcerthall.com.au

Brendon Ellmer General Manager

CITY RECITAL HALL

A City of Sydney Venue

2–12 Angel Place,

Sydney NSW 2000

GPO Box 3339, Sydney NSW 2001

Telephone (02) 9231 9000

Box Office (02) 8256 2222

Web cityrecitalhall.com

Renata Kaldor ao Chair

Elaine Chia Chief Executive Officer

SYDNEY OPERA HOUSE

Bennelong Point

GPO Box 4274, Sydney NSW 2001

Telephone (02) 9250 7111

Box Office (02) 9250 7777

Email infodesk@sydneyoperahouse.com

Web sydneyoperahouse.com

Nicholas Moore

Chair, Sydney Opera House Trust

Louise Herron am Chief Executive Officer

In case of emergencies . . .Please note, all venues have emergency action plans. You can call ahead of your visit to the venue

and ask for details. All Front of House staff at the venues are trained in accordance with each

venue’s plan and, in the event of an emergency, you should follow their instructions. You can also

use the time before the concert starts to locate the nearest exit to your seat in the venue.

36

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

Sat 25 Jun, 7.15pm Canberra Llewellyn HallPre-concert talk by Ken Healey am

Tue 28 Jun, 6.45pm Adelaide Town HallPre-concert talk by Vincent Plush Wed 29 Jun, 6.45pm Perth Concert HallPre-concert talk by Claire Stokes Sat 2 Jul, 6.15pm Sydney City Recital HallPre-concert talk by Francis Merson

Sun 3 Jul, 1.45pm Melbourne Arts CentrePre-concert talk by John Weretka Mon 4 Jul, 6.45pm Melbourne Arts CentrePre-concert talk by John Weretka Tue 5 Jul, 7.15pm Sydney City Recital HallPre-concert talk by Francis Merson Wed 6 Jul, 6.15pm Sydney City Recital HallPre-concert talk by Francis Merson

Fri 8 Jul, 12.45pm Sydney City Recital HallPre-concert talk by Francis Merson Sat 9 Jul, 6.15pm Brisbane QPAC Concert HallPre-concert talk by Gillian Wills Sun 10 Jul, 1.15pm Sydney Opera HousePre-concert talk by Francis Merson

Pre-concert speakers are subject to change.

T O U R D AT E S & P R E- C O N C E R T TA L K S

TOUR PRESENTED BY

S E Q U E N Z AI T A L I A N A

37

A C O M E D I C I P R O G R A M

MEDICI PATRON

The late Amina Belgiorno-Nettis

PRINCIPAL CHAIRS

Richard Tognetti ao

Artistic Director & Lead Violin

Michael Ball ao & Daria Ball

Wendy Edwards

Prudence MacLeod

Andrew & Andrea Roberts

Helena Rathbone

Principal Violin

Kate & Daryl Dixon

Satu Vänskä

Principal Violin

Kay Bryan

Principal Viola

peckvonhartel architects

Timo-Veikko Valve

Principal Cello

Peter Weiss ao

Maxime Bibeau

Principal Double Bass

Darin Cooper Foundation

CORE CHAIRS

VIOLIN

Glenn Christensen

Terry Campbell ao & Christine Campbell

Aiko Goto

Anthony & Sharon Lee Foundation

Mark Ingwersen

Ian Wallace & Kay Freedman

Ilya Isakovich

The Humanity Foundation

Liisa Pallandi

The Melbourne Medical Syndicate

Ike See

Di Jameson

VIOLA

Alexandru-Mihai Bota

Philip Bacon am

Nicole Divall

Ian Lansdown

CELLO

Melissa Barnard

Martin Dickson am & Susie Dickson

Julian Thompson

The Grist & Stewart Families

ACO COLLECTIVE

Pekka Kuusisto

Artistic Director & Lead Violin

Horsey Jameson Bird

GUEST CHAIRS

Brian Nixon

Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICI

Mr R. Bruce Corlett am &

Mrs Annie Corlett am

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.

IBM

Mr Robert Albert ao & Mrs Libby Albert

Mr Guido Belgiorno-Nettis am

Mrs Barbara Blackman ao

Mrs Roxane Clayton

Mr David Constable am

Mr Martin Dickson am & Mrs Susie Dickson

Dr John Harvey ao

Mrs Alexandra Martin

Mrs Faye Parker

Mr John Taberner & Mr Grant Lang

Mr Peter Weiss ao

A C OL I F E P AT R O N S

38

A C O B E Q U E S T P AT R O N S

The late Charles Ross Adamson

The late Kerstin Lillemor Andersen

The late Mrs Sybil Baer

Steven Bardy

Dave Beswick

Ruth Bell

The Estate of Prof. Janet Carr

Sandra Cassell

The late Mrs Moya Crane

Mrs Sandra Dent

Leigh Emmett

The late Colin Enderby

Peter Evans

Carol Farlow

Suzanne Gleeson

Lachie Hill

David & Sue Hobbs

The late John Nigel Holman

Penelope Hughes

The late Dr S W Jeffrey am

Estate of Pauline Marie Johnston

The late Mr Geoff Lee am oam

Mrs Judy Lee

The late Shirley Miller

Selwyn M Owen

The late Josephine Paech

The late Richard Ponder

Ian & Joan Scott

The late Mr Geoffrey Francis Scharer

The Estate of Scott Spencer

Leslie C Thiess

G.C. & R. Weir

Margaret & Ron Wright

Mark Young

Anonymous (13)

Please consider supporting the future of the ACO with a gift in your will.

For more information on making a bequest, please call Jill Colvin, Philanthropy Manager, on 02 8274 3835.

Clare Ainsworth Herschell

Justine Clarke

Este Darin-Cooper & Chris Burgess

Amy Denmeade

Catherine & Sean Denney

Jenni Deslandes & Hugh Morrow

Anita George

Alexandra Gill

Rebecca Gilsenan & Grant Marjoribanks

Adrian Giuffre & Monica Ion

John & Lara James

Aaron Levine

Royston Lim

William Manning

Rachael McVean

Carina Martin

Barry Mowzsowski

Paris Neilson & Todd Buncombe

James Ostroburski

Nicole Pedler

Michael Radovnikovic

Jessica Read

Louise & Andrew Sharpe

Emile & Caroline Sherman

Michael Southwell

Helen Telfer

Karen & Peter Tompkins

Joanna Walton & Alex Phoon

Nina Walton & Zeb Rice

Peter Wilson & James Emmett

John Winning Jr.

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

MEMBERS

A C O N E X T

A C O G E N E R A L S U P P O R T P AT R O N S

Andrew Andersons

John & Lynnly Chalk

Dr Jane Cook

Pamela Duncan

Paul & Roslyn Espie

Dr Roy & Gail Geronemus

Jennifer Hershon

Peter & Edwina Holbeach

Michael Horsburgh am & Beverley

Horsburgh

Penelope Hughes

Mike & Stephanie Hutchinson

Professor Anne Kelso ao

Kevin & Deidre McCann

Baillieu Myer ac

Douglas & Elisabeth Scott

Jeanne-Claude Strong

Dr Jason Wenderoth

Brian Zulaikha

Anonymous (2)

ACO General Support Patrons assist with the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

39

Peter Weiss ao

PATRON, ACO Instrument Fund

BOARD MEMBERS

Bill Best (Chairman)

Jessica Block

John Leece am

Andrew Stevens

John Taberner

PATRONS

VISIONARY $1m+

Peter Weiss ao

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,999

The late Amina Belgiorno-Nettis

Naomi Milgrom ao

OCTET $100,000 – $199,999

John Taberner

QUARTET $50,000 – $99,999

John Leece am & Anne Leece

Anonymous

SONATA $25,000 – $49,999

ENSEMBLE $10,000 – $24,999

Lesley & Ginny Green

Peter J Boxall ao & Karen Chester

SOLO $5,000 – $9,999

PATRON $500 – $4,999

Michael Bennett & Patti Simpson

Leith & Darrel Conybeare

Dr Jane Cook

Geoff & Denise Illing

Luana & Kelvin King

Jane Kunstler

John Landers & Linda Sweeny

Genevieve Lansell

Bronwyn & Andrew Lumsden

Patricia McGregor

Trevor Parkin

Elizabeth Pender

Robyn Tamke

Anonymous (2)

INVESTORS

Stephen & Sophie Allen

John & Deborah Balderstone

Guido & Michelle Belgiorno-Nettis

Bill Best

Benjamin Brady

Sam Burshtein & Galina Kaseko

Carla Zampatti Foundation

Sally Collier

Michael Cowen & Sharon Nathani

Marco D’Orsogna

Dr William F Downey

Garry & Susan Farrell

Gammell Family

Edward Gilmartin

Tom & Julie Goudkamp

Philip Hartog

Brendan Hopkins

Angus & Sarah James

Daniel & Jacqueline Phillips

Ryan Cooper Family Foundation

Andrew & Philippa Stevens

Dr Lesley Treleaven

Ian Wallace & Kay Freedman

The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen. For more information, please call Penelope Loane, Investor Relations Manager on 02 8274 3878.

A C O I N S T R U M E N T F U N D

Holmes à Court Family Foundation The Neilson Foundation The Ross Trust

A C O T R U S T S & F O U N D AT I O N S

40

A C O S P E C I A L C O M M I S S I O N S & S P E C I A L P R O J E C T SSPECIAL COMMISSIONS PATRONS

Peter & Cathy Aird

Gerard Byrne & Donna O’Sullivan

Mirek Generowicz

Peter & Valerie Gerrand

G Graham

Anthony & Conny Harris

Rohan Haslam

John Griffiths & Beth Jackson

Andrew & Fiona Johnston

Lionel & Judy King

David & Sandy Libling

Tony Jones & Julian Liga

Robert & Nancy Pallin

Deborah Pearson

Alison Reeve

Augusta Supple

Dr Suzanne M Trist

Team Schmoopy

Rebecca Zoppetti Laubi

Anonymous (1)

INTERNATIONAL TOUR PATRONS

The ACO would like to pay tribute to

the following donors who support our

international touring activities in 2016:

Mr Robert Albert ao & Mrs Libby Albert

Linda & Graeme Beveridge

Jan Bowen

Kay Bryan

Stephen & Jenny Charles

Ann Gamble Myer

Daniel & Helen Gauchat

Yvonne von Hartel am & Robert Peck am

peckvonhartel architects

Janet Holmes à Court

Bruce & Jenny Lane

Delysia Lawson

John Leece

Julianne Maxwell

Jim & Averill Minto

Alf Moufarrige

Angela Roberts

Mike Thompson

Peter Weiss ao

MOUNTAIN PRODUCERS’ SYNDICATE

Major Producers

Janet Holmes à Court

Warwick & Ann Johnson

Producers

Tony & Carmilla Gill

John & Lisa Kench

Peter & Victoria Shorthouse

Alden Toevs & Judi Wolf

THE REEF NEW YORK PRODUCERS’ SYNDICATE

Executive Producers

Tony & Michelle Grist

Lead Producers

Jon & Caro Stewart Foundation

Major Producers

Danielle & Daniel Besen Foundation

Janet Holmes à Court ac

Charlie & Olivia Lanchester

Producers

Richard Caldwell

Warren & Linda Coli

Graham & Treffina Dowland

Steve Duchen & Polly Hemphill

Wendy Edwards

Doug Elix

Gilbert George

Tony & Camilla Gill

Max Gundy (Board member ACO US) & Shelagh Gundy

Rebecca John & Daniel Flores

Patrick Loftus-Hills (Board member ACO US) & Konnin Tam

Sally & Steve Paridis(Board members ACO US)

Peter & Victoria Shorthouse

John Taberner (Board member ACO US)& Grant Lang

Alden Toevs & Judi Wolf

Major Partner

Corporate Partner

Lexington Partners

Manikay Partners

Corporate Supporter

UBS

ACO ACADEMY BRISBANE

LEAD PATRONS

Philip Bacon ao

Kay Bryan

Dr Ian Frazer ac & Mrs Caroline Frazer

Dr Edward Gray

Di Jameson

Wayne Kratzmann

Bruce & Jocelyn Wolfe

PATRONS

Andrew Clouston

Michael Forrest & Angie Ryan

Ian & Cass George

Professor Peter Høj

Helen McVay

Shay O’Hara-Smith

Brendan Ostwald

Marie-Louise Theile

Beverley Trivett

MELBOURNE HEBREW CONGREGATION PATRONS

LEAD PATRONS

Marc Besen ac & Eva Besen ao

SUPPORTER

Leo & Mina Fink Fund

EMANUEL SYNAGOGUE PATRONS

CORPORATE PARTNERS

Adina Apartment Hotels

Meriton Group

LEAD PATRON

The Narev Family

PATRONS

David Gonski ac

Lesley & Ginny Green

The Sherman Foundation

Justin Phillips & Louise Thurgood-Phillips

41

PATRONS

Marc Besen ac & Eva Besen ao

Janet Holmes à Court ac

EMERGING ARTISTS & EDUCATION PATRONS $10,000+

Mr Robert Albert ao & Mrs Libby Albert

Daria & Michael Ball

Australian Communities Foundation

– Ballandry Fund

Steven Bardy & Andrew Patterson

The Belalberi Foundation

Anita & Luca Belgiorno-Nettis Foundation

Guido Belgiorno-Nettis am & Michelle

Belgiorno-Nettis

Andre Biet

Rod Cameron & Margaret Gibbs

Stephen & Jenny Charles

Rowena Danziger am & Ken Coles am

Irina Kuzminsky & Mark Delaney

Dr Ian Frazer ac & Mrs Caroline Frazer

Ann Gamble Myer

Daniel & Helen Gauchat

Andrea Govaert & Wik Farwerck

John Grill & Rosie Williams

Kimberley Holden

Angus & Sarah James

Miss Nancy Kimpton

Elmer Funke Kupper

Liz & Walter Lewin

Andrew Low

Prudence MacLeod

Anthony and Suzanne Maple-Brown

Jim & Averill Minto

John & Anne Murphy

Louise & Martyn Myer Foundation

Jennie & Ivor Orchard

Bruce & Joy Reid Trust

Andrew & Andrea Roberts

Mark & Anne Robertson

Rosy Seaton & Seamus Dawes

Tony Shepherd ao

John Taberner & Grant Lang

Leslie C. Thiess

The Hon Malcolm Turnbull mp &

Ms Lucy Turnbull ao

David & Julia Turner

E Xipell

Peter Yates am & Susan Yates

Professor Richard Yeo

Peter Young am & Susan Young

Anonymous (2)

DIRETTORE $5,000 – $9,999

Geoff Ainsworth & Jo Featherstone

Geoff Alder

Veronika & Joseph Butta

Caroline & Robert Clemente

Andrew Clousten

Darrel & Leith Conybeare

Mrs Janet Cooke

Bridget Faye am

AG Froggatt

Warren Green

Tony & Michelle Grist

Liz Harbison

Kerry Harmanis

Dr John Harvey ao & Mrs Yvonne Harvey

Annie Hawker

Dr Wendy Hughes

I Kallinikos

John Kench

Key Foundation

Anthony & Sharon Lee Foundation

Mrs Judy Lee

Lorraine Logan

Macquarie Group Foundation

David Maloney & Erin Flaherty

Julianne Maxwell

Pam & Ian McDougall

Brian & Helen McFadyen

P J Miller

James Ostroburski & Leo Ostroburski

QVB

John Rickard

Greg Shalit & Miriam Faine

Peter & Victoria Shorthouse

Jann Skinner

Sky News Australia

St George Foundation

Jon & Caro Stewart

Anthony Strachan

Mary-Anne Sutherland

Alden Toevs & Judi Wolf

Geoff Weir

Westpac Group

Simon & Amanda Whiston

Shemara Wikramanayake

Cameron Williams

Anonymous (7)

MAESTRO $2,500 – $4,999

Michael Ahrens

David & Rae Allen

Ralph Ashton

Will & Dorothy Bailey Charitable Gift

Doug & Alison Battersby

The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au

Donor list current as at 10 June 2016

A C O N AT I O N A L E D U C AT I O N P R O G R A M

42

Beeren Foundation

Berg Family Foundation

Mr & Mrs Daniel Besen

Jenny Bryant

Neil & Jane Burley

The Hon. Alex Chernov ac qc &

Elizabeth Chernov

Alan Fraser Cooper

Robert & Jeanette Corney

Kate & Daryl Dixon

Heather Douglas

Anne & Thomas Dowling

Maggie Drummond

Michele Duncan

Suellen Enestrom

John Gandel ao & Mrs Pauline Gandel

Robert & Jennifer Gavshon

Nereda Hanlon & Michael Hanlon am

Reg Hobbs & Louise Carbines

Simon & Katrina Holmes à Court

Erica Jacobson

Ros Johnson

Peter Lovell

The Alexandra & Lloyd Martin Family

Foundation

Jennifer Senior & Jenny McGee

Jane Morley

Sandra & Michael Paul Endowment

Perpetual Trustee Company Limited

Patricia H Reid Endowment Pty Ltd

Ralph & Ruth Renard

The Sandgropers

D N Sanders

Petrina Slaytor

John & Josephine Strutt

Ralph Ward-Ambler am & Barbara

Ward-Ambler

Richard & Suzie White

William & Anna Yuille

Anonymous (4)

VIRTUOSO $1,000 – $2,499

Jennifer Aaron

AJ Ackermann

Annette Adair

Linda Addy

Samantha & Aris Allegos

Jane Allen

Philip Bacon am

Lyn Baker & John Bevan

Adrienne Basser

David & Anne Bolzonello

Brian Bothwell

Benjamin Brady

Vicki Brooke

Diana Brookes

Westland Group Holdings

Dr Catherine Brown-Watt psm

Jasmine Brunner

Sally Bufé

Gerard Byrne & Donna O’Sullivan

Andrew & Cathy Cameron

Terry Campbell ao & Christine Campbell

Ray Carless & Jill Keyte

Patrick Charles

Angela & John Compton

Brooke & Jim Copland

Laurie & Julie Ann Cox

Carol & Andrew Crawford

Judith Crompton

J & P Curotta

Michael & Wendy Davis

Martin Dolan

Dr William F Downey

Daniel Droga

Emeritus Professor Dexter Dunphy am

Sharon Ellies

Leigh Emmett

Peter Evans

Julie Ewington

Elizabeth Finnegan

Michael Fogarty

Don & Marie Forrest

Anne & Justin Gardener

Kerry Gardner

Colin Golvan qc

In memory of José Gutierrez

Paul Hannan

Gail Harris

Christian Holle

Merilyn & David Howorth

Penelope Hughes

Professor Andrea Hull ao

Launa & Howard Inman

John Griffiths & Beth Jackson

Owen James

Anthony Jones & Julian Liga

Brian Jones

Bronwen L Jones

Mrs Angela Karpin

Josephine Key & Ian Breden

In memory of Graham Lang

Julia Pincus & Ian Learmonth

Airdrie Lloyd

Colin Loveday

Robin Lumley

Diana Lungren

Garth Mansfield oam & Margaret Mansfield

Greg & Jan Marsh

David Mathlin

Janet Matton

Jane Tham & Philip Maxwell

Karissa Mayo

Kevin & Deidre McCann

Nicholas McDonald

Ian & Pam McGaw

Colin McKeith

Bruce McWilliam

Michelle Mitchell

Suzanne M Morgan

Glenn Murcutt ao

Baillieu Myer ac

Stuart Nash

Nola Nettheim

Anthony Niardone & Glen Hunter

Paul O’Donnell

Anne & Christopher Page

L Parsonage

Prof David Penington ac

GV Pincus

Lady Primrose Potter ac

Beverley Price

Mark Renehan

Mrs Tiffany Rensen

Dr S M Richards am & Mrs M R Richards

Warwick & Jeanette Richmond

in Memory of Andrew Richmond

Em. Prof. A W Roberts am

Julia Champtaloup & Andrew Rothery

J Sanderson

In Memory of H. St. P. Scarlett

Lucille Seale

Dr Margaret Sheridan

43

Diana & Brian Snape am

Maria Sola

Dr P & Mrs D Southwell-Keely

Keith Spence

Mark Stanbridge

Ross Steele am

In memory of Dr Warwick Steele

Charles Su & Emily Lo

Tamas & Joanna Szabo

Victoria Taylor

Robert & Kyrenia Thomas

Anne Tonkin

Matthew Toohey

Angus Trumble

Ngaire Turner

Kay Vernon

Rebecca & Neil Warburton

John Wardle

Marion W Wells

Gillian Woodhouse

Don & Mary Ann Yeats

Rebecca Zoppetti Laubi

Anonymous (22)

CONCERTINO $500 – $999

Elsa Atkin am

Rita Avdiev

Lyle Banks

A & M Barnes

Robin Beech

Ruth Bell

Max & Lynne Booth

In memory of Peter Boros

C Bower

Debbie Brady

Denise Braggett

Mrs Pat Burke

Hugh Burton Taylor

Heather Carmody

Jessica Carvell

Fred & Angela Chaney

Dr Roger Chen

Colleen & Michael Chesterman

Richard & Elizabeth Chisholm

ClearFresh Water

Paul Cochrane

Spire Capital

P Cornwell & C Rice

John & Gay Cruikshank

Marie Dalziel

Mari Davis

Mrs Sandra Dent

Kath & Geoff Donohue

In Memory of Raymond Dudley

Margaret Dunstan

M T & R L Elford

Christine Evans

Carol Farlow

Eddy Goldsmith & Jennifer Feller

Penelope & Susan Field

Jean Finnegan & Peter Kerr

Jessica Fletcher

Peter Fredricson

Steven Frisken

Sam Gazal

Brian Goddard

Marilyn & Max Gosling

Arnoud Govaert

Jillian Gower

Annette Gross

Kevin Gummer & Paul Cummins

Lesley Harland

Gaye Headlam

Kingsley Herbert

Dr Penny Herbert

in memory of Dunstan Herbert

Dr Marian Hill

Sue & David Hobbs

Geoff Hogbin

Bee Hopkins

Dr & Mrs Michael Hunter

Margaret & Vernon Ireland

Barry Johnson & Davina Johnson oam

Caroline Jones

Bruce & Natalie Kellett

Graham Kemp & Heather Nobbs

Jacqueline & Anthony Kerwick

Karin Kobelentz & Miguel Wustermann

Ms Sarah R Lambert

Prof Kerry Landman

Philip Lawe Davies

Kwong Lee Dow

TFW See & Lee Chartered Accountants

Dimitra Loupasakis

Megan Lowe

Rob Mactier

Dr & Mrs Donald Maxwell

Kathleen McFarlane

H E McGlashan

JA McKernan

Peter & Ruth McMullin

Margaret McNaughton

Tempe Merewether

Marie Morton

Elizabeth Manning Murphy

Dr G Nelson

J Norman

Graham North

Robin Offler

John O’Sullivan

Willy & Mimi Packer

Robin Pease

Kevin Phillips

Michael Power

John Prendiville

Beverly & Ian Pryer

Jennifer Rankin

John Riedl

Angela Roberts

GM & BC Robins

Sally Rossi-Ford

Robin Rowe

Mrs J Royle

Christine Salter

Garry E Scarf & Morgie Blaxill

Rena Shein

Florine Simon

Casimir Skillecorn

Fionna Stack

Professor Fiona Stewart

Georgina Summerhayes

In memory of Dr Aubrey Sweet

Gabrielle Tagg

David & Judy Taylor

Simon Thornton

Peter & Karen Tompkins

Dr Ed & Mrs Julie van Beem

G C & R Weir

Taryn Williams

Sally Willis

Brian Zulaikha

Anonymous (35)

44

Mr Guido Belgiorno-Nettis am

Chairman,

Australian Chamber Orchestra

& Managing Director,

Transfield Holdings

Mr Philip Bacon am

Director,

Philip Bacon Galleries

Mr David Baffsky ao

Mr Marc Besen ac &

Mrs Eva Besen ao

Mr John Borghetti

Chief Executive Officer,

Virgin Australia

Mr Craig Caesar

Mrs Nerida Caesar

CEO, Veda

Mr Michael &

Mrs Helen Carapiet

Mr John Casella

Managing Director,

Casella Family Brands

(Peter Lehmann Wines)

Mr Michael Chaney ao

Chairman,

Wesfarmers

Mr & Mrs Robin Crawford

Rowena Danziger am

& Kenneth G. Coles am

Mr David Evans

Executive Chairman,

Evans & Partners

Ms Tracey Fellows

Chief Executive Officer,

REA Group

Mr Bruce Fink

Executive Chairman,

Executive Channel International

Mr Angelos Frangopoulos

Chief Executive Officer,

Australian News Channel

Ms Ann Gamble Myer

Mr Daniel Gauchat

Principal,

The Adelante Group

Mr James Gibson

Chief Executive Officer,

Australia & New Zealand

BNP Paribas

Mr John Grill ao

Chairman,

WorleyParsons

Mr Grant Harrod

Chief Executive Officer,

LJ Hooker

Mrs Janet Holmes à Court ac

Mr Simon &

Mrs Katrina Holmes à Court

Observant

Mr John Kench

Chairman,

Johnson Winter & Slattery

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom ao

Ms Jan Minchin

Director,

Tolarno Galleries

Mr Jim &

Mrs Averill Minto

Mr Alf Moufarrige ao

Chief Executive Officer,

Servcorp

Mr John P Mullen

Chairman, Telstra

Mr Ian Narev

Chief Executive Officer

Commonwealth Bank

Ms Gretel Packer

Mr Jeremy Parham

Head of Langton’s,

Langton’s

Mr Robert Peck am &

Ms Yvonne von Hartel am

peckvonhartel architects

Mr Mark Robertson oam &

Mrs Anne Robertson

Mrs Carol Schwartz am

Ms Margie Seale &

Mr David Hardy

Mr Glen Sealey

Chief Operating Officer,

Maserati Australasia & South Africa

Mr Tony Shepherd ao

Mr Peter Shorthouse

Senior Partner,

Crestone Wealth Management

Mr Peter Tonagh

Chief Executive Officer,

FOXTEL

Mr Noriyuki (Robert) Tsubonuma

Managing Director & CEO,

Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp

& Ms Lucy Turnbull ao

Mr David &

Mrs Julia Turner

Ms Vanessa Wallace &

Mr Alan Liddle

Mr Peter Yates am

Deputy Chairman,

Myer Family Investments Ltd

& Director, AIA Ltd

Mr Peter Young am &

Mrs Susan Young

A C O C H A I R M A N ’ S C O U N C I LThe Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.

45

SYDNEY DEVELOPMENT COMMITTEE

Heather Ridout ao (Chair)

Director,

Reserve Bank of Australia

Guido Belgiorno-Nettis am

Chairman, ACO & Managing Director,

Transfield Holdings

Bill Best

Maggie Drummond

Tony Gill

John Kench

Chairman,

Johnson Winter & Slattery

Jennie Orchard

Tony O’Sullivan

Peter Shorthouse

Senior Partner,

Crestone Wealth Management

Mark Stanbridge

Partner, Ashurst

Alden Toevs

Group Chief Risk Officer,

CBA

Nina Walton

MELBOURNE DEVELOPMENT COUNCIL

Peter Yates am (Chair)

Deputy Chairman,

Myer Family Investments Ltd &

Director, AIA Ltd

Debbie Brady

Paul Cochrane

Investment Advisor,

Bell Potter Securities

Ann Gamble-Myer

Colin Golvan qc

Shelley Meagher

Director,

Do it on the Roof

James Ostroburski

Director,

Grimsey Wealth

Joanna Szabo

Simon Thornton

Executive General Manager,

Toll IPEC

DISABILITY ADVISORY COMMITTEE

Morwenna Collett

Manager,

Project Controls & Risk Disability

Coordinator,

Australia Council for the Arts

Richard Evans

Managing Director, ACO

Alexandra Cameron-Fraser

Strategic Development Manager, ACO

Dean Watson

Customer Relations & Access Manager, ACO

EVENT COMMITTEES

SYDNEY

Liz Lewin (Chair)

Jane Adams

Lillian Armitage

Eleanor Gammell

Lucinda Cowdroy

Sandra Ferman

JoAnna Fisher

Fay Geddes

Julie Goudkamp

Deb Hopper

Lisa Kench

Jules Maxwell

Karissa Mayo

Edwina McCann

Elizabeth McDonald

Nicole Sheffield

John Taberner

Lynne Testoni

BRISBANE

Philip Bacon

Kay Bryan

Andrew Clouston

Ian & Caroline Frazer

Cass George

Edward Gray

Wayne Kratzmann

Helen McVay

Shay O’Hara-Smith

Marie-Lousie Theile

Beverley Trivett

Bruce & Jocelyn Wolfe

A C O C O M M I T T E E S

THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT

A C O G O V E R N M E N T P A R T N E R S

The ACO is supported by the NSW Government through Arts NSW.

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

The ACO’s 2016 International Festivals Tour is supported by the Australian government through the Ministry for the Arts’ Catalyst—Australian Arts and Culture Fund

46

A C O P A R T N E R SPRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

OFFICIAL PARTNERS

MEDIA PARTNERS

NATIONAL TOUR PARTNERS

CONCERT AND SERIES PARTNERS

EVENT PARTNERS

ASSOCIATE PARTNER:ACO VIRTUAL

A C O P A R T N E R S

47

A C O N E W S

M E M O R I A L E V E N T

In April, a very special event was held at the Art Gallery of NSW in memory of Professor Janet Carr, whose life was celebrated at a gathering of friends and family in the beautiful surrounds of the John Schaeffer Gallery. Janet’s sister Elizabeth, her niece Julie, and several cousins and country friends, travelled from the Orange district where Professor Carr grew up, to be there.

Friend and long-term collaborator Professor Roberta Shepherd spoke warmly of her, describing a woman of great intellectual curiosity, with a rigorous and probing approach to knowledge.

Professor Carr was a pioneer of modern neurological rehabilitation and evidence-based physiotherapy, with a career dedicated to stroke recovery that spanned some 50 years. She and Professor Shepherd wrote and edited 13 books with translations into European and Asian languages. Their research collaboration investigated the effects of specific motor training on functional motor performance and recovery after stroke. Their work continues to play a crucial role in the field, with current researchers using their findings to further investigate new ways of stimulating neuroplasticity.

Janet’s respect and affection for the ACO began more than two decades ago, when, after a biomechanics conference in Amsterdam, she and Roberta went to a concert given by the Orchestra at the Concertgebouw. On her return to Australia, she subscribed to the whole season and did so every year after that until she died in November 2014.

The ACO is enormously grateful to Professor Carr for her wonderful and generous bequest to the Orchestra.

PICTURED, BELOW: Prof. Roberta Shepherd

Photo: Jamie Williams

PICTURED, BELOW RIGHT: Helena Rathbone, Maja Savnik, Nicole Divall and Melissa Barnard perform for guests.

Photo: Jamie Williams

PICTURED: The Late Professor Janet Carr

Photo: Robyn McLeod

48

A C O N E W S

E D U C AT I O N N E W S

The ACO Inspire Quartet performed an interactive concert in the ‘Main Street’ of the Royal Children’s Hospital, Melbourne last month. ACO Inspire Quartet violinist Peter Clark introduced students at the Hospital’s Education Institute to the emotional connection between music and art – just one of the many topics in the ACO Music & Art Program. This innovative program is under way in eight schools across Australia, with Peter and ACO Inspire Quartet cellist Paul Zabrowarny delivering interactive lessons via a virtual classroom.

The second year of the Penrith Strings Program has begun at the Joan Sutherland Performing Arts Centre, with 31 students working with musicians from both the ACO and the Penrith Symphony Orchestra.

String Workshops have also begun in earnest, with students from Rockhampton, Cairns, the Gold Coast, Melbourne, Adelaide, Sydney and Canberra already well into their programs. In addition, a special workshop for students participating in the Victorian State Schools Spectacular has been established.

PICTURED, RIGHT: Pekka Kuusisto and ACO Collective perform for ACO Music & Art Program students from St Marys North Public School and the Penrith Strings at the start of their first tour for 2016.

PICTURED, BELOW RIGHT: One of the Education Institute students performed Danny Boy with accompaniment from the ACO Inspire Quartet.

PICTURED, BELOW: Audience members were encouraged to create artworks, play percussion and dance to the ACO Inspire Quartet.

49

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Satu Vänskä, Principal Violin

1341_WESF - Arts Sponsorship Campaign 2014 - ACO_Program Ad_150x240mm_V2.indd 1 5/02/2015 10:36:03 AM