steven isserlis plays shostakovich · to shostakovich’s piano concerto no.1, the rhythms are...

PRINCIPAL PARTNERNATIONAL TOUR PARTNER

My old, wonderful friends

Steven Isserlis on comedy, music and Richard Tognetti

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Telling a life in song

Elena Kats-Chernin’s new commission

p.24

The program

Discover the music you’re about to hear

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STEVEN ISSERLIS PLAYS

SHOSTAKOVICHJUNE–JULY 2018

PRINCIPAL PARTNERGOVERNMENT PARTNERSNATIONAL TOUR PARTNERBOOKINGS

*Booking fee of $7.50 applies. Prices vary according to venue and reserve.

GOLDBERG VARIATIONS2–16 August | Tickets from $60* Newcastle, Canberra, Melbourne, Adelaide, Sydney, Brisbane, Wollongong

An illuminating journey through Bach’s keyboard masterpiece reimagined for string orchestra.

Richard Tognetti Director & Violin

Erin Helyard Keyboards

WelcomeFrom the ACO’s Managing

Director Richard Evansp.4

ConcertProgram listing

and timingsp.5

MusiciansPlayers on stage for

this performancep.8

My old, wonderful friends

Paola Totaro talks to Steven Isserlis

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In conversation with Elena Kats-Chernin

p.24

The program

Discover the music you’re about to hear

p.30

Inside you’ll find features and articles that shine a spotlight on our players and the program you are about to hear. Enjoy the read.

INSIDE:

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NATIONAL CONCERT SEASON 2018COVER PHOTO. KEVIN DAVIS | PRINTED BY. PLAYBILL PTY LTD

– Julian Barnes

“ It was his opera’s fault for being such a success – at home and abroad – it had aroused the curiosity of the Kremlin... it was also Stalin’s fault for imagining himself as a patron and connoisseur of the arts in the first place.”

Russia, Komi Republic, 2014. A former mining town which has been closed and

turned into a weapons test site. The building is the cultural centre, one of the targets.

Photo: Danila Tkachenko from the series Restricted Areas

Welcome to Winter.

We have the perfect program for crisp mornings and warm interior evenings as we welcome back one of the ACO’s favourite collaborators and artists, British cellist Steven Isserlis, who re-joins the Orchestra to perform Shostakovich’s First Cello Concerto.

This magnificent concerto was composed during a period of intense oppression in Shostakovich’s life, a theme which is also explored in A Knock One Night, a special commission from Elena Kats-Chernin which tells the dramatic story of one family’s journey from Soviet labour camps to Australia.

In exploring oppression and subjugation in any context, history provides us time and time again with examples of humanity’s extraordinary capacity for hope and endurance. In this spirit, we conclude the program with Haydn’s London Symphony, a work unapologetic in both its joy and celebration.

I congratulate our National Tour Partner for this program, Johnson Winter & Slattery, on reaching their 25th anniversary this year. Johnson Winter & Slattery share the ACO’s resolute commitment to pursuing excellence in all that we do, and we are extremely grateful for their ongoing partnership and support.

We are all delighted to have Steven Isserlis back with us; I do hope you enjoy the performance.

WELCOME

Richard EvansManaging Director

Join the conversation #ACO18

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AUSTRALIAN CHAMBER ORCHESTRA

PROGRAM

Steven Isserlis Plays Shostakovich will be broadcast LIVE on ABC Classic FM on 4 July, 2018.

Richard Tognetti Director and Violin

Steven Isserlis Cello

Australian Chamber Orchestra

PRE-CONCERT TALK 45 mins prior to the performance mins See page 44 for details

SAMUEL ADAMS Movements (for us and them) World Premiere 18 Commissioned by the Australian Chamber Orchestra and Stanford Live.

SHOSTAKOVICH Cello Concerto No.1 in E-flat major, Op.107 27 I. Allegretto II. Moderato III. Cadenza – IV. Allegro con moto

INTERVAL 20

ELENA KATS-CHERNIN A Knock One Night World Premiere 12 Commissioned by Mirek Generowicz to share the dramatic story of his family’s journey to Australia.

I. Childhood II. Knock III. Train IV. Peace

HAYDN Symphony No.104 in D major ‘London’ 28 I. Adagio – Allegro II. Andante III. Menuet and Trio: Allegro IV. Finale: Spiritoso

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NATIONAL CONCERT SEASON 2018

Performance at the highest level is critical in business and the concert hall.

We are dedicated supporters of both.

At Johnson Winter & Slattery we are proud of the company we keep as advisers to Australia’s major corporations on their most important legal issues and challenges. We are particularly proud to be in the company of the ACO, not only as National Tour Partner for Steven Isserlis plays Shostakovich, but also as legal advisers to this iconic Australian orchestra.

2018 marks a significant milestone in our history – it is 25 years since we were founded by a small, eclectic team of lawyers with a commitment to excellence and the development of lasting client relationships.

That commitment remains, and like the ACO we have been continuously developing and transforming. Renowned for its individuality – the ACO pushes boundaries and creates music that takes us all to new places. This is no more apparent than in Steven Isserlis plays Shostakovich, which sees old friends Steven Isserlis and Richard Tognetti reunite to bring us all something remarkable and unforgettable, including two world premieres by Elena Kats-Chernin and Samuel Adams.

We are delighted to be celebrating our 25th anniversary in the company of the ACO, and look forward to an outstanding concert.

NATIONAL TOUR PARTNER

Aldo Nicotra Chairman, Johnson Winter & Slattery

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Satu Vänskä Principal Violin

Satu plays the 1726 ‘Belgiorno’ Stradivarius violin kindly on loan from Guido Belgiorno-Nettis am & Michelle Belgiorno-Nettis. Her Chair is sponsored by Kay Bryan.

Helena RathbonePrincipal Violin

Helena plays a 1759 Giovanni Battista Guadagnini violin kindly on loan from the Commonwealth Bank Group. Her Chair is sponsored by Kate & Daryl Dixon.

Richard Tognetti Director and Violin

Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. His Chair is sponsored by Wendy Edwards, Peter & Ruth McMullin, Louise & Martyn Myer ao, Andrew & Andrea Roberts.

Steven IsserlisCello

Steven plays the 1726 ‘Marquis de Corberon’ Stradivarius, kindly loaned to him by the Royal Academy of Music.

The musicians on stage for this performance.

MUSICIANS

Ilya IsakovichViolin

Ilya plays his own 1600 Marcin Groblicz violin made in Poland.

Aiko GotoViolin

Aiko plays her own French violin by Jean-Baptiste Vuillaume. Her Chair is sponsored by Anthony & Sharon Lee Foundation.

Glenn Christensen Violin

Glenn plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. His Chair is sponsored by Terry Campbell ao & Christine Campbell.

Mark IngwersenViolin

Mark plays a contemporary violin made by the American violin maker David Gusset in 1989. His Chair is sponsored by Julie Steiner & Judyth Sachs

Liisa Pallandi Violin

Liisa currently plays Helena Rathbone’s violin which is a c.1760 Giovanni Battista Gabrielli. Her Chair is sponsored by The Melbourne Medical Syndicate.


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PLAYERS DRESSED BY SABA

Julian ThompsonCello

Julian plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesú, kindly donated to the ACO by Peter Weiss ao. His Chair is sponsored by The Grist & Stewart Families.

Maja Savnik Violin

Maja plays the 1714 ‘ex-Isolde Menges’ Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. Her Chair is sponsored by Alenka Tindale.

Discover more

Learn more about our musicians, watch us Live in the Studio, go behind-the-scenes and listen to playlists at:

aco.com.au

Ike SeeViolin

Ike plays a violin by Johannes Cuypers made in 1790 in The Hague. His Chair is sponsored by Di Jameson.

Maxime Bibeau Principal Bass

Max plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor. His Chair is sponsored by the Darin Cooper Foundation.Timo-Veikko Valve

Principal Cello

Tipi plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund. His Chair is sponsored by Peter Weiss ao.

Melissa BarnardCello

Melissa plays a cello by Jean-Baptiste Vuillaume made in 1846 and her Chair is sponsored by Dr & Mrs J. Wenderoth.

# GUEST PRINCIPAL

Violin

Ben AdlerThibaud Pavlovic-Hobba

Guest Principal Viola

Florian Peelman Chair sponsored by peckvonhartel architects

Viola

Nathan Greentree Elizabeth Woolnough Courtesy of Melbourne Symphony Orchestra

Cello

Eve Silver Courtesy of West Australian Symphony Orchestra

Double Bass

Richard LynnCourtesy of Sydney Symphony Orchestra

Flute

Sally Walker #

Courtesy of The Australian National University

Lina Andonovska

Oboe

Michael Pisani #

Courtesy of Melbourne Symphony Orchestra

Eve Osborn

Clarinet

Olli Leppäniemi #

Courtesy of Turku Philharmonic Orchestra

Alexander McCracken

Bassoon

Frederik Ekdahl #

Courtesy of Swedish Radio Symphony Orchestra

Simone Walters

Horn

Premysl Vojta #

Euan HarveyCourtesy of Sydney Symphony Orchestra

Trumpet

Simon Munday #

Richard Fomison

Timpani

Brian Nixon #

Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert

Celeste

Brenda Jones #

Nicole Divall Viola

Nikki plays a 2012 Bronek Cison viola.Her Chair is sponsored by Ian Lansdown.

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NATIONAL CONCERT SEASON 2018PHOTOS. BEN SULLIVAN


“The Australian Chamber Orchestra is uniformly high-octane, arresting and never ordinary.”

– The Australian, 2017

The Australian Chamber Orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in a history spanning more than four decades, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations.

Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts each year. Whether performing in Manhattan, New York, or Wollongong, NSW, the ACO is unwavering in their commitment to creating transformative musical experiences.

The Orchestra regularly collaborates with artists and musicians who share their ideology, from instrumentalists, to vocalists, to cabaret performers, to visual artists and film makers.

In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Recent releases include Mozart’s Last Symphonies, Bach | Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain.

aco.com.au


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Help us create memories and inspire new ways of thinking by supporting the ACO with a tax-deductible

donation this financial year.

For more information please call

Sarah Morrisby (02) 8274 3803 or visit

aco.com.au/donate

Be inspired

Paola Totaro talks to Steven Isserlis about comedy, music and Richard Tognetti

wonderful friends

My old,


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NATIONAL CONCERT SEASON 2018PHOTO. EDMOND TERAKOPIAN

PHOTO. EDMOND TERAKOPIAN

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E nsconced in his music room at home, dressed comfortably in navy

trousers, T-shirt, socks and no shoes, Steven Isserlis decides suddenly, almost like a forgetful schoolboy, to shrug on a jacket. The great British cellist fears he may be “appearing too scruffy”.

Isserlis is 59 now and sits in the pantheon of the greatest cellists to date. According to London’s Financial Times, he is second only to Yo-Yo Ma in contemporary cellist’s fame.

Outside his house, on London’s Abbey Road, it’s a joyously sunny spring day and a huge tree laden with white blooms in the front garden sends a heady fragrance into the music room. Isserlis estimates that he spends less than a third of the year in London, rattling off a schedule over the next month that seems to leave no time to breathe, let alone sleep. His energy and enthusiasm are palpable.

“I’ve got quite a schedule. It’s a bit mad and I really haven’t been here much,” he says with a smile. “I did my annual teaching stint in Cornwall, then America … six recitals in seven days. Then, I came home for 12 hours and went off to Germany where I spent 12 days. Then Italy. And then I came back to rehearse that day and perform the next. I have a rehearsal tonight. Next week, I am delivering a lecture at a college at Cambridge.”

In a couple of weeks, he will board his 16th long-haul flight to Australia – “or maybe it’s the 17th, I can’t quite remember” – to play with the Australian Chamber Orchestra –

“my old, wonderful friends”.He was recommended to the ACO

by the late English conductor Richard Hickox – “Oh, he was lovely, so lovely and much missed” – but says his first meeting with the orchestra in 1992 was rather less than dignified. “It was pelting with rain in London that night and I fell over heavily in the street just before going in.”

It was an omen, he adds, he chose to ignore. “That’s when I first met Tognetti and he was so polite. How times have changed!” Intrigued, I ask him to elaborate, but he shakes his trademark mane of salt and pepper curls vigorously.

“No, no, no. I have many, many stories about Tognetti, most of them unprintable. I don’t want to give him ammunition. We have weapons of mutual destruction!”

Pushed for more information, Isserlis laughs again and says their banter began years ago when Isserlis stood behind a pane of glass and tried to distract the ACO’s Artistic Director as he was giving a serious interview to The Sydney Morning Herald. Tognetti promptly took revenge, describing the cellist in print as having “a mental age of two”.

A former ACO staffer tells me with

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great affection about the duo’s merciless teasing. Isserlis referred to Tognetti as

“The Rat” – or “Ratty”, the staffer couldn’t quite recall – and Tognetti called him

“The Poodle”. In the magazine Limelight, guest edited by Tognetti, a picture of Isserlis ran next to a picture of a poodle, part of a “Separated at birth” column.

“We are very close, so close we even shared a virus,” Isserlis adds later, trying in vain to keep a straight face.

“We were in London together once and went to this incredibly expensive Thai restaurant, owned by a famous Australian, and we both came down with this terrible, terrible virus. It would come and go over months and he would call me whenever he had it, as did I.”

Isserlis is clearly very much looking forward to reuniting with his friend in Australia, this time to play Shostakovich’s mammoth first cello concerto.

“This is probably the most exciting of all cello concertos. There is a manic energy. It is tragic, but it is also great fun to listen to and it has

an explosive ending,” he says.“There’s lots of virtuosity for the

soloist and the orchestra, there is a strong narrative and a very tragic story … The Soviet Union is the principal theme that comes up again and again… I find it thrilling to play and I find it thrilling to hear.”Isserlis was born into a musical family in south-west London: his mother played piano, father violin, an elder sister is a professional on the viola, and his middle sister plays violin. “Music was always there in the house, the sound of my parents practising …”

The relationship stretched further back, to his grandfather Julius Isserlis, a celebrated composer and pianist, who was one of the first 12 Soviet musicians to be allowed out of Russia by Lenin to tour and, ostensibly, spruik the wonders of the Soviet Union. None ever returned.

In 1923, the family, including Isserlis’s father, then a tiny boy, sought lodgings in Vienna and was shown around a flat by a centenarian landlady, who, while

“This is probably the most exciting of all cello concertos. There is a manic energy. It is tragic, but it is also great fun to listen to and it has an explosive ending,”


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friendly, ultimately refused them lodgings, saying she hated musicians. It turned out that as a young girl, the landlady’s aunt had, had a musician lodger, “a filthy old man who used to spit on the floor”. She hated him – his name was Beethoven.

The cellist says he suffers from terrible nerves before every performance and can be anxious and fearful about memory.

“I will be playing the Shostakovich from music, even though I know it from memory. It is a safety mechanism; it is nice having the music, even if I know it. It doesn’t get in the way.”

Musicians who are no longer nervous, he argues, become blasé and appear not to care.

“I have seen it happen so often, they are recycling a performance that they thought up years before. It is horrible – horrible when a famous musician starts to believe their own publicity and lets their playing go downhill.

“I have just spent 10 days with András,” he says, meaning Sir András Schiff, the Hungarian-born British pianist and conductor. “He practises and practises all the time, wants to keep his standards, raise them if that is possible. He is truly a great artist and is coming to Australia later in the year – I had something to do with that, actually.”

There is something genuinely playful and optimistic about Isserlis, although he claims to be the opposite. “For me, not only is the glass half-empty,” he wrote last year, “the liquid inside it probably has enough germs floating around in it to wipe out a whole city.” Looking around his music room, he has photos and portraits of his heroes on every square inch of wall – most of them

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musical, but many of them comedic. He is an unabashed Marx Brothers aficionado, adores Harpo, is crazy about the Pythons, as well as Laurel and Hardy.

In Isserlis’s sitting room, the walls and shelves speak much about him. A collection of wind-up, brightly coloured old tin toys are on display; a painting by Stuart Sutcliffe, the “fifth Beatle”; a digital photo frame that scrolls through photographs of the people he loves and has loved, family, girlfriend, dogs, places, friends of all ages. Books and shelves are stacked high and wide: he is an avid reader; literary fiction is his passion second only to music, and closely followed by food. One of the things he loves about coming to Australia, he says, is eating with Tognetti, “who really, really knows his food”.

One of Isserlis’s favourite things about being a globally renowned cellist, he admits happily, is meeting the people he admires, particularly authors. His method is simple – he sends them a CD and, inevitably, a meeting or long lunch will result. The list of those he has met and liked – “until now, nobody whose

book I have loved and then have met has disappointed” – is long and most recently includes Amor Towles, the author of A Gentleman in Moscow. Just the other week, BBC Radio aired a program of Isserlis in conversation with his literary hero, Sebastian Barry, considered one of Ireland’s finest writers, in which they spoke candidly about family histories, fear and how to express emotion.

“That is one of the very good things about being a cellist. It is a great visiting card and they become friends because they are as wonderful as their novels,” he says.

“Friendship is why travelling is so great. Yes, I do have friends in many, many different countries, and I love going to see them and keeping up. Ah, but I adore music more than I adore performing and I would still listen to music all day long if I could, when I am shaving, cleaning my teeth, always. It is an addiction.”

And with that, he is back at his cello, practising. As I close the door behind me, the César Franck sonata pours out into the spring air.

“Friendship is why travelling is so great. Yes, I do have friends in many, many different countries, and I love going to see them and keeping up ... but I adore music more than I adore performing and I would still listen to music all day long if I could, when I am shaving, cleaning my teeth, always. It is an addiction.”

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Steven IsserlisCello

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a uniquely varied career as a soloist, chamber musician, educator, author and broadcaster.

the Elgar and Walton concertos; and the Brahms Double Concerto with Joshua Bell and the Academy of St Martin in the Fields.

Since 1997, Steven has been Artistic Director of the International Musicians Seminar at Prussia Cove, Cornwall. He also enjoys playing for children, and has created three musical stories with the composer Anne Dudley. His two books for children, published by Faber, have been translated into many languages; a new book – a commentary on Schumann’s famous Advice for Young Musicians – has recently been published by Faber.

The recipient of many awards, Steven’s honours include a CBE in recognition of his services to music; the Schumann Prize of the City of Zwickau; the Piatigorgsky Prize, in America; the Glashütte Original Music Festival Award, in Germany; and the Wigmore Hall Gold Medal, and Walter Willson Cobbett Medal for Services to Chamber Music, in the UK.

He gives most of his concerts on the Marquis de Corberon (Nelsova) Stradivarius of 1726, kindly loaned to him by the Royal Academy of Music.

Steven Isserlis appears with the world’s leading orchestras and conductors, and gives recitals in major musical centres. As a chamber musician, he has curated concert series for many prestigious venues, including the Wigmore Hall, New York’s 92nd St Y, and the Salzburg Festival. Unusually, he also directs chamber orchestras from the cello in classical programs.

He has a strong interest in historical performance, working with many period-instrument orchestras and giving recitals with harpsichord and fortepiano. He is also a keen exponent of contemporary music and has premiered many new works, including John Tavener’s The Protecting Veil, Thomas Adès’s Lieux retrouvés, and György Kurtág’s The Hilary Jig and For Steven.

Steven’s award-winning discography includes Bach’s complete Solo Cello Suites (Gramophone’s Instrumental Album of the Year); Beethoven’s complete works for cello and piano;

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Celebrating 30 years of partnershipThis year marks 30 years of partnership between the Commonwealth Bank and the Australian Chamber Orchestra, the cornerstone of which has been this rare Guadagnini violin, handmade in 1759.

We are delighted to be able to share this special instrument with audiences across Australia, played by Helena Rathbone, the ACO’s Principal Violin.

–Richard Taruskin

“ No one writes badly on purpose, nor could anyone make a career as successful as the one Shostakovich made in Soviet Russia while maintaining the kind of moral and aesthetic purity his mythologisers attribute to him.”

Russia, Voronezh region, 2015. Memorial on a deserted nuclear station.

Photo: Danila Tkachenko from the series Restricted Areas


Elena Kats-Chernin’s new piece, A Knock One Night, was commissioned by Mirek Generowicz. It tells the story of his mother, Ala, Uncle Marek, and the family’s internment in Soviet labour camps.


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PAINTING BY WENDY SHARP ‘THE WITCHING HOUR – ELENA KATS-CHERNIN’

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ELENA

Every time we talk about Ala’s story, there’s always a new detail that I learn. It’s such a rich story and there’s so many parts of it that, at first, I found it hard to choose what to write about – what kind of a piece. But maybe tell me about the start. How old were you when the knock on the door happened?

ALA

Eight. Eight years old.

ELENA

And your brother?

ALA

Five.

ELENA

So you can remember it really well still, I’m sure.

ALA

Yes, yes. And when they came to knock on the door, it was always in the middle of night.

ALA

And of course the children would start crying, and the parents would try to pack, and it would always be a bit of chaos and…

MIREK

You would only have about 20 minutes to get everything packed.

ALA

Yes.

ELENA

You say “always”. That means there was a lot of that happening?

ALA

Yes. There were a lot of other families. They had this big long train packed in the station, and they were loading the carriages with people – a cattle car with a big shelf and we were like sardines, kind of trying to sit on that shelf.

ELENA

When you were on the train, you had no idea where you were going, right?

ALA

No, no.

Elena Kats-Chernin spoke with Mirek and Ala about their story. After Ala’s father was taken by secret police, her family was transported from Poland to Kazakhstan, where they survived two terrible winters. They never saw their father again. Eventually, they made it to a British army base in Nazareth and finally to Australia.

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ELENA

I think that’s the hardest part. When I’m translating this story – and music can only tell a story up to a point, it can reflect on the story, it can describe emotion, it can try to touch on the story or be about the story – I just hope I captured that feeling of not knowing and the anguish.

ALA

Yes, yes.

ELENA

If I could talk a little bit about how I tried to structure the piece: there was a childhood before that?

ALA

Yes, yes – in the Carpathian Mountains.

ELENA

Yes, and I tried to capture the feeling of that. I decided to start just the very first few bars with sort of a held-cluster chord, which is like a fog. And out of the fog there is something growing, like a melody, so it comes in gradually, it’s not right away, you know – it comes as if it’s a film slowly rewinding.

ALA

Yes.

ELENA

That was kind of a feeling I had. I just hope that’s how it’s going to come across when we hear it. Music is such an abstract form: you can describe so many things in so many different ways.

ALA

Yes, yes.

ELENA

And the story you’re telling is so rich and so full of detail and so full of names

and what happened. A piece like this could go for a month. But we have a concert so I have to make choices. I hope, Ala, that when you hear it, it evokes something that you can connect to.

ALA

Well, yes.

ELENA

It’s a very simple melody, really, a few notes, and it’s just more like a song you would sing as a child.

ALA

Uh-huh.

ELENA

Then the second movement. I don’t even think I told Mirek this: I decided to use knocking on the instruments to represent a knock.

ALA

Mm-hmm.

ELENA

It’s very rare in the score. The violins almost never do it, because they’re very fragile. I just thought, “Why don’t I actually have a real knock?” Sorry, Mirek, I did not consult you.

MIREK

That’s okay. I think you did something similar with that piece with seven double basses.

ELENA

Yes, yes. Eight, can you believe it? Anyway, sorry, I interrupted the story. Maybe just explain to us why you were thrown into this train – you know, why there was a knock on the door and who it was.

ALA

So that was a political decision. They were sending Russians in to replace the Polish population and sending Polish people to Russia to do labouring there.

ELENA

The third movement is called “Train”. It’s about the next part of your story, after Hitler turned against Stalin and your family took another journey, this time to the British camps in the Middle East. It has the busyness of a train station and a lot of people and…

ALA

And travelling towards freedom.

ELENA

Yes, exactly. So it’s looking forward to the…

ALA

Hope, feelings of hope.

ELENA

Exactly, exactly. Can you please tell us about the tango, when you were living in the British camps in Nazareth?

ALA

The school was under army command, so we have to do one hour’s march every morning, and we had to sing, marching, a patriotic song to the marching beat. And the local coffee shop owner would see the unit approaching, marching fast, he would play a record of tango on his record player in the shop. We would all slow down to this music.

ELENA

Did the children smile when they heard the tango, or you felt confused?

ALA

Well, I think the communist policy was to remove as much of the local population and transport them into the forced-labour camps.

ALA

They were planning to remove a lot more, but I think there were only two big transports, and one was planned for February and thousands and thousands were deported from eastern Poland.

ELENA

Which year?

ALA

February 10.

MIREK

1940.

ALA

1940. Our transport was April 13. And they were planning a lot more transport, they were going to transport a lot more of the Polish population into middle of Russia, but Germany decided to invade Russia and so their plans were changed.

ELENA

Yes, that date I know. In 1941, in June.

ALA

Another policy was to split families up and send them into different part of the Russian continent and use them as free labour in the farms and in the forests and…

ELENA

It’s heartbreaking.

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ALA

Oh, we enjoyed it. We thought it was great fun.

ELENA

My piece then jumped to the Australian times.

ALA

Yes. The army transported us to England in 1947 and eventually we came to Australia. And so my husband came first, and he loved Perth very much, and so he invited us to join him. We came in 1969.

ELENA

My piece just jumps ahead to that time, quite fast between movements. Can I just say that my music of the last movement is almost like a coda, it’s like after everything that happened. I call it “Peace”.

ALA

Wonderful.

ELENA

What I did was bring back that first melody from the first movement, but in a major key.

ALA

Uh-huh.

ELENA

And that’s kind of how the piece ends, it’s like a cycle. It starts with a cluster and we finish not with a cluster, we finish with a chord, and arrive with a sort of resolution and memory of what happened, but it’s happier. It’s an amazing life, Ala. It’s so hard to put on music. Not an easy task.

ALA

Thank you for trying.

(Top) Marek & Ala in Tatarów 1938. (Above) Forestry Commission house where Ala grew up.

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THE PROGRAM Words Sarah Price


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Isserlis Plays ShostakovichIntroduction by Melissa Barnard.

Welcome to Steven Isserlis Plays Shostakovich. I’m excited to be introducing this big, passionate, energetic concert to you. From the familiar to the brand new, it is a program of converging worlds that includes two exciting world premieres and two beloved masterpieces.

For the new, we’re intrigued to discover the young American composer Samuel Adams’ brand new work Movements (for us and them) and also to see what Elena Kats-Chernin has in store for us with A Knock One Night, a musical response to the loss, endurance and ultimate transformation of a family’s life inspired by the story of Ala Schwetz, who lived through the brutal Russian invasion of Poland in WWII.

We also welcome the return of our very dear friend Steven Isserlis as soloist to play Shostakovich’s extraordinary First Cello Concerto as the concert’s centrepiece. For as long as I’ve been in the Orchestra Steven has been a regular with us. Our relationship with him in many ways defines the wonderful, intimate

bond we can form with our guests and is one of the great pleasures of playing in the ACO. We exchange jokes, delve into the music, discuss (even argue) openly and freely. Steven’s warmth, humour, intelligence and passion have always been a great match for us. This concerto – physically demanding, expansive, powerful and dark- will be undoubtably epic in his hands. It’s an arresting musical portrayal of the composer’s life in Soviet Russia and yet transcends his distinctly Russian voice to become universal in expression and pathos.

To finish, Haydn at his pinnacle lifts us all with the glorious Symphony No.104. His elegance, nobility and pure harmonious warmth will surely have us all soaring. With his energetic spirit Haydn is one of the composers we musicians in the ACO love exploring the most.

I do hope you enjoy the concert as much as we’ll enjoy playing for you...

Melissa Barnard, Cello Chair sponsored by Dr & Mrs J Wenderoth

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NATIONAL CONCERT SEASON 2018PHOTO. BEN SULLIVAN

Samuel Adams (b. 1985)Movements (for us and them) (new commission)

The music that affects Samuel Adams the most is experimental. It is the kind of music, he says, where you feel the psychology of the artist changing over time. When he started composing Movements (for us and them), he didn’t know what would happen, or which direction the piece would take. “I try to keep things open as I write. I find that the more flexibility I give myself, the more interesting the piece becomes.”

He says that what fascinates him about creating a new piece of music is that it can mean something to one person, and something completely different to someone else. “With every piece of mine I try to create flexibility and volubility with the music. I never try to be too specific about my intentions.”

Every piece he writes is a response to the world at the moment, some obliquely, others purely through abstraction. He likes the idea of using the dynamic of a group to potentially model a utopian vision.

There are universal syntonic ideas in art, Adams says. When composing the piece, he was inspired by Italo Calvino’s Six Memos for the Next Millennium. The series of lectures outlines the virtues in literature to which the novelist aspired, as a way to handle the weight of the world. In the writing of his own piece, Adams searched for the same: quickness, exactitude and levity.

The piece is a response to the tradition of investigating the relationship between the composer, the orchestra and the audience. “I am really interested in the possibilities of working in a kind of musical context that explores interpersonal relationships. What fascinates me about the concerto grosso is that it suggests a different kind of narrative – it isn’t necessarily about one individual trying to overcome or join some kind of opposing force, but much more about cooperation and fluidity. That’s what I explore in this piece.”

Adams forced himself to reimagine the process of material generation. He spent a lot of time improvising. The material came out of the process of listening to himself improvise, transcribing those dramatisations,

IN SHORT

• Born in San Francisco, Samuel Adams is a composer of acoustic and electroacoustic music.

• His music has been hailed by the New York Times as “mesmerising” and “music of a composer with a personal voice and keen imagination”.

• Movements (for us and them) is a response to the baroque concerto grosso form, and explores the relationship between composer, orchestra and audience.

• He is the son of celebrated American composer John Adams.

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AUSTRALIAN CHAMBER ORCHESTRA PHOTO. LENNY GONZALEZ

playing different ascriptions, and improvising again. The piece has a lot of forward momentum and energy,

much like some music from the 17th and early 18th centuries. “It is built on repetitive triplet motifs, which, with the exception of one part, drive the piece forward. One thing I really wanted to explore was the concept of role fluidity. You will hear passages where the two ensembles are very gradually morphing into one another. Movements flow very easily from one section to another.”

Adams sought to explore “emotionally available” melodies. He wanted to give the musicians something deeply expressive to play. “What strikes me about the ACO is the personality of the ensemble. They have a wonderful profile when they come on stage. So much of this piece is about exploring interpersonal dynamics. I would be happy if an audience member leaves the concert feeling like they understand something that they didn’t previously, of the personality of the ensemble.”

Dmitri Shostakovich (1906–1975)Cello Concerto No.1 in E-flat major

I. Allegretto II. Moderato III. Cadenza – IV. Allegro con moto

Shostakovich wrote his First Cello Concerto in 1959. Depending on your view of his life, it was after a period of intense oppression in the Soviet era or a period of effective collaboration with the regime. The musicologist Richard Taruskin calls this the contention “between those who believe that Shostakovich was a blameless martyr, opposed to and victimised by the Soviet government, and those of us who believe he made pragmatic compromises to survive and prosper”. Taruskin, a provocateur, calls the former view a “sentimental Cold War fable of a passive, pathetic yet saintly figure buffeted by an obtuse, implacable force”.

Throughout his life Shostakovich lived through two denunciations by Stalin’s government. He was

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“I try to keep things open as I write. I find that the more flexibility I give myself, the more interesting the piece becomes.”

– Samuel Adams

“One must speak the truth about the past or not at all.”

– Dmitri Shostakovich, Testimony: The Memoirs

IN SHORT

• Born 1906 in Saint Petersburg, Shostakovich is regarded as one of the major composers of the 20th century.

• His First Cello Concerto was written in less than three months for his friend, the great cellist Mstislav Rostropovich.

• Arriving at Shostakovich’s country home for a first play through, the composer was surprised to find that Rostropovich already knew it from memory, having learnt it in just four days.

• It premiered in the Grand Hall of the Leningrad Philharmonic on 21 Sept 1959 with Rostropovich as soloist and Evgeny Mravinsky conducting.

• The initial theme is derived from the Gregorian song “Suliko”. It was a favourite song of Stalin’s, but has been interpreted to have a hidden symbolic meaning.

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sacked from his posts, had no money, couldn’t create the work he wanted to. He reportedly kept a small suitcase always packed and at times slept in a stairwell out of fear. On the flip side, he had also enjoyed fame and the capacity to leverage that inside the regime. Some compositions became official propaganda. This is the basis of the Shostakovich Wars. Online, they have the shape of conspiracy theories.

It is impossible to know if Shostakovich wrote from his heart or for a regime. But in this concerto, as with his eighth string quartet and the fifth and seventh symphonies, there is the archetypical vision of Shostakovich. There is also a sense of the grief or terror of life under the regime.

“In the music,” says cellist Melissa Barnard, “you can feel the cold. You can feel the Russian Soviet world. You can feel the suffering, the fear and paranoia. The composition is very controlled.” Similar to Shostakovich’s Piano Concerto No.1, the rhythms are taunting, like knocks or machine gun fire. “The first movement is quite military: horn fanfares, the cello’s incessant rhythms building to a frenzy.”

The second movement has a lamenting melodic flow. It promises a warmth that is never achieved. “This movement has eerie sound effects, with the cello playing artificial harmonics. It has warmth, but it’s also sort of spooky and cold. That’s where the tragedy is, as if that’s the centre of the work.”

The concerto then morphs into a huge cadenza, featuring the solo cello. “It is an entire, massive movement that builds up to a frenzy, leading into the much faster, military finale.”

There is an inevitability to how the rhythm just drives and drives, Barnard says. It is the sort of piece that drives right to the end. To finish, the orchestra crashes in with a fast, abrasive movement. There is no salvation.

“Shostakovich’s music is enthralling in its intensity,” Barnard says. “It’s exhilarating to play such powerfully direct music.”

IN SHORT

• Elena Kats-Chernin is an Australian composer born in Uzbekistan.

• Her music is often characterised by colour, energy and rhythm.

• A Knock One Night was commissioned by Mirek Generowicz to share the story of his family’s dramatic journey to Australia.

• Written in four movements, the work captures a range of emotion as it works its way through the moving narrative.

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Elena Kats-Chernin (b. 1957)A Knock One Night (new commission)

I. Childhood II. Knock III. Train IV. Peace

This is a story of fear and forced removal. A family, starved and uncertain, imprisoned at a place where wolves howl in the night. It is the story of a family seeking refuge.

When composing the piece, Elena Kats-Chernin sought to pay tribute to the story, to get it right for the people to whom it happened. Although music is not a narrative form, she tried to make the composition full of content, she says. Her challenge was to pack a complex story into one neat piece.

Written as a prelude, the first movement is called “Childhood”. It depicts the family’s idyllic life in the mountains. Within the music, there are hints of the exotic: children’s folk songs and the traditional music of local villages. “It is a kind of other world, not necessarily a Western world,” Kats-Chernin says. “There is a very simple melody. It begins, almost like a fog, or a memory going back – a kind of clustering sound, out of which a melody grows. As we approach the past, the melody becomes clear. The whole first movement is tinged with bittersweetness.”

The second movement, “Knock”, leads into slow and oppressive rhythms that represent a train journey into the unknown. This is a movement about fear. The score gets heavier, with real knocks on the instruments sprinkled throughout. The knock is an essential element, like a character in the piece. “When somebody knocks loudly on your door in the night, how do you feel? For your whole life, you will always come back to that knock. You know it is the beginning of very bad things.”

Music need not be ugly to show ugliness, Kats-Chernin says. “The long melody at the core of this movement is like a waltz. It is almost threatening, almost alluring. Something that could be beautiful, yet also sounds sardonic.” “Knock”

“As we approach the past, the melody becomes clear. The whole first movement is tinged with bittersweetness.”

– Elena Kats-Chernin

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“When somebody knocks loudly on your door in the night, how do you feel? For your whole life, you will always come back to that knock. You know it is the beginning of very bad things.”

– Elena Kats-Chernin

has many facets: it is fragmented, with a melody that repeatedly gets broken, then starts again.

In the third movement, “Train”, there is a moment of deliverance. The family is freed from persecution. “Music here is joyfully active and full of harmonic twists and turns, the rhythmic pattern almost evoking a busy train station. After a couple of minutes a tango element interrupts and takes the material in a different direction. Tango refers to a lighter moment that was mentioned in the family’s story. There is a sense of fun throughout this fast movement. The family is moving towards an optimistic future.”

The final movement, “Peace”, depicts the family’s settling in Australia. At the beginning, the whole orchestra holds a chord of D major. There are many held chords to follow, reflecting space and calmness, the warm dry landscape of Australia. There is the occasional bird-like sound, some whispery murmurs, the cracking of a branch. “The main melody (originally in E minor) from the first movement “Childhood”, has returned, but it is here in D major. The journey from the dramatic childhood has reached contentment.”

IN SHORT

• Joseph Haydn was an Austrian composer who was a friend and mentor of Mozart, and a teacher of Beethoven.

• His music was instrumental in the development of the string quartet and symphony (he is known as the father of both).

• His Symphony No.104 was composed in London in 1795, and is the last of a group of 12 symphonies known as the “London symphonies”.

“There was no one near to confuse me, so I was forced to become original.”

– Joseph Haydn

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Franz Joseph Haydn (1732 – 1809)Symphony No.104 in D major ‘London’

I. Adagio – Allegro II. Andante III. Menuet and Trio: Allegro IV. Finale: Spiritoso

Haydn is an artist so great that somebody stole his brain. Reportedly, the grave robbers were phrenologists. They found “the bump of music” on Haydn’s skull to be “fully developed”. The head took a circuitous route back to Haydn’s body, including being hidden in a straw mattress, and the composer is now buried with two skulls.

Large among Haydn’s genius are his symphonies. Principal Violin Helena Rathbone describes his London symphony as “perfection”. Written in 1795 in London, at a later time in Haydn’s life, the music reflects his happiness. In London, Haydn was appreciated: it was one of the few times in his life he was making decent money, and audiences loved his music. He wrote and conducted this, his final and most grand symphony, to great acclaim. A review of the premiere described a symphony “which for fullness, richness, and majesty, in all its parts, is thought by some of the best judges to surpass all his other compositions.”

“This was the culmination of writing 104 symphonies,” Rathbone explains, although there may be more. “Haydn had experimented quite a lot along the way, and I guess this is him saying: ‘Okay, I’m going to put all my energies and ideas over the last 103 that I’ve written and give you this piece.’”

Haydn was the master of his time at creating drama, and this symphony is rich with it. “It probably portrays the tension and anxiety that he was feeling himself, being the conductor and the director of these concerts that he put on with his own music.”

With four very different movements, the symphony ranges in emotion from pure joy and elation, to darker, turbulent moments. The grand fanfare opening sets the scene while the final movement has been claimed to be either a Croatian folk tune, or a London street cry to the tune “Hot cross buns”.

Join us at Intermezzo after 9pm for a special

Post Theatre treat! Enjoy a cup of coffee or tea with dessert for $19.90 or

with a glass of house wine for only $24.90. Only steps away

from City Recital Hall!

Post Theatre after 9pm – Dessert and Coffee $19.90, Dessert and glass of dessert wine $24.90

Bookings: www.gpogrand.com or 9229 7788INTERMEZZO RISTORANTE, GROUND FLOOR, 1 MARTIN PLACE, SYDNEY

• It premiered on 4 May 1795, and is widely considered his greatest symphony.

• Along with Mozart’s last symphonies, Haydn’s London symphonies represent the pinnacle of 18th-century symphonic music.

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“He certainly had a lot of fun when he wrote” Rathbone says, “he had an incredible sense of humour, which always came out...

“Playing a Haydn symphony is always a journey. It is both a musical and an emotional one.” A performer’s job, Rathbone says, is to take the audience on that emotional journey with you. “It is like we are a conduit between the composer and the audience.”

It was a friend of Haydn’s who stole his skull, a personal secretary to the Prince of Austria, in concert with the manager of a Viennese prison. It took 145 years for the skull to be returned to the composer’s body.

“He really was an absolute genius, a forward thinker,” Rathbone says. “It is such imaginative music. He invented a lot of different sound-colours that had never been heard before. He came up with new ideas and instrumentations.”

Haydn is an artist so great that somebody stole his brain.

TRANSFORMING STRAUSS & MOZART

An intimate, emotional journey through despair to elation, featuring music stripped back to its raw and powerful core.

Curated by our Principal Cello Timo-Veikko Valve.

Helena Rathbone ViolinAiko Goto ViolinStefanie Farrands ViolaNicole Divall ViolaTimo-Veikko Valve CelloMelissa Barnard CelloMaxime Bibeau Double Bass

DOWLAND Lachrimæ AntiquæWAGNER (arr. Sebastian Gürtler) Prelude to Tristan und IsoldeBACH Ricercar a 6 from Musical OfferingR STRAUSS (arr. Rudolf Leopold) MetamorphosenMOZART Grande Sestetto Concertante

8 – 19 SEPTEMBERCanberra, Melbourne, Adelaide,

Wollongong, Sydney

Tickets from $49*

PRINCIPAL PARTNERGOVERNMENT PARTNERSNATIONAL TOUR PARTNERBOOKINGS


Portrait of Dmitry Dmitrievich Shostakovich, 1950

“If they cut off both hands,

I will compose music anyway

holding the pen in my teeth.”

Shostakovich

From his memoir Testimony, published by Solomon Volkov in 1979.

ACO FoundationsThe ACO Foundations Pilot Program began in term one of 2018 with a whole year one class learning violin and cello at St Marys North Public School in Sydney's West. In May, all the classroom teachers had a professional development session with leading Australian music and neuroscience academic and speaker, Anita Collins which received overwhelmingly positive feedback.

“Thank you so very much for the wonderfully engaging PD session that you delivered to us today. It is such a joy to share your passion, enthusiasm and knowledge for music as you help us develop our understanding of the strong role it plays in child development. Watching our staff highly engaged is such a thrill, knowing that this can be a hard task at times!” Lisa Parrello, Principal at St Marys North Public School.

Support ACO Foundations with a tax-deductible donation. Please contact Sarah Morrisby on (02) 8274 3803.

The ACO tour Japan in association with Australia nowThe ACO recently returned from Japan, where they performed two sell-out concerts in Tokyo’s Yomiuri Otemachi Hall on the 29 and 30 May as part of the Australian Government’s Australia now initiative. In addition, ACO violinist Aiko Goto returned with her ACO colleagues to her former school, the Toho Gakuen School of Music, to conduct workshops with the school’s young string players.

(Above) ACO Foundations Pilot Program. (Below) Aiko Goto and ACO Muscians deliver an education session for students at the Toho Gauken Music College. (Opposite below) ACO perform The Four Seasons in Tokyo’s Yomiuri Otemachi Hall on the 29 May.

ACO NEWSThe 2018 season continues.

News, highlights and upcoming events to add to your calendar.


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JULACO Academy Concert

13 July Melbourne Recital CentreAfter a week of intensive workshops, young string players and ACO musicians take to the stage to perform a free public concert.

Osborne Tognetti Valve in Recital

25–29 JulyPerth, Melbourne and Brisbane.World-renowned pianist Steven Osborne (pictured right) joins Richard Tognetti & Timo-Veikko ‘Tipi’ Valve, paying homage to Dvorák and Brahms.

AUGGoldberg Variations

2–16 AugustNewcastle, Canberra, Melbourne, Adelaide, Sydney, Brisbane and Wollongong.An illuminating journey through Bach’s keyboard masterpiece, directed by Richard Tognetti.

SEPTransforming Strauss & Mozart

8–19 SeptemberCanberra, Melbourne, Adelaide, Wollongong and Sydney.An emotional, moving program featuring music by Strauss, Mozart and Wagner stripped back to its powerful core. Curated by our Principal Cello Timo-Veikko ‘Tipi’ Valve (pictured above).

ACO Collective at Crescendo

9 SeptemberSydney Opera HouseMatthew Truscott directs ACO Collective for Sydney Opera House’s Crescendo, a celebration of Australia’s emerging classical artists.

Hush 18 Launch

16–17 SeptemberSydney and Melbourne.ACO Collective come together for concerts in Sydney and Melbourne to celebrate the release of our collaborative CD with charity, The Hush Foundation.

Coming Up...

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AUSTRALIAN NATIONAL UNIVERSITYLlewellyn Hall School of MusicWilliam Herbert Place (off Childers St), Acton, CanberraTelephone (02) 6125 2527Email [email protected]

ARTS CENTRE MELBOURNEPO Box 7585, St Kilda Road, Melbourne VIC 8004Telephone (03) 9281 8000Box Office 1300 182 183Web artscentremelbourne.com.auJames MacKenzie President Victorian Arts Centre TrustClaire Spencer CEO

ADELAIDE TOWN HALL128 King William Street,Adelaide SA 5000GPO Box 2252, Adelaide SA 5001Telephone (08) 8203 7590Email [email protected] adelaidetownhall.com.auMartin Haese Lord MayorMark Goldstone CEO

PERTH CONCERT HALL5 St Georges Terrace,Perth WA 6000PO Box 3041, East Perth WA 6892Telephone (08) 9231 9900Web perthconcerthall.com.auBrendon Ellmer General Manager

CITY RECITAL HALL LIMITED2–12 Angel Place, Sydney NSW 2000Administration (02) 9231 9000Box Office (02) 8256 2222Web cityrecitalhall.comRenata Kaldor ao Chair, Board of DirectorsElaine Chia CEO

SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001Telephone (02) 9250 7111Box Office (02) 9250 7777Email [email protected] sydneyoperahouse.comNicholas Moore Chair, Sydney Opera House TrustLouise Herron am CEO

Venue Support

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

Llewellyn Hall, CanberraAlastair McKean

Sat 23 June, 7.15pm

Arts Centre MelbourneAndrew Aronowicz

Sun 24 June, 1.45pmMon 25 June, 6.45pm

Adelaide Town HallJames Koehne

Tue 26 June, 6.45pm

Perth Concert HallRosalind Appleby

Wed 27 June, 6.45pm

SydneyAlastair McKean

City Recital Hall

Sat 30 June, 6.15pmTue 3 July, 7.15pmWed 4 July, 6.15pm

Sydney Opera House

Sun 1 July, 1.15pm

Pre-concert speakers are subject to change.

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.

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Spotlight on KateringThe ACO and Katering celebrate 14 years of partnership this year. We managed to find time in Mark and Kate White’s busy schedule to ask them a few questions.

kateringathome.com.au

Delicious food deliveredMade for busy familiesMeals that move with the seasons,

providing the tastiest, locally sourced and highest quality produce available.All you need to do is heat and serve!

What are you waiting for?

[email protected] kateringathome

How did you become involved with the ACO?

I first met Richard back in 2004 when we worked together on a fundraising dinner: Richard had the creative concept and we brought it to life through the food. That was the start of a longstanding relationship between Katering and the ACO.

What is it that has kept you supporting the ACO for so long?

I love what the ACO does! And I really enjoy the relationships we’ve built with the musicians, other corporate partners and guests at the ACO’s events.

Has there been a particular ACO event that stands out for you?

A number of years ago we collaborated on a dinner at Richard and Satu’s house where Richard was the one teaching me to cook. He showed me the art of ‘beer can chicken’.

Your schedule is so busy – how do you relax?

Turning my phone off and being able to spend time with my family. Seeing my four children play their weekend sport is one of life’s best pleasures.

What is one of the more unusual requests you have had?

One happy couple asked us to release over 100 butterflies after their wedding ceremony. Fortunately it went off without a hitch and it was a breathtaking moment.

You have recently launched Katering at Home, tell us about it.

We’ve taken the stress out of mid-week cooking by creating Katering-quality meals delivered to your door. With a focus on healthy, ethically-sourced, delicious food for the whole family. We’ll keep the family satisfied and you less stressed!

Mark and Kate White – owners and operators of Katering.

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BoardGuido Belgiorno-Nettis amChairmanLiz LewinDeputyBill BestJohn Borghetti aoJudy CrawfordJohn KenchAnthony LeeMartyn Myer aoJames OstroburskiHeather Ridout aoCarol Schwartz amJulie SteinerJohn TabernerNina WaltonSimon Yeo

Artistic DirectorRichard Tognetti ao

Administrative Staff Executive OfficeRichard EvansManaging Director

Alexandra Cameron-FraserChief Operating Officer

Katie HeneberyExecutive Assistant to Mr Evans and Mr Tognetti ao & HR Officer

Artistic OperationsLuke ShawDirector of Artistic Operations

Anna MelvilleArtistic Administrator

Lisa MullineuxTour Manager

Ross ChapmanTouring & Production Coordinator

Nina KangTravel Coordinator

Bernard RofeLibrarian

Joseph NizetiMultimedia, Music Technology& Artistic Assistant

Education

Caitlin GilmourEmerging Artists and Education Coordinator

FinanceFiona McLeodChief Financial Officer

Yvonne MortonFinancial Accountant & Analyst

Dinuja KalpaniTransaction Accountant

Samathri GamaethigeBusiness Analyst

DevelopmentAnna McPhersonDirector of Corporate Partnerships

Jill ColvinDirector of Philanthropy

Tom TanseyEvents & Special Projects Manager

Penny CooperCorporate Partnerships Manager

Sarah MorrisbyPhilanthropy Manager

Lillian ArmitageCapital Campaign Manager

Yeehwan YeohInvestor Relations Manager

Camille ComtatCorporate Partnerships Executive

Kay-Yin TeohCorporate Partnerships Administrator

MarketingAntonia FarrugiaDirector of Marketing

Caitlin BenetatosCommunications Manager

Rory O’MaleyDigital Marketing Manager

Christie BrewsterLead Creative

Cristina MaldonadoCRM and Marketing Executive

Shane ChoiMarketing Coordinator

Colin TaylorTicketing Sales & Operations Manager

Dean WatsonCustomer Relations & Access Manager

Christina HollandOffice Administrator

Robin HallArchival Administrator

Australian Chamber OrchestraABN 45 001 335 182Australian Chamber OrchestraPty Ltd is a not-for-profit companyregistered in NSW.

In PersonOpera Quays, 2 East Circular Quay,Sydney NSW 2000

By MailPO Box R21, Royal ExchangeNSW 1225 Australia

Telephone(02) 8274 3800Box Office 1800 444 444

[email protected]

Webaco.com.au

Behind the scenes


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1457_WESF - Art Sponsorship Campaign - ACO Collective_Program Ad_160x240mm_V1(WESF1403).indd 1 23/03/18 3:02 PM

ACO Medici Program

Medici PatronThe late Amina Belgiorno-Nettis

Principal Chairs

Richard Tognetti aoArtistic Director & Lead ViolinWendy EdwardsPeter & Ruth McMullinLouise & Martyn Myer aoAndrew & Andrea Roberts

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Principal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter Weiss ao

Maxime BibeauPrincipal Double BassDarin Cooper Foundation

Core Chairs

VIOLIN

Glenn ChristensenTerry Campbell ao & Christine Campbell

Aiko GotoAnthony & Sharon Lee Foundation

Mark IngwersenJulie Steiner & Judyth Sachs

Ilya Isakovich

Liisa PallandiThe Melbourne Medical Syndicate

Maja SavnikAlenka Tindale

Ike SeeDi Jameson

VIOLA

Ripieno ViolaPhilip Bacon am

Nicole DivallIan Lansdown

CELLO

Melissa BarnardDr & Mrs J. Wenderoth

Julian ThompsonThe Grist & Stewart Families

ACO Collective

Pekka KuusistoArtistic Director & Lead ViolinHorsey Jameson Bird

Guest Chairs

Brian NixonPrincipal TimpaniMr Robert Albert ao & Mrs Libby Albert

ACO Life Patrons

IBMMr Robert Albert ao & Mrs Libby AlbertMr Guido Belgiorno-Nettis amMrs Barbara Blackman ao

Mrs Roxane ClaytonMr David Constable amMr Martin Dickson am & Mrs Susie DicksonThe late John Harvey ao

Mrs Alexandra MartinMrs Faye ParkerMr John Taberner & Mr Grant LangMr Peter Weiss ao

ACO Bequest Patrons

The ACO would like to thank the following people who remembered the Orchestra in their wills. 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, Director of Philanthropy, on (02) 8274 3835.

The late Charles Ross AdamsonThe late Kerstin Lillemor AndersenThe late Mrs Sybil BaerThe late Prof. Janet Carr

The late Mrs Moya CraneThe late Colin EnderbyThe late Neil Patrick GilliesThe late John Nigel Holman

The late Dr S W Jeffrey amThe late Pauline Marie JohnstonThe late Mr Geoff Lee am oamThe late Shirley Miller

Acknowledgments48


ACO Continuo Circle

The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Director of Philanthropy, on (02) 8274 3835 for more information. Every gift makes a difference.

Steven BardyRuth BellDavid BeswickDr Catherine Brown-Watt & Mr Derek WattSandra CassellMrs Sandra DentPeter EvansCarol Farlow

Suzanne GleesonLachie HillDavid & Sue HobbsPenelope HughesToni Kilsby & Mark McDonaldMrs Judy LeeJohn MitchellSelwyn M OwenMichael Ryan & Wendy Mead

Ian & Joan ScottCheri StevensonLeslie C. ThiessNgaire TurnerG C & R WeirMargaret & Ron WrightMark YoungAnonymous (17)

ACO Reconciliation Circle

Contributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803

Colin & Debbie Golvan Kerry Landman Peter & Ruth McMullin

Patterson Pearce FoundationSam Ricketson & Rosie Ayton

ACO Excellence Fund Patrons

ACO Excellence Fund Patrons enhance both our artistic vitality and ongoing sustainability. For more information, please call Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

John AdamsThe CainesAnnie Corlett am & Bruce Corlett amRobert & Jennifer GavshonCarole A.P. GraceJennifer Hershon

Rohan HaslamDoug HooleyBruce & Natalie KellettMegan LoweJeannette & Kenchi OhmaeMimi Packer

Prof. Graham & Felicity RigbyKim & Keith SpenceSusan & Yasuo TakaoMike ThompsonDr Jason WenderothAnonymous (3)

ACO Next

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 Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803

MembersClare Ainsworth HerschellAdrian BarrettMarc BudgeJustine ClarkeEste Darin-Cooper & Chris BurgessAmy DenmeadeJenni Deslandes & Hugh MorrowAnthony Frith & Amanda Lucas-FrithShevi de SoysaRebecca Gilsenan & Grant MarjoribanksJames HamiltonRuth KellyEvan Lawson

Aaron Levine & Daniela GavshonRoyston LimGabriel LopataRachael McVeanCarina MartinPat MillerBarry MowszowskiLucy MyerJames OstroburskiNicole Pedler & Henry DurackKristian PithieMichael RadovnikovicJessica ReadRob Clark & Daniel Richardson

Alexandra RidoutEmile & Caroline ShermanTom SmythMichael SouthwellTom StackHelen TelferMax TobinKaren & Peter TompkinsNina Walton & Zeb RicePeter Wilson & James EmmettThomas WrightAnonymous (2)

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ACO Instrument Fund

The ACO’s Instrument Fund offers patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s assets are the 1728/29 Stradivarius violin, the 1714 ‘ex-Isolde Menges’ Joseph Guarnerius filius Andreæ violin and the 1616 ‘ex-Fleming’ Brothers Amati Cello. For more information, please call Yeehwan Yeoh, Investor Relations Manager on 02 8274 3878.

PatronPeter Weiss ao

BoardBill Best (Chairman)Jessica BlockEdward GilmartinJohn Leece amJulie SteinerJohn Taberner

Patrons

VISIONARY $1M+Peter Weiss ao

LEADER $500,000 – $999,999

CONCERTO $200,000 – $499,999The late Amina Belgiorno-NettisNaomi Milgrom ao

OCTET $100,000 – $199,999John Taberner

QUARTET $50,000 – $99,999John Leece am & Anne LeeceAnonymous (1)

SONATA $25,000 – $49,999

ENSEMBLE $10,000 – $24,999Leslie C. ThiessAnonymous (1)

SOLO $5,000 – $9,999

PATRON $500 – $4,999In memory of Lindsay ClelandMerilyn & David HoworthLuana & Kelvin KingJohn Landers & Linda SweenyBronwyn & Andrew LumsdenPeter McGovernJohn & Virginia RichardsonRobyn TamkeAnonymous (2)

InvestorsStephen & Sophie AllenJohn & Deborah BalderstoneGuido & Michelle Belgiorno-NettisBill BestBenjamin BradySam Burshtein & Galina KasekoCarla Zampatti Foundation

Sally CollierMichael Cowen & Sharon NathaniMarco D’OrsognaDr William DowneyGarry & Susan FarrellGammell FamilyAdriana & Robert GardosDaniel & Helen GauchatEdward GilmartinLindy & Danny Gorog Family FoundationTom & Julie GoudkampLaura Hartley & Stuart MoffatPhilip HartogPeter & Helen HearlBrendan HopkinsAngus & Sarah JamesPaul & Felicity JensenMangala SFMedia SuperDaniel & Jacqueline PhillipsRyan Cooper Family FoundationAndrew & Philippa StevensDr Lesley TreleavenThe late Ian Wallace & Kay Freedman

ACO Special Projects

Special Commissions PatronsPeter & Cathy AirdJosephine Kay & Ian BredanMirek GenerowiczAnthony & Conny HarrisRohan HaslamLionel & Judy KingBruce LaneDavid & Sandy LiblingRobert & Nancy PallinTeam SchmoopyRebecca Zoppetti Laubi

International Tour PatronsLinda & Graeme BeveridgeAnthony & Sharon Lee FoundationProfessor Anne Kelso aoBruce & Jenny LaneDelysia LawsonFriends of Jon & Caro StewartMike ThompsonOliver WaltonAnonymous (1)

Jewish Museum Patrons

LEAD PATRON

PATRONSMarc Besen ac & Eva Besen ao

SUPPORTERSThe Ostroburski FamilyJulie Steiner

FRIENDLeo & Mina Fink Fund

Emanuel Synagogue Patrons

CORPORATE PARTNERSAdina Apartment HotelsMeriton Group

LEAD PATRONThe Narev Family

PATRONSDavid Gonski acLeslie & Ginny GreenThe Sherman FoundationJustin Phillips & Louise Thurgood-Phillips

ACO UK Supporters

AMBASSADORSBrendan & Bee HopkinsRupert Thomas & Kate Rittson-Thomas

FRIENDSJohn ColesJohn & Kate CorcoranHugo & Julia HeathDr Caroline LawrensonJohn TabernerPatricia ThomasPaula Bopf & Rob Rankin

SUPPORTERIsla Baring

ACO Academy

LEAD PATRONSLouise & Martyn Myer ao

PATRONSPeter Jopling am qcWalter Barda & Thomas O’Neill

SUPPORTERHilary GoodsonNaomi Migrom aoTom Smyth

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ACO Special Projects

ACO Mountain Producers’ SyndicateThe Australian Chamber Orchestra would like to thank the following people for their generous support of Mountain:

EXECUTIVE PRODUCERMartyn Myer ao

MAJOR PRODUCERSJanet Holmes à Court acWarwick & Ann Johnson

PRODUCERSRichard CaldwellWarren & Linda ColiAnna Dudek & Brad BanducciWendy EdwardsDavid FriedlanderTony & Camilla GillJohn & Lisa KenchCharlie & Olivia Lanchester

Rob & Nancy PallinAndrew & Andrea RobertsPeter & Victoria ShorthouseAlden Toevs & Judi Wolf

SUPPORTERSAndrew AbercrombieJoanna BaevskiAnn Gamble MyerGilbert GeorgeCharles & Cornelia Goode FoundationCharles & Elizabeth GoodyearPhil & Rosie HarknessPeter & Janette KendallSally Lindsay

Andy Myer & Kerry GardnerSid & Fiona MyerAllan Myers acThe Penn FoundationPeppertree FoundationThe Rossi FoundationShaker & DianaMark StanbridgeKim Williams amPeter & Susan Yates

European Tour PatronsPhilippa & John ArmfieldWalter Barda & Thomas O’NeillSteven Bardy & Andrew PattersonChris & Katrina BarterRussell & Yasmin BaskervilleDavid Bohnett & Maria BockmannPaula Bopf & Robert RankinPaul BorrudCraig & Nerida CaesarTerry Campbell ao & Christine CampbellMichael & Helen CarapietStephen & Jenny CharlesAndrew Clouston & Jim McGownJohn ColesRobin Crawford am & Judy CrawfordGraham & Treffina DowlandDr William F DowneyVanessa Duscio & Richard EvansTerry & Lynn FernFitzgerald FoundationDaniel & Helen GauchatRobert & Jennifer GavshonNick & Kay GiorgettaColin Golvan qc & Debbie GolvanJohn Grill ao & Rosie Williams

Tony & Michelle GristEddie & Chi GuillemetteLiz HarbisonPaul & April HickmanCatherine Holmes à Court-MatherSimon & Katrina Holmes à Court Family TrustJay & Linda HughesDi JamesonAndrew & Lucie JohnsonSimon JohnsonSteve & Sarah JohnstonRussell & Cathy KaneJohn & Lisa KenchWayne KratzmannDr Caroline LawrensonJohn Leece am & Anne LeeceDavid & Sandy LiblingPatrick Loftus-Hills & Konnin TamDr Wai Choong Lye & Daniel LyeChristopher D. Martin & Clarinda Tjia-DharmadiJanet Matton & Robin RoweJulianne MaxwellNicholas McDonald & Jonnie Kennedy

Andrew & Cate McKenziePeter & Ruth McMullinJim & Averill MintoRany & Colin MoranUsmanto Njo & Monica Rufina TjandraputraDr Eileen OngJames OstroburskiSusan PhillipsSimon Pinniger & Carolyne RoehmAndrew & Andrea RobertsThe Ryan Cooper Family FoundationCarol Schwartz am & Alan Schwartz amRosy Seaton & Seumas DawesJennifer Senior & Jenny McGeePeter & Victoria ShorthouseHilary StackJon & Caro StewartJohn TabernerJamie & Grace ThomasAlenka TindaleDr Lesley TreleavenBeverley Trivett & Stephen HartPhillip Widjaja & Patricia KaunangSimon & Jenny Yeo

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ACO National Education Program

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 [email protected]. Program names as at 6 June 2018

Education PatronsMarc Besen ac & Eva Besen aoJanet Holmes à Court ac

Emerging Artists & Education Patrons $10,000 +Australian Communities Foundation – Ballandry FundMr Robert Albert ao & Mrs Libby AlbertGeoff AlderKaren Allen & Dr Rich Allen Allens – In memory of Ian WallaceSteven Bardy & Andrew PattersonDr Catherine Brown Watt psm & Mr Derek WattRod Cameron & Margaret GibbsStephen & Jenny CharlesJane & Andrew CliffordIn memory of Wilma CollieRyan Cooper Family FoundationIrina Kuzminsky & Mark DelaneyEureka Benevolent FoundationTerry & Lynn FernMr & Mrs Bruce FinkDr Ian Frazer ac & Mrs Caroline FrazerDaniel & Helen GauchatJohn Grill ao & Rosie WilliamsAngus & Kimberley HoldenCatherine Holmes à Court-MatherBelinda Hutchinson am & Roger Massy-GreeneGB & MK IlettJohn & Lisa KenchMiss Nancy KimptonAnthony & Sharon Lee FoundationLiz & Walter LewinAndrew LowAnthony & Suzanne Maple-BrownJim & Averill MintoServcorpLouise & Martyn Myer FoundationJennie & Ivor OrchardJames Ostroburski & Leo OstroburskiThe Bruce & Joy Reid TrustThe Barbara Robinson FamilyMargie Seale & David HardyRosy Seaton & Seumas DawesTony Shepherd aoAnthony StrachanLeslie C. ThiessAlden Toevs & Judi WolfShemara WikramanayakeCameron Williams

Libby & Nick WrightE XipellPeter Young AM & Susan YoungAnonymous (3)

Direttore $5,000 – $9,999Jennifer Aaron Walter Barda & Thomas O’NeillThe Belalberi FoundationCarmelo & Anne BontempoHelen BreekveldtVeronika & Joseph ButtaRowena Danziger am & Ken Coles amSuellen EnestromPaul & Roslyn EspieBridget Faye amVivienne FriedLiz HarbisonAnnie HawkerJohn Griffiths & Beth JacksonI KallinikosThe Key FoundationKerry LandmanLorraine LoganDanita Lowes & David FileMacquarie Group FoundationThe Alexandra & Lloyd Martin Family FoundationRany MoranBeau Neilson & Jeffrey SimpsonParis Neilson & Todd BuncombeLibby & Peter PlaskittJohn RickardGreg Shalit & Miriam FaineVictoria & Peter ShorthouseJ SkinnerSky News AustraliaPetrina SlaytorJeanne-Claude StrongTamas & Joanna SzaboVanessa TayAlenka TindaleSimon & Amanda WhistonWoods5 FoundationAnonymous (3)

Maestro $2,500 – $4,999Annette AdairRae & David AllenStephen & Sophie AllenWill & Dorothy Bailey Charitable GiftLyn Baker & John BevanThe Beeren Foundation

Neil & Jane BurleyCaroline & Robert ClementeLaurie & Julie Ann CoxCarol & Andrew CrawfordAnne & Tom DowlingAngelos & Rebecca FrangopoulosIn memory of Rosario Razon GarciaCass GeorgeWarren GreenNereda Hanlon & Michael Hanlon amPeter & Helen HearlRuth Hoffman & Peter HalsteadWarwick & Ann JohnsonPeter & Ruth McMullinRoslyn MorganJane MorleyJenny NicolDavid Paradice & Claire PfisterSandra & Michael Paul EndowmentProf David Penington acPatricia H Reld Endowment Pty LtdKenneth Reed amRuth & Ralph RenardMrs Tiffany RensenFe & Don RossD N SandersCarol Schwartz am & Alan Schwartz amKathy & Greg ShandMaria SolaEzekiel Solomon amJosephine StruttSusan ThacoreRalph Ward-Ambler am & Barbara Ward-AmblerDon & Mary Ann YeatsWilliam & Anne YuilleAnonymous (4)

Virtuoso $1,000 – $2,499Barbara AllanJane AllenLillian & Peter ArmitageIn memory of Anne & Mac Blight David Blight & Lisa MaeorgLyn Baker & John BevanAdrienne BasserDoug & Alison BattersbyRobin BeechBerg Family FoundationGraeme & Linda BeveridgeLeigh BirtlesJessica Block

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Virtuoso $1,000 – $2,499 (Continued)In memory of Peter BorosBrian BothwellVicki BrookeDiana BrookesStuart BrownSally BuféGerard Byrne & Donna O’SullivanIan & Brenda CampbellRay Carless & Jill KeyteAlex & Elizabeth ChernovAnn Cebon-GlassJulia Champtaloup & Andrew RotheryKaye ClearyDr Peter CliftonJohn & Chris CollingwoodAngela & John ComptonLeith & Darrel ConybeareR & J CorneyAnne CraigCruickshank Family TrustIan Davis & Sandrine BarouhMichael & Wendy DavisMartin DolanIn memory of Ray DowdellDr William F DowneyPamela DuncanEmeritus Professor Dexter DunphyCarmel DwyerKaren EnthovenPeter EvansJulie EwingtonPatrick FairPenelope & Susan FieldElizabeth FinneganJean Finnegan & Peter KerrDon & Marie ForrestJohn FraserChris & Tony FroggattAnne & Justin GardenerKay GiorgettaBrian GoddardJack Goodman & Lisa McIntyreIan & Ruth GoughMelissa & Jonathon GreenGrussgott TrustIn memory of Jose GutierrezLyndsey HawkinsKingsley HerbertLachie HillVanessa & Christian HolleChristopher HolmesDoug HooleyMichael Horsburgh am & Beverley HorsburghPenelope HughesProfessor Emeritus Andrea Hull aoStephanie & Mike HutchinsonOwen JamesAnthony Jones & Julian LigaBrian JonesBronwen L JonesMrs Angela Karpin

Michael KohnAirdrie LloydGabriel LopataProf Roy & Dr Kimberley MacLeodGarth Mansfield oam & Margaret Mansfield oamMr Greg & Mrs Jan MarshJanet Matton & Robin RoweKevin & Deidre McCannHelen & Phil MeddingsJim MiddletonPeter & Felicia MitchellBaillieu & Sarah MyerDr G NelsonNola NettheimJenny NicholPaul O’DonnellFran OstroburskiChris OxleyLeslie ParsonageRosie PilatDr S M Richards am & Mrs M R RichardsEm Prof A W Roberts amMark & Anne RobertsonJ SandersonIn Memory of H. St. P. ScarlettJennifer Senior & Jenny McGeeMorna Seres & Ian HillDiana Snape & Brian Snape amDr Peter & Mrs Diana Southwell-KeelyKeith SpenceCisca SpencerDr Charles Su & Dr Emily LoThe Hon James Spigelman ac qc & Mrs Alice SpigelmanDavid & Judy TaylorJane Tham & Philip MaxwellDr Jenepher ThomasRob & Kyrenia ThomasAnne TonkinNgaire TurnerKay VernonJason WenderothHarley Wright & Alida StanleyPeter Yates am & Susan YatesRebecca Zoppetti LaubiAnonymous (21)

Concertino $500 – $999Mr & Mrs H T ApsimonJuliet AshworthElsa Atkin amRita AvdievPhilomena BillingtonChristine BarkerHelen BarnesIn memory of Hatto BeckMrs Kathrine BeckerRuth BellElizabeth BoltonLynne & Max BoothCarol BowerDenise BraggettHenry & Jenny BurgerMrs Pat Burke

Josphine CaiHelen CarrigConnie ChairdPierre & Nada ChamiAngela & Fred ChaneyColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversCaptain David ClarkeRichard Cobden scDr Jane CookSam Crawford ArchitectsDonald Crombie amJohn CurottaMarie DalzielAmanda DavidsonMari DavisRosemary DeanKath & Geoff DonohueJennifer DouglasIn Memory of Raymond DudleyAgnes FanSusan FreemanLouisa GeddesM GenerowiczPaul Gibson & Gabrielle CurtinDon & Mary GlueSharon GoldieColin Golvan qc & Debbie GolvanMrs Megan GracePaul Greenfield & Kerin BrownAnnette GrossKevin Gummer & Paul CumminsRita GuptaHamiltons Commercial InteriorsLesley HarlandPaul & Gail HarrisSue HarveyGaye HeadlamHenfrey FamilyDr Penny Herbert in memory of Dunstan HerbertDr Marian HillCharissa HoSue & David HobbsGeoff HogbinPeter & Edwina HolbeachRichard HunsteadGeoff & Denise IllingCaroline JonesPhillip JonesIrene Kearsey & Michael RidleyBruce & Natalie KellettMegan LoweDiana LungrenJoan LyonsDr & Mrs Donald MaxwellHE & RJ McGlashanJ A McKernanClaire MiddletonAndrew NaylorG & A NelsonNevarc Inc.Robyn NicolRobin Offler

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ACO Committees

Sydney Development Committee

Heather Ridout ao (Chair)Chair Australian Super

Guido Belgiorno-Nettis amChairman ACO

Gauri BhalaCEO Curious Collective

John Kench

Jason LiChairman Vantage Group Asia

Jennie Orchard

Peter ShorthouseSenior Partner Crestone Wealth Management

Mark StanbridgePartner Ashurst

Alden ToevsGroup Chief Risk Officer CBA

Nina Walton

Melbourne Development Committee

Colin Golvan qc

Peter McMullinChairman McMullin Group

Martyn Myer aoChairman, Cogslate Ltd President, The Myer Foundation

James OstroburskiCEO Kooyong Group

Rachel PeckPrincipal peckvonhartel architects

Susan Thacore

Peter Yates amDeputy ChairmanMyer Family Investments Ltd &Director, AIA Ltd

Disability Advisory Committee

Morwenna CollettDirector Major Performing Arts ProjectsAustralia Council for the Arts

Alexandra Cameron-FraserChief Operating Officer, ACO

Dean WatsonCustomer Relations & AccessManager, ACO

Event Committees

SydneyJudy Crawford (Chair)Lillian ArmitageDeeta ColvinLucinda CowdroyFay GeddesJulie GoudkampLisa Kench

Liz LewinJulianne MaxwellRany MoranFiona PlayfairMax SteadLynne TestoniSusan Wynne

BrisbanePhilip BaconKay BryanAndrew CloustonDr Ian Frazer acMrs Caroline FrazerCass George

Di Jameson Wayne KratzmannShay O’Hara-SmithMarie-Louise TheileBeverley TrivettHamilton Wilson

ACO National Education Program Concertino $500 – $999 (Continued)

Sue PackerEffie & Savvas PapadopoulosIan PenbossHelen PerlenKevin PhillipsDenis & Erika PidcockBeverly & Ian PryerJennifer RankinJedd RashbrookeMichael ReadJoanna Renkin & Geoffrey HansenAlexandra RidoutJennifer RoyleIrene Ryan & Dean Letcher qcTrish Ryan & Richard Ryan aoScott SaundersGarry Scarf & Morgie Blaxill

Marysia SeganDavid & Daniela ShannonAgnes SinclairAnn & Quinn SloanKen SmithBrian StagollPatricia StebbensRoss Steele amCheri StevensonNigel StokeDouglas Sturkey cvo amIn memory of Dr Aubrey SweetDr Niv & Mrs Joanne TadmoreGabrielle TaggTWF See & Lee Chartered Accountants

Visionads Pty LtdJoy WearneGC & R WeirWestpac GroupHarley & Penelope WhitcombeKathy WhiteJames WilliamsonSally WillisJanie WitteyLee WrightDr Mark & Mrs Anna YatesGina YazbekJoyce YongLiLing ZhengAnonymous (25)

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Chairman’s Council

The 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.

Mr Guido Belgiorno-Nettis amChairman, ACO

Mr Matthew AllchurchPartner, Johnson Winter & Slattery

Mr Philip Bacon amDirector, Philip Bacon Galleries

Mr David Baffsky ao

Mr Marc Besen ac & Mrs Eva Besen ao

Mr John Borghetti aoChief Executive Officer, Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar

Mr Michael & Mrs Helen Carapiet

Mr John CasellaManaging Director, Casella Family Brands (Peter Lehmann Wines)

Mr Michael Chaney aoChairman, Wesfarmers

Mr Matt ComynChief Executive OfficerCommonwealth Bank

Mr Robin Crawford am & Mrs Judy Crawford

Rowena Danziger am & Kenneth G. Coles am

Mr Doug & Mrs Robin Elix

Mr Bruce FinkExecutive Chairman Executive Channel Holdings

Mr Angelos FrangopoulosChief Executive Officer Australian News Channel

Ms Ann Gamble Myer

Mr Daniel GauchatPrincipal, The Adelante Group

Mr Robert Gavshon & Mr Mark RohaldQuartet Ventures

Mr James GibsonChief Executive Officer Australia & New ZealandBNP Paribas

Mr John Grill ao & Ms Rosie Williams

Mrs Janet Holmes à Court ac

Mr Simon & Mrs Katrina Holmes à CourtObservant

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom ao

Ms Jan MinchinDirector, Tolarno Galleries

Mr Jim & Mrs Averill Minto

Mr Alf Moufarrige aoChief Executive Officer, Servcorp

Mr John P MullenChairman, Telstra

Mr Martyn Myer ao

Ms Gretel Packer

Mr Robert Peck am & Ms Yvonne von Hartel ampeckvonhartel architects

Mrs Carol Schwartz am

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyChief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd ao

Mr Peter ShorthouseSenior Partner Crestone Wealth Management

Mr Noriyuki (Robert) TsubonumaManaging Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa Wallace & Mr Alan Liddle

Mr Rob & Mrs Jane Woods

Mr Peter Yates amDeputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young

ACO Government Partners

We thank our Government Partners for their generous support

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

The ACO is supported by the NSW Governmentthrough Create NSW.

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Holmes à Court Family FoundationThe Ross Trust

Janet Holmes à Court AC

Marc Besen AC & Eva Besen AO

We thank our Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

NATIONAL EDUCATION PARTNERS

NATIONAL TOUR PARTNERS

ACO Partners56


OSBORNE TOGNETTI VALVE IN RECITAL

“Osborne unleashed a spectacular performance...packed with wit, fireworks and dazzling pianism.” – THE HERALD

World-renowned pianist Steven Osborne joins Richard Tognetti and Principal Cello Timo-Veikko Valve for an intimate homage to Dvorák and Brahms.

BRAHMS Piano Trio No.1 in B major DVOR� ÁK Piano Trio No.4 in E minor ‘Dumky’

25–29 JULYPerth, Melbourne, Brisbane

Tickets from $54*

PRINCIPAL PARTNERGOVERNMENT PARTNERSBOOKINGS


T A K I N G O F F

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P R I N C I PA L PA R T N E R O F 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

steven isserlis plays shostakovich · to shostakovich’s piano concerto no.1, the rhythms are...

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