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Paganini/ TognettiNATIONAL CONCERT SEASON 2014

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With a blend of fine art, live music and stunning views, this weekend-long festival in the Yarra Valley, only an hour from Melbourne, features intimate concerts led by Richard Tognetti.

Limited to 200 guests, the Festival experience includes a masterclass, guided tours of the museum and music from the ACO that has been especially curated to complement the museum’s exquisite exhibitions: Ian Fairweather: “The Drunken Buddha”, Tony Tuckson: “Paintings & Drawings” and Gosia Wlodarczak’s “Found in Translation”.

Saturday 7 March 201512:30pm – music by Vivaldi and Sculthorpe6:00pm – music by Bach, Debussy, Franck, Saint-Saëns and Mustonen Sunday 8 March 201511:00am – masterclass2:30pm – music by Mozart, Tchaikovsky, Barber and Denisov

ACCOMMODATIONThe ACO’s Principal Partner Virgin Australia has put together attractive holiday packages to the Yarra Valley, including TarraWarra tickets. See aco.com.au/virgin for package details.

Festival tickets selling fast. See aco.com.au/tarrawarra2015 for details and bookings.

7 – 8 March 2015

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Pictured: ACO Gala Dinner Fundraiser, Out of Africa

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PREMIUM PACKAGE $150 (Gold Reserve seating + post-concert refreshments with the ACO musicians)

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JS BACH Concerto for Two Violins in D minor, BWV 1043

HAYDN (arr. Rofe) Symphony No. 83 in G minor, ‘La Poule’

BEETHOVEN (arr. Tognetti) Violin Sonata No. 9 in A major, Op.47, ‘Kreutzer’: Finale

7pm Tuesday 24 February 2015 Melbourne Synagogue Corner Arnold Street and Toorak Road, South Yarra

LEAD PATRON PATRONS

Marc Besen AO and Eva Besen AO Leo and Mina Fink Fund Drs Victor and Karen Wayne

AUSTRALIAN CHAMBER ORCHESTRA 1

PAGANINI / TOGNETTIRICHARD TOGNETTI Artistic Director & Lead ViolinSATU VÄNSKÄ ViolinCHRISTOPHER MOORE Viola

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

KILAR Orawa

JS BACH Preludio from Partita No.3 in E major, (arr. Tognetti) BWV1006

PAGANINI Caprice No.5 in A minor (arr. Tognetti)

PENDERECKI String Quartet No.1 (excerpts)

HINDEMITH Trauermusik

TOGNETTI Deviance (on Paganini’s Caprice No.24)

INTERVAL

SCHUBERT Quartettsatz in C minor, D.703

TOGNETTI Caprice on Caprices (DEVA)

PAGANINI La Campanella (arr. Kreisler/Walker)

BEETHOVEN Finale from Violin Sonata No.9 in A major, (arr. Tognetti) Op.47 ‘Kreutzer’

EncoreMOZART Hell’s Vengeance Boils in My Heart (arr. Tognetti) from The Magic Flute, K.620

MELBOURNE Recital Centre Wed 10 Dec 8pm Pre-concert talk by John Weretka

Approximate durations (minutes): 8 – 4 – 3 – 7 – 9 – 10 – INTERVAL – 9 – 9 – 6 – 9 – 4 The concert will last approximately one hour and forty-five minutes, including a 20-minute interval.

2 AUSTRALIAN CHAMBER ORCHESTRA

All works on this program create a sense of moving forward – a perpetuum mobile – excluding the reverie and repose of Hindemith’s viola lament.

Concluding with Beethoven’s crazed tarantella-like Finale (justified in this context as it was written separately from the rest of the sonata from which it comes); the Bach Preludio and Paganini’s Caprice No.5 are in a big hurry to get somewhere. Similarly Kilar’s Orawa and Schubert’s impetuous standalone movement are in no mood for composure. And as for that screaming Queen, she wants a man dead and quick smart about it, or all hell will break loose.

And all for what purpose? In order to Bewhape! This archaic word means: To bewilder; amaze; confuse; and utterly confound.

Merry Xmas!

Bewitched, bothered and bewildered

RICHARD TOGNETTIArtistic Director Australian Chamber Orchestra

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Wojciech KILARBorn Lwów, now L’viv, Ukraine, 1932 Died Katowice, Poland, 2013

Along with Penderecki and Górecki, Kilar was a leader of the Polish avant-garde in the early 1960s. Like Górecki, he went on to explore a more tonally oriented, minimalistic sound world in his works of the 1970s and 1980s. He is best remembered as a creator of haunting film scores, including those for Francis Ford Coppola’s Bram Stoker’s Dracula (1992) and Jane Campion’s The Portrait of a Lady (1996). For Roman Polanski, he wrote scores for Death and the Maiden (1994), The Ninth Gate (1999) and The Pianist (2002).

KILAROrawa(Composed 1986)

Most of Poland, from the Baltic Sea in the north to the Carpathian mountains in the south, is a flat plain. To the east and west, it has no natural boundaries, a tragic quirk of geography that has, over a millennium, made it a perennial play-thing for German and Russian invaders. No wonder then that many Poles have a deep identification with their country’s only natural stronghold in the mountainous south. Even during periods of occupation, some of the most vibrant and individual elements of Polish culture survived there in relative isolation. Historically, the mountains were a home for bandits, whose daring raids made them anti-establishment heroes, in much the same way as bushrangers became in Australia. During the Second World War, the Tatra mountains – the highest of the Carpathian ranges – were a refuge for Polish resistance fighters, and the forests of the Orava-Podhale region, near the southern border, were full of partisans engaged in a bitter guerrilla war with the Nazis.

Musically, the Tatra’s mountain culture is uniquely associated with the region’s traditional Goral highlander folk fiddlers. One of the most notable was Bartus Obrochta, a native of Podhale. As a very old man in the 1920s, his performances of folk songs and dances inspired the Polish composer Karol Szymanowski. After the Second World War, several leading Goral musicians resettled in the USA and formed bands there.

Kilar’s Orawa celebrates this Polish folk legacy. The work was first performed in Zakopane on 10 March 1986, by the Polish Chamber Orchestra (Sinfonia Varsovia), directed by Wojciech Michniewski. Kilar uses repetitive, minimalist techniques to frame traditional folk-derived elements, turning his classically-trained professional orchestra – if only for a moment – into an amplified band of 15 highland fiddlers. Genuine folk bands are traditionally formed of just three players, and Kilar pays his respects to this practice by opening his piece with just a trio of fiddles.


BACH (arr. Tognetti)Preludio from Partita No.3 in E major, BWV1006(Composed c.1720; reconfigured ever since…)

Richard Tognetti, violin

Johann Sebastian Bach was an avid recycler of his own music. There is barely a single movement anywhere among his orchestral concertos, for instance, that he did not repackage at least twice, often several times more. In the process of re-arrangement, he typically made quite radical changes to the original instrumentation. And, as is also the case with this piece, whole movements could even migrate between genres.

Bach’s earliest known manuscript copy of this piece dates from around 1720, when he included it as the Preludio to the Partita No.3 for solo violin, BWV1006. There the violin, playing totally alone, makes do quite satisfactorily without any sort of orchestral or keyboard support, harmonisation, or accompaniment. Bach, who himself played and taught the violin, may well have intended it first as a piece that his students could practise and play in solitude, rather than in front of an audience. And, realising that it was too good to waste on violin pupils alone, he later also arranged it for solo lute.

Ultimately, however, there must have been something inherent in the piece that was too extroverted and brilliant for Bach to resist lso offering it to a larger audience. This he did first in the late 1720s, when he further adapted the solo lute version to be played instead on a keyboard, scoring it for pipe organ and then adding an orchestral backing for strings, oboes, trumpets and timpani. In this form it appeared as a Sinfonia in two church cantatas, the first (BWV120a) composed for a wedding in Leipzig in the late 1720s, and the second (BWV29) composed for the celebrations of the election of a new Leipzig Town Council in 1731.

Bach, then, was hardly likely to turn in his grave when, in the 19th-century, Schumann, or in the 20th-century Fritz Kreisler, added a piano accompaniment to the original violin solo. Nor when Saint-Saëns and Rachmaninov reconceived it as a flashy encore for their solo piano recitals. Still as ripe for rearrangement as ever, welcome the Preludio in this new cover version by Richard and the ACO.

Johann Sebastian BACHBorn Eisenach, Germany, 1685 Died Leipzig, Germany, 1750

Compare this with Bach’s greatest hit, the organ Toccata and Fugue in D minor, BWV565. To millions worldwide, its gothic grandeur remains synonymous with Bach, vampires and the organ. Yet we can’t, with any certainty, trace it back to Bach’s pen. In the absence of a manuscript by Bach himself, the earliest copy is in the handwriting of a pupil of one of his pupils. It was not published or played again until 80 years after Bach’s death. But Felix Mendelssohn, who reintroduced it to the public in the 1830s, rightly judged that it was the one work by Bach that would appeal to the musically educated and uneducated alike. Yet if it really is Bach’s (and academics debate the issue), it must be very early, dating from his early 20s at latest. Moreover, in 1981 Bach expert Peter Williams advanced the very real possibility that this veritable musical behemoth was — like this Preludio — in fact originally a much more intimate work for unaccompanied violin!


Nicolò PAGANINIBorn Genoa, Italy, 1782 Died Nice, France, 1840

An Italian virtuoso on the violin and guitar, Paganini won worldwide acclaim and legendary status during an extensive European tour he undertook from 1828 to 1830. Hailed for his violin wizardry, in Britain alone his concerts netted him an amazing £22,000. In Vienna, in March 1828, his playing of an adagio so astonished poor doomed Schubert that he exclaimed: ‘I’ve heard an angel sing!’ In Warsaw, the young Chopin described Paganini simply as ‘perfect’. As a showman, Paganini helped establish the modern cult to the star entertainer. Musically, his major legacies to posterity are his set of 24 caprices for solo violin, begun in his early twenties, and 5 violin concertos.

The 1743 Guarneri del Gesù violin which is played by Richard Tognetti tonight is believed once to have belonged to Paganini.

PAGANINI (arr. Tognetti)Caprice No.5 in A minor(Composed c.1805)

Richard Tognetti and Satu Vänskä, violins

Paganini wasn’t always a legendary figure. Early in his career, before his magical fiddling was universally acknowledged, he was simply an ultra-talented ragazzo on the make. His trademark trick, from early on, was venturing far further than was always comfortable (or welcome) into his instrument’s squeaky upper register. Leading the opera orchestra at Lucca between 1805 and 1809, our young musical pit-pony notably failed to impress the local princess, Elisa Bonaparte, younger sister of Napoleon. She never stayed to the end of Paganini’s performances because, as he himself admitted, ‘the flageolet tones of my violin were too much for her nerves’.

‘La Madame’ was no more popular with Lucca’s locals than her brother. But musicians in those days had to eat where they could, and Paganini did ultimately capture Elisa’s grudging interest. While attempting to woo one of her female courtiers, he stripped the two middle strings off his violin, and, pretending the bottom G string was a beau, and the top E string a belle, he performed an extended love duet. By the end, the princess herself was so charmed into ‘amiable condescension that she wondered, if I could manage so much on two strings, what could I do with one?’

It was to this challenge that Paganini traced his other trademark party-trick of playing whole pieces on a single string. According to some reports, this astonishing Fifth Caprice was one of the pieces he could play on G string alone!

Satu Vänskä plays the original extant violin part. The other violin part, played by Richard Tognetti, is a carefully worked out counterpoint to that original part. The Orchestra plays a funky folk accompaniment.


Krzysztof PENDERECKIBorn Debica, Poland, 1933

Penderecki was only six when the Nazi occupation of his home town began. His family was evicted from their apartment, and they in turn were given a house that had belonged to one of the many local Jewish families, almost all of whom were either murdered on the spot or sent to Auschwitz. In 1967 he would go on to compose his own memorial to the victims of Auschwitz, an oratorio setting of the Latin Dies Irae. Several of his other major works of the 1960s also became memorials to the Holocaust as well as Communist and Allied atrocities, most notably his scarifying Threnody for the Victims of Hisoshima (1964) scored for 52 solo strings. Penderecki’s grandmother was Armenian, and he is currently completing a new work to commemorate the centenary of the Armenian genocide of 1915.

Sonorism down under…

By the mid—1960s, Penderecki’s sonorism was exercising a strong influence on Australian composer Peter Sculthorpe (1929—2014). His orchestral scores Sun Music I (1965) and Sun Music IV (1967) and his String Quartet No.7 (1966) draw on a similar palette of percussive sounds and extended techniques.

PENDERECKIString Quartet No.1 (excerpts)(Composed 1960)

Penderecki’s First String Quartet (1960) was premiered in Cincinnati, USA, in 1962 by the LaSalle Quartet. Along with his string orchestra work Threnody for the Victims of Hiroshima (1964), it helped establish his international reputation as a leader of the Polish avant-garde. At home and abroad, it also served as an exemplar of the new Polish compositional movement known as ‘sonorism’. Sonorism sought to upset the traditional hegemony of melody and harmony by placing greater emphasis instead on sound quality (timbre), movement (tempo), texture, volume (dynamics), and modes of attack (articulation). Other notable ‘sonorists’, apart from Penderecki, were Wojciech Kilar (an example of whose later post-sonorist work we have just heard), Tadeusz Baird, and Bogusław Schaeffer.

In this Quartet, Penderecki directs his four instrumentalists to overlook much of their classical training as string players, and draw from an alternative palette of percussive sounds and other unusual effects. They play not only with the hair of the bow, but also the wood; they pluck and hit the strings as often as bowing them, and use a variety of uncommon vibratos and tremolos. The piece is timed not in traditional crotchet beats, but counted in beats of one second each. Officially, each opening of the score (two pages) lasts exactly one minute (the extract above shows the start of minute two), and there are six openings (totalling six minutes). But, in performance, Penderecki generously concedes that some deviation from the tyranny of the second hand is allowable, provided it remains ‘within the limits of 0.8 second to 1.4 seconds’!

‘The Penderecki opens in salvoes of col legno clicking and clattering, spattering and ricocheting across the spectrum. It’s a compact essay in shock staccato which finds a meditative yet equivocal peace at the close.’ – Rob Barnett (www.musicweb-international.com)


Paul HINDEMITHBorn Hanau, Germany, 1895 Died Frankfurt, Germany, 1963

As a viola player, Hindemith gave the first performance of William Walton’s Viola Concerto in London in 1929. International interest in his own compositions became intense after the controversial premiere of his Mathis der Maler symphony in Berlin in 1934. In faraway Brisbane, the Courier-Mail reported the ensuing embroglio under the headline ‘NAZI BLUNDERS IN MUSIC’:

‘Dr Furtwängler, the eminent conductor, whose resignation from the conductorship of the Philharmonic Orchestra and State Opera caused a sensation in the musical world, unforgivably offended the Nazis by conducting the first performance of Hindemith’s Mathis the Painter. This caused a violent conflict behind the scenes, when Dr Furtwängler spiritedly defended Hindemith’s artistry.’

HINDEMITHTrauermusik I. Langsam (Lento) – II. Ruhig bewegt (Poco mosso) – III. Lebhaft (Vivo) – IV. Choral (Sehr langsam, Largo)(Composed and premiered 1936)

Christopher Moore, viola

The troubled premiere of the Mathis der Maler symphony barely behind him, some incautious comments Hindemith made on a visit to Switzerland in summer 1934 resulted in a ban on all broadcasts of his music in Germany pending an investigation. Wilhelm Fürtwangler’s public attempts to help only made matters worse, and by December 1935 Hindemith had to travel to Amsterdam to give the first performance of his new concerto for viola and small orchestra. Entitled Der Schwanendreher (The Swan Roaster) and based on old German folksongs, Hindemith reasonably hoped that the favourable reception of his concerto might reflect well enough on Germany to restore his reputation at home.

Having meanwhile sworn a routine oath to the regime in Berlin, Hindemith went next to London expecting to play the concerto again in a concert and live broadcast from Queen’s Hall, with the BBC Symphony under Adrian Boult, on 22 January 1936. However, around midnight two days before, Britain’s royal physicians gently nudged the dying George V into the hereafter, and the next morning the kingdom awoke to news of the sovereign’s passing and went into mourning. The public concert and the unsuitably merry concerto were cancelled, though, with a broadcast slot still to be filled, the BBC booked the performers into a studio. As Hindemith explained in a letter to his publisher Willi Strecker:

You will have heard that the Swan couldn’t be roasted again because of a dead king. But they still insisted that I should play something…and since after hours of looking no suitable substitute had suggested itself, we decided I should compose a Trauermusik myself…I was shut in an office, some copyists were stoked up, and from 11 until 5 o’clock I did some fairly hefty mourning. It turned out as a nice piece, still with hints of Mathis and The Swan Roaster, and a Bach chorale at the end (Before thy awful throne I stand…so apt for a deceased king), which, as I only realised afterward, every English school child already knows…We had a good rehearsal and in the evening the orchestra played with great devotion and feeling. It was very moving. And Boult – always so terribly English – was almost beside himself with gratitude…


The piece is in four linked sections. The first piece closely resembles the central Entombment movement of the Mathis symphony; the brief second and faster third develop a single folk-like theme in gently rocking rhythm leading seamlessly into the statement of the Bach chorale tune (sung in Germany to the funeral hymn Vor deinen Thron tret ich hiermit and in England to ‘All people that on earth do dwell’). Each of its four phrases are given out by the strings in dense harmonies, separated by the soloist’s rhapsodic commentary.

Hindemith naturally hoped this gesture of German solidarity with Britain might impress the regime at home, as he wrote to Willy Strecker: ‘After all, it’s not every day the BBC asks a foreigner to compose a piece on the death of its king and broadcasts it on all channels.’ In Berlin there was indeed a slight thaw, and in June, Hindemith even accepted a commission from the Luftwaffe, before the ban descended again finally. For the next ten years, barely a note of his music was heard again in Germany.

TOGNETTIDeviance (on Paganini’s Caprice No.24)Richard Tognetti, violin

Over 20 years ago now, in 1992, Richard first turned the ACO’s attention to his reworking of Paganini’s Caprice No.24, in a techno-metal-chamber-orchestra treatment he called Deviance.

As first published in 1818, Paganini’s original Caprice No.24 was to be played by just one violinist, without any support band. And it consisted simply of that theme – the bit that no-one could possibly forget; and 11 variations – most of which most people do seem to forget most of the time. Richard further confounded expectations with a good deal of reordering, cutting and pasting. The Orchestra has a novel role using various post-modern effects. It is also interesting to note that Richard’s violin, the magnificent 1743 Guarneri del Gesù, is thought to have been played by Paganini!

‘It was divine, a diabolic enthusiasm…the people have all gone crazy’; ‘His playing is truly inconceivable’; ‘technical wizardry’: so read three fairly typical contemporary accounts of the great violin virtuoso, Nicolò Paganini, in action. No wonder, then, that even during his life he was considered not merely to be a cult figure but an occult figure as well. How, it was asked, could any mortal play the violin with such god-like assurance unless he — like the legendary Faust — had sold his soul to the Devil? And, if this were the case, his performances might be not merely shocking to hear, on account of their difficulty, but dangerous as well. Witnessing such virtuosity was like risking damnation!


SCHUBERTQuartettsatz in C minor, D.703(Composed 1820)

This single movement was to have been the first movement of a projected four-movement string quartet that Schubert began to compose in December 1820 and never completed. The first 41 bars of an Andante second movement also survive, a fragment described by musicologist Alfred Einstein (Albert’s brother) as ‘indescribably rich and tragic’ and ‘a major misfortune for our musical heritage that it never finished’. Even the complete first movement was probably not performed in public during Schubert’s lifetime, though it may have been rehearsed in private with Schubert, as usual, playing viola. The manuscript lay unplayed and overlooked for half a century, eventually coming into the possession of Johannes Brahms, who arranged for it to be published in 1870, even correcting the proofs himself.

Marked Allegro assai, it is a moody piece, with its sudden changes from tragic to lyric moments, and again to fierce outbursts of temper. A turbulent passage of scrubbing semiquavers serves as a swelling introduction. The main theme that follows is restless, chromatic, and full of circling melodic figures that seem to avoid easy resolution. The ensuing major-key theme is contrastingly lyrical, in its context almost song-like. The whole first part of the movement (including the introduction) is then repeated. The central development section concentrates first on a discussion of the main theme. Schubert then perversely presents the reprise of the themes in reverse. First there is a literal reprise of the lyrical major-key melody (the last time it is heard). After that comes the reprise of the main theme, and a return to the turbulent introductory music to close.

‘His character was a mixture of tenderness and coarseness, sensuality and candour, sociability and melancholy.’ – Johann Mayrhofer (1787–1836) on his flatmate Schubert

Unfinished business…

Schubert left a number of other unfinished scores, the Unfinished Symphony and the C major Piano Sonata being the most notable. Like these, and despite its incompleteness, this quartet movement is an important landmark in Schubert’s compositional career. Why the 23-year-old failed to finish it remains a mystery. It is brimming with a passionate intensity that puts Schubert’s 11 earlier complete string quartets, composed in his teens between 1810 and 1816, in the shade. Beginning to introduce some the drama of his vocal settings into his instrumental chamber music, in the quartet movement he set out haltingly on the path he was to follow more boldly a few years later. In the two great (complete) string quartets of 1824, in A minor (Rosamunde) and D minor (Death and the Maiden), Schubert finally comes to terms with this new potential.

Franz SCHUBERTBorn Vienna, Austria, 1797 Died Vienna, Austria, 1828

Schubert, or ‘Schwämmerl’ (Little Mushroom) as his friends called him, was short but feisty. He and four friends were arrested by the secret police early in 1820 on suspicion of revolutionary activities. One of them was permanently banished from Vienna. And though Schubert was released, he was reprimanded for addressing the arresting officers ‘with insulting and opprobrious language’. Coming at a time when his career was just beginning to take off, Schubert was profoundly shaken by this brush with the law. Fortunately it did not overshadow one of his first major public successes the following year, when baritone Michael Vogl’s concert performance of his song Der Erlkönig (The Erl King) was extremely well received, resulting in its publication as his Op.1. The caricature above shows Vogl with the diminutive composer.


TOGNETTICaprice on Caprices (DEVA)Richard Tognetti, Satu Vänskä and Ike See, violins

Richard composed and premiered this third of his Paganini derangements two years ago, basing it on Caprices Nos 17 and 20.

By contrast with the über-popular minor-keyed Caprice No.24 (as featured in Richard’s Deviance), this selection samples Paganini. Yet while this might seem to suggest something more easy going, Richard sets about reimagining Paganini’s two-handed (single violin) originals as if for a Hindu six-handed violinist deity (in reality, of course, relying on three two-handed soloists with backing from the rest of the ACO strings).

Deva is the Sanskrit word for a benevolent supernatural being, characteristically more powerful, longer-lived, and, in general, more enlightened and having less burdensome baggage than the average human being. Richard begins by glossing phrases of the rather sweet and rustic D major tune of Caprice No.20 with fluting harmonics in thoroughly 21st-century vein. As in the original, this radiant opening is succeeded by a contrastingly hard-driven episode in B minor. Segue into the sostenuto (sustained) tutti opening of Caprice No.17 in E-flat major, whose long slow theme was originally played out on the violin’s two lower strings in brief 4- and 5-note instalments, threaded together by skittering scales on the two upper strings. It too, then moves into a busy minore (minor-key) interlude, whose originally single-strand and difficult-octave theme Richard recasts into an even more devilish ensemble fugue.

PAGANINI (arr. Kreisler/Walker)La CampanellaSatu Vänskä, violin

Even more popular than the Caprices during his own lifetime (and for most of the rest of the 19th-century) was Paganini’s La Campanella (also known in French as La Clochette), or ‘the little bell’. In its original version, it formed the Rondo finale of Paganini’s Second Concerto for Violin and Orchestra in B minor, composed in 1826. Paganini sometimes performed the concerto with an actual ‘little bell’ to announce each return of the rondo theme, though in most other arrangements the solo violin itself does a pretty good imitation.

From beyond the grave, Paganini continues to wield his most powerful magic through his 24 caprices. For violinists a byword for virtuosity, they have also challenged composers and other instrumentalists. The fiendishly difficult Caprice No.24 in A minor is instantly recognisable thanks to later treatments by Liszt, Kreisler, Rachmaninov, Andrew Lloyd-Webber…and Tognetti.

‘Paganini, the great musical wonder of the age, owes the first acquirement of his astonishing power to the circumstance of his being formerly cast into a dungeon with no other companion but his violin, which, as the critics say, he taught to utter human sounds.’ — The Hobart Town Courier (22 October 1831)


BEETHOVEN (arr. Tognetti)Finale from Violin Sonata No.9 in A major, Op.47 ‘Kreuzter’(Composed 1801/03)

Richard Tognetti, violin

Pressed to finish composing a new A major violin sonata in time for a 22 May 1803 premiere, Beethoven despaired of being able to provide the work with a new finale. He and his associate artist, the Afro-West Indian violinist George Augustus Polgreen Bridgetower (1778–1860), postponed the first performance for two days, during which time a solution offered itself. Beethoven detached a finale from his previous (but as yet unpublished) A major sonata of 1801, and grafted it onto the new work. This ploy left him open, some 60 years later, to the criticism of Leo Tolstoy, who in his dramatic novella The Kreutzer Sonata has his leading character dismiss Beethoven’s finale as ‘really weak’. But, then, the real focus of Tolstoy’s interest was the first movement, a ‘fearful thing’, whose ‘harmful effect’ was to tempt him to consider committing adultery!

Beethoven, naturally oblivious of the music’s potentially immoral effect on a yet-to-be-born Russian novelist, published the sonata (still with its acquired finale) in 1805. He had intended to dedicate it to Bridgetower, who had surely earned the honour. However, a petty dispute between the composer and violinist put paid to this, and Beethoven instead awarded the dedication to the French violinist Rodolphe Kreutzer (1766–1831). Beethoven had met Kreutzer only once when he came to Vienna in the entourage of the Napoleonic envoy in 1798, and liked his playing. But Kreutzer did not return the compliment. He never performed the unsolicited gift, claiming to find the music ‘unintelligible’. Richard wants to start a movement to reclaim the name for Bridgetower.

On the title page of the edition, the sonata is described as being ‘for piano and violin obbligato, written in a decidedly concertante manner, as though a Concerto’. The Presto finale is, perhaps, not so poor a conclusion to it as Tolstoy suggests. In fact, it is constructed in a manner remarkably similar to the insinuatingly ‘adulterous’ first movement, with a lively interplay of its pattering 6/8 main theme and a more sustained chordal second theme.

Ludwig van BEETHOVENBorn Bonn, Germany, 1770 Died Vienna, Austria, 1827

George Bridgetower

Beethoven was the final heir of the classicists, precursor of the romantics, and the definitive heroic pianist-composer. Deafness cruelly curtailed his performing career and social life. But forced to look deep into himself, this difficult German imagined a brave new musical future for all of Europe.


MOZART (arr. Tognetti)Hell’s Vengeance Boils in My Heart from The Magic Flute, K.620Richard Tognetti and Satu Vänskä, violinsHell’s vengeance boils in my heart; Death and despair around me blaze! If Sarastro does not feel the pain of death because of you, Then you will be my daughter nevermore.Disowned be forever, Forsaken be forever, Shattered be forever, All our bonds of kinship, If Sarastro does not turn corpse-pale because of you! Hear, hear, hear, gods of vengeance, hear the mother’s oath!

Singing these words (written by The Magic Flute’s librettist and producer Emanuel Schikaneder) the Queen of the Night hands her daughter Pamina a knife and threatens to disown her unless she uses it to kill the good sorcerer, Sarastro.

But all to no avail! Instead, Pamina goes to Sarastro and begs him to forgive her mother’s evil designs. Sarastro reassures Pamina that revenge has no place in his enlightened vision, and that, by the power of Isis and Osiris, the sun will shortly triumph over night, and usher in a wonderful new age of peace, wisdom, and fellowship.

Mozart’s furious aria, an orgy of death and damnation, shares its framing key – D minor – with the opening and closing movements of his other late, great work, the Requiem. But, just as shafts of eternal light strategically pierce the Requiem’s gloom by turning toward F major, so too the most memorable stretches of the aria – with their luminous repeated high Cs and stratospheric high Fs – are cast in the major, showing the Queen in all her, albeit demented, lunar glory and brilliancy.

Richard’s arrangement follows Mozart’s notes closely, recasting the Queen’s music for not one, but two solo violins in tandem…with a wicked, shrieking Queen.

PROGRAM NOTES BY GRAEME SKINNER © 2014

Wolfgang Amadeus MOZARTBorn Salzburg, Austria, 1756 Died Vienna, Austria, 1791

Mozart composed this extraordinary aria for his sister-in-law, Josepha Hofer, to sing in the role as Queen of the Night in his occult fantasy opera, The Magic Flute, which premiered in Vienna on 30 September 1791. Already ill with the disease that would shortly kill him, two months later he was on his deathbed. According to one of the many legends surrounding his final hours, close to the end and hallucinating, Mozart imagined he was back in the theatre at a performance of The Magic Flute, listening to Josepha.

So the story goes, his last words to his beloved wife Constanze (Josepha’s younger sister) were: ‘Quiet, quiet! Hofer is just taking her top F…’


Select DiscographyAs soloist:

BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679

BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner

BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner

BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner

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

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

As director:

GRIEG Music for String Orchestra BIS SACD-1877

Pipe Dreams Sharon Bezaly, Flute BIS CD-1789

All available from aco.com.au/shop

RICHARD TOGNETTI aoARTISTIC DIRECTOR & LEADER AUSTRALIAN CHAMBER ORCHESTRA

Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia and Creative Associate of Classical Music for Melbourne Festival. Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig.In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, created The Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa.As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS.A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005.Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

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

THE DAILY TELEGRAPH (UK)

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AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI, ARTISTIC DIRECTOR & LEADER

ACO Musicians

Richard Tognetti Artistic Director & Lead Violin

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Rebecca Chan Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Ike See Violin

Christopher Moore Principal Viola

Alexandru-Mihai Bota Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.Founded in 1975 by John Painter am, this string orchestra comprises leading Australian and international musicians. The Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig.Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised.Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius and Mark Ingwersen plays the 1714 Guarneri ex Isolde Menges, both violins owned by the ACO Instrument Fund; Christopher Moore plays a 1610 Maggini viola, on loan from an anonymous benefactor; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter Weiss ao, and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor.The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Award-winning Bach recordings, multi-award-winning documentary film Musica Surfica and the complete set of Mozart Violin Concertos.The ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall.In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.aco.com.au

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

The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.


MUSICIANS ON STAGE Photos: Jack Saltmiras

Players dressed by AKIRA ISOGAWA

Violins

GLENN CHRISTENSENCAMERON HILLLIISA PALLANDI

Cello

TIMOTHY NANKERVISCourtesy Sydney Symphony Orchestra

SATU VÄNSKÄ≈

Principal ViolinChair sponsored by Kay Bryan

AIKO GOTOViolinChair sponsored by Anthony & Sharon Lee Foundation

MARK INGWERSEN✿

ViolinRICHARD TOGNETTI AO§

Artistic Director & ViolinChair sponsored by Michael Ball AM & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts

ILYA ISAKOVICHViolinChair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

CHRISTOPHER MOORE✜

Principal ViolaChair sponsored by peckvonhartel architects

ALEXANDRU-MIHAI BOTAViolaChair sponsored by Philip Bacon AM

IKE SEE*Violin

TIMO-VEIKKO VALVEv

Principal CelloChair sponsored by Peter Weiss ao

JULIAN THOMPSON#

CelloChair sponsored by The Clayton Family

MAXIME BIBEAU✦

Principal BassChair sponsored by Darin Cooper Foundation

CAROLINE HENBESTViola

§ Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. ≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. ✿Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andræ violin kindly on loan from the ACO Instrument Fund. ] Ike See plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. ✜ Christopher Moore plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor. v Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. # Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. ✦Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from a private Australian benefactor.



EXECUTIVE OFFICETimothy Calnin General ManagerJessica Block Deputy General ManagerAlexandra Cameron-Fraser Strategic Development ManagerJoseph Nizeti Executive Assistant to Mr Calnin & Mr Tognetti AO

ARTISTIC & OPERATIONSLuke Shaw Head of Operations & Artistic Planning Megan Russell Tour ManagerLisa Mullineux Assistant Tour ManagerDanielle Asciak Travel CoordinatorBernard Rofe LibrarianCyrus Meurant Assistant Librarian

EDUCATIONPhillippa Martin ACO2 & ACO VIRTUAL ManagerVicki Norton Education ManagerSarah Conolan Education Coordinator

FINANCEMaria Pastroudis Chief Financial OfficerSteve Davidson Corporate Services ManagerYvonne Morton AccountantShyleja Paul Assistant Accountant

DEVELOPMENTRebecca Noonan Development ManagerJill Colvin Philanthropy ManagerPenelope Loane Investor Relations ManagerTom Tansey Events ManagerTom Carrig Senior Development ExecutiveAli Brosnan Patrons ManagerSally Crawford Development Coordinator

MARKETINGDerek Gilchrist Marketing ManagerMary Stielow National PublicistHilary Shrubb Publications EditorNeall Kriete Communications CoordinatorLeo Messias Marketing CoordinatorChris Griffith Box Office ManagerDean Watson Customer Relations ManagerDeyel Dalziel-Charlier Box Office & CRM Database AssistantChristina Holland Office Administrator

INFORMATION SYSTEMSKen McSwain Systems & Technology ManagerEmmanuel Espinas Network Infrastructure Engineer

ARCHIVESJohn Harper Archivist

ADMINISTRATION STAFF

Bill BestJohn Borghetti Liz Cacciottolo

Chris Froggatt John Grill ao Heather Ridout ao

Andrew Stevens John TabernerPeter Yates am

ACO BEHIND THE SCENESBOARDGuido Belgiorno-Nettis am Chairman Angus James Deputy

Richard Tognetti ao Artistic Director

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182Australian 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 Facsimile: (02) 8274 3801 Box Office: 1800 444 444 Email: [email protected] Website: aco.com.au


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ACKNOWLEDGEMENTSGOVERNMENT SUPPORT

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO–1410 — 17448 — 1/101214

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OVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au

Chairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music Alan Ziegler

This is a PLAYBILL / SHOWBILL publication.Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

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BOARD OF DIRECTORSChair Kathryn FaggJulie KantorJohn HiggsTom BonvinoStephen CarpenterMargaret Farren-PriceDes ClarkJoe CorponiPeter BartlettEda N Ritchie am

Chief Executive Officer Mary Vallentine aoDirector of Development Sandra RobertsonDirector of Programming & Presenter Services Kirsten SiddleDirector of Marketing & Customer Relations Robert MurrayDirector of Corporate Services Nesreen Bottriell


ACO MEDICI PROGRAMIn 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.

GUEST CHAIRS

Brian Nixon Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICI

Mr R. Bruce Corlett am & Mrs Ann Corlett

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti ao Artistic Director & Lead Violin

Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts

Helena Rathbone Principal Violin

Kate & Daryl Dixon

Satu Vänskä Principal Violin

Kay Bryan

Christopher Moore Principal Viola

peckvonhartel architects

Timo-Veikko Valve Principal Cello

Peter Weiss ao

Maxime Bibeau Principal Double Bass

Darin Cooper Foundation

CORE CHAIRS

Aiko GotoViolin

Anthony & Sharon Lee Foundation

Ilya IsakovichViolin

Australian Communities Foundation – Connie & Craig Kimberley Fund

Violin ChairTerry Campbell ao & Christine Campbell

Alexandru-Mihai BotaViola

Philip Bacon am

Melissa BarnardCello

Martin Dickson am & Susie Dickson

Nicole DivallViolaIan Lansdown

Julian ThompsonCello

The Clayton Family

Mark IngwersenViolin

Ike SeeViolin


ACO INSTRUMENT FUNDThe 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 of the Orchestra. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen.

John & Deborah Balderstone Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Marco D’Orsogna

Garry & Susan Farrell Philip Hartog Brendan Hopkins Angus & Sarah James Ian Wallace & Kay Freedman

INVESTORS

PETER WEISS ao PATRON, ACO INSTRUMENT FUND

VISIONARY $1m+Peter Weiss ao

LEADER $500,000 – $999,999

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

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

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

SONATA $25,000 – $49,999

ENSEMBLE $10,000 – $24,999Leslie & Ginny Green Peter J Boxall ao & Karen Chester Amanda Stafford

SOLO $5,000 – $9,999

PATRON $500 – $4,999Dr Jane CookLeith & Darrel ConybeareJohn Landers & Linda SweenyLuana & Kelvin KingBronwyn & Andrew LumsdenIan & Pam McGawPatricia McGregorTrevor ParkinElizabeth PenderRobyn TamkeAnonymous (2)

PATRONS

Bill Best (Chairman) Jessica Block Chris Froggatt John Leece am John Taberner

BOARD MEMBERS


ACO RECORDING PROJECTS & SPECIAL COMMISSIONS

The ACO would like to pay tribute to the following donors who support our international touring activities in 2014.

INTERNATIONAL TOUR PATRONS

International Tour SupportersLinda & Graeme Beveridge Jan Bowen Bee & Brendan Hopkins

Delysia Lawson Ian & Pam McGawMike Thompson

MELBOURNE HEBREW CONGREGATION PATRONSLead Patrons Patrons

Marc Besen ao & Eva Besen aoThe Eddie & Helen Kutner FamilyThe Graham & Minnie Smorgon Family

FOUR SEASONS RECORDING PROJECTPatronsMr Robert Albert ao & Mrs Libby AlbertJennifer HershonAnthony & Sharon Lee FoundationStrauss Family

SPECIAL COMMISSIONSNEVER TRULY LOST by Brenton BroadstockCommissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin

SPECIAL COMMISSIONS PATRONSPeter & Cathy AirdGerard Byrne & Donna O’SullivanMirek GenerowiczPeter & Valerie Gerrand Gin GrahamAnthony & Conny Harris

Rohan HaslamAndrew & Fiona JohnstonDavid & Sandy LiblingTony Jones & Julian LigaLionel & Judy KingRobert & Nancy Pallin

Alison ReeveAugusta SuppleDr Suzanne TristTeam SchmoopyRebecca Zoppetti LaubiAnonymous (1)

THE GREAT SYNAGOGUE PATRONSCorporate PartnersAdina Apartment HotelsMeriton Group

PatronsDavid & Helen Baffsky Greg & Kathy ShandLeslie & Ginny Green Peter Weiss aoThe Narev Family


ACO COMMITTEESSYDNEY DEVELOPMENT COMMITTEE

Leigh Birtles Executive Director UBS Wealth ManagementIan Davis Managing Director Telstra TelevisionMaggie DrummondTony Gill Andrea Govaert

Jennie OrchardTony O’SullivanMargie SealePeter Shorthouse Client Advisor UBS Wealth Management Mark Stanbridge Partner Ashurst

Heather Ridout ao (Chair) Director Reserve Bank of AustraliaGuido Belgiorno-Nettis am Chairman ACO & Executive Director Transfield HoldingsBill Best

DISABILITY ADVISORY COMMITTEEAmanda TinkIndependent Consultant Amanda Tink Consultancy

Morwenna CollettProgram Manager Arts Funding (Music) Australia Council for the Arts

Brisbane Philip BaconKay BryanAndrew CloustonIan & Caroline FrazerCass GeorgeEdward GrayWayne KratzmannHelen McVayShay O’Hara-SmithDeborah QuinnBeverley TrivettBruce & Jocelyn Wolfe

EVENT COMMITTEESSydney Lillian ArmitageVanessa BarryMargie BlokLiz CacciottoloDee de BruynJudy Anne EdwardsSandra FermanElizabeth HarbisonBee HopkinsPrue MacLeodJulianne MaxwellJulie McCourt

Elizabeth McDonaldSandra RoyleNicola SinclairJohn Taberner (Chair)Liz WilliamsJudi Wolf

Debbie BradyStephen CharlesChristopher Menz

Paul Cochrane Investment Advisor Bell Potter SecuritiesColin Golvan qc

MELBOURNE DEVELOPMENT COUNCILPeter Yates am (Chairman) Deputy Chairman, Myer Family Investments Ltd Director, AIA Ltd


EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert ao &

Mrs Libby AlbertAustralian Communities

Foundation – Annamila Fund

Australian Communities Foundation – Ballandry Fund

Daria & Michael BallSteven Bardy & Andrew

PattersonThe Belalberi FoundationAnita & Luca

Belgiorno-Nettis Foundation

Guido & Michelle Belgiorno-Nettis

Andre BietLiz Cacciottolo & Walter

LewinMark CarnegieStephen & Jenny CharlesThe Cooper FoundationDarin Cooper FoundationDaryl & Kate Dixon Chris & Tony FroggattAnn Gamble MyerDaniel & Helen GauchatAndrea Govaert & Wik

FarwerckDr Edward C. GrayJohn Grill & Rosie

WilliamsAnnie HawkerKimberley Holden

Catherine Holmes à Court-Mather

Angus & Sarah JamesPJ Jopling am qcMiss Nancy KimptonBruce & Jenny LanePrudence MacLeodAnthony and Suzanne

Maple-BrownAlf MoufarrigeLouise & Martyn Myer

FoundationJennie & Ivor OrchardAlex & Pam ReisnerMark & Anne RobertsonMargie Seale & David

HardyTony Shepherd aoJohn Taberner & Grant

LangAlden Toevs & Judi WolfThe Hon Malcolm

Turnbull mp & Ms Lucy Turnbull ao

Westpac GroupE XipellPeter Yates am & Susan

YatesPeter Young am & Susan

YoungAnonymous (3)

DIRETTORE $5,000 – $9,999The Abercrombie Family

FoundationGeoff Ainsworth &

Jo FeatherstoneGeoff Alder

Bill & Marissa BestJoseph & Veronika ButtaJohn & Lynnly ChalkElizabeth ChernovClockwork Theatre IncAndrew CloustonVictor & Chrissy CominoLeith & Darrel ConybeareDavid CraigLiz Dibbs Mr R. Bruce Corlett am &

Mrs Ann CorlettEllis FamilyBridget Faye amMichael FirminIan & Caroline FrazerDavid FriedlanderKay GiorgettaMaurice Green am &

Christina GreenFraser HopkinsI KallinikosKeith & Maureen

KerridgeMacquarie Group

FoundationDavid Maloney & Erin

FlahertyDavid MathlinP J MillerAverill MintoJacqui & John MullenThe Myer FoundationWilly & Mimi Packerpeckvonhartel architectsElizabeth PenderBruce & Joy Reid TrustJohn RickardAndrew Roberts

Paul Schoff & Stephanie Smee

Greg Shalit & Miriam Faine

Joyce Sproat & Janet Cooke

Emma StevensJon & Caro StewartAnthony StrachanTamas SzaboJohn Vallance &

Sydney Grammar SchoolLeslie C ThiessGeoff WeirShemara WikramanayakeCameron WilliamsCarla Zampatti FoundationAnonymous (3)

MAESTRO $2,500 – $4,999David & Rae AllenAtlas D’Aloisio FoundationWill & Dorothy Bailey

Charitable GiftBrad BanducciAdrienne BasserDoug & Alison BattersbyThe Beeren FoundationBerg Family FoundationAndrew BestPatricia BlauRosemary & Julian BlockGilbert BurtonTerry Campbell ao &

Christine CampbellArthur & Prue CharlesCaroline & Robert

Clemente

ACO DONATIONS PROGRAM

PATRONS – NATIONAL EDUCATION PROGRAMJanet Holmes à Court ac Marc Besen ao & Eva Besen ao

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

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST

THE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS


ACO DONATIONS PROGRAMRobert & Jeanette CorneyJudy CrawfordPeter CurryRowena Danziger am &

Ken Coles amDee de BruynKate DixonLeigh EmmettSuellen & Ron EnestromTom Goudkamp oamMegan GraceRoss GrantWarren GreenNereda Hanlon & Michael

Hanlon amLiz HarbisonGavin & Christine HolmanPeter & Helen HearlSimon & Katrina

Holmes à CourtMark JohnsonJohn Karkar qcWendy HughesCarolyn Kay & Simon

SwaneyJohn KenchJulia Pincus & Ian

LearmonthPeter LovellThe Alexandra &

Lloyd Martin Family Foundation

Peter Mason am & Kate Mason

Paul & Elizabeth McClintock

Jan MinchinJane MorleySandra & Michael Paul

EndowmentJustin PunchPatricia H Reid

Endowment Pty LtdRalph & Ruth RenardChris RobertsSusan & Gary RothwellThe SandgropersD N SandersChris & Ian SchlipaliusJennifer SeniorPeter & Victoria

ShorthousePetrina SlaytorAndrew StraussJohn & Josephine StruttDavid Thomas oamPeter TonaghRalph Ward-Ambler am &

Barbara Ward-AmblerDrs Victor & Karen WayneThe WeirAnderson

Foundation

Ivan WheenSimon WhistonAnna & Mark YatesAnonymous (5)

VIRTUOSO $1,000 – $2,499

Jennifer AaronAnnette AdairMichael & Margaret

AhrensPeter & Cathy AirdAntoinette AlbertMrs Jane AllenMatt AllenAndrew AndersonsAustralian Communities

Foundation – Clare Murphy Fund

Philip Bacon amSamantha BaillieuBarry BatsonRuth BellJustice Annabelle

Bennett aoVirginia BergerIn memory of Peter BorosBrian BothwellJan BowenMichael & Tina BrandVicki BrookeDiana BrookesMrs Kay BryanSally BuféNeil Burley & Jane MunroIvan CamensRay Carless & Jill KeyteBella CarnegieJames CarnegieRoslyn CarterSandra CassellAndrew ChamberlainJulia Champtaloup &

Andrew RotheryK. ChisholmAngela and John ComptonMartyn Cook AntiquesAlan Fraser CooperP Cornwall & C RiceLaurie & Julie Ann CoxJudy CrollJudith CromptonJune DanksIan DavisMichael & Wendy DavisMartin DolanAnne & Thomas DowlingDr William F DowneyMichael DrewEmeritus Professor

Dexter Dunphy am

Peter EvansJulie EwingtonIan Fenwicke &

Prof. Neville WillsBill FlemingElizabeth FlynnJane & Richard

FreudensteinJustin & Anne GardenerIn memory of Fiona

Gardiner-HillPaul Gibson & Gabrielle

CurtinColin Golvan qcFay GrearKathryn Greiner aoGriffiths ArchitectsPeter HalsteadPaul & Gail HarrisBettina HemmesJennifer HershonReg Hobbs & Louise

CarbinesMichael Horsburgh am &

Beverley HorsburghMonique D’Arcy Irvine &

Anthony HouriganCarrie & Stanley HowardPenelope HughesStephanie & Mike

HutchinsonColin Isaac & Jenni SetonPhillip Isaacs oamWill & Chrissie JephcottDee JohnsonBrian JonesBronwen L JonesGenevieve LansellMrs Judy LeeMichael LinAirdrie LloydAlceon GroupTrevor LoewensohnRobin & Peter LumleyDiana LungrenGreg & Jan MarshMassel Australia Pty LtdJane Mathews aoJanet P MattonJulianne MaxwellKarissa MayoKevin & Deidre McCannBrian & Helen McFadyenDonald & Elizabeth

McGauchieIan & Pam McGawJ A McKernanDiana McLaurinPeter & Ruth McMullinPhil & Helen MeddingsGraeme L MorganRoslyn Morgan

Suzanne MorganGlenn Murcutt aoMarie MortonNola NettheimAnthony NiardoneElspeth & Brian NoxonPaul O’DonnellIlse O’ReillyOrigin Foundation James & Leo OstroburskiAnne & Christopher PageProf David Penington acMatthew PlayfairMark RenehanDr S M Richards am &

Mrs M R RichardsWarwick & Jeanette

Richmond In Memory of Andrew Richmond

Josephine RidgeDavid & Gillian RitchieEm. Prof.

A. W. Roberts amPeter J RyanJennifer SandersonIn memory of

H. St. P. ScarlettLucille SealeGideon & Barbara ShawDiana & Brian Snape amMaria Sola Keith SpenceCisca SpencerSydney AirportDr Charles Su &

Dr Emily LoMagellan Logistics Pty LtdRobert & Kyrenia ThomasAnne TonkinNgaire TurnerVenture AdvisoryKay VernonMarion W WellsBarbara WilbySir Robert Woods cbeNick & Jo WormaldLee WrightDon & Mary Ann

Yeats amWilliam YuilleRebecca Zoppetti LaubiBrian ZulaikhaAnonymous (18)

CONCERTINO $500 – $999A AckermannMrs C A AllfreyElsa Atkin amA. & M. BarnesRobin Beech


ACO DONATIONS PROGRAM

Patrons list is current as of 27 November 2014.

CONTRIBUTIONSIf you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Ali Brosnan on 02 8274 3830 or at [email protected]

Leigh & Christina BirtlesDr David & Mrs Anne

BolzonelloDenise BraggettTim & Jacqueline BurkeHugh Burton-TaylorJasmine BrunnerTim & Jacqueline BurkeLynda CampbellHelen Carrig & Ian

Carrig oamJ. M. CarvellScott CharltonColleen & Michael

ChestermanRichard & Elizabeth

ChisholmStephen ChiversGeorg ChmielOlivier ChretienElizabeth ClaytonClearFresh WaterJilli CobcroftSally CollierCarol & Andrew CrawfordC Critchley & D SiddleJulie HopsonProfessor John Daley &

Dr Rebecca CoatesMarie DalzielLindee & Hamish DalziellJill DaviesMari DavisDr Christopher DibdenDavid DixThe Hon. Catherine

Branson & Dr Alan DownIn memory of Raymond

DudleyM T & R L ElfordChristine EvansCarol FarlowPenelope & Susan FieldElizabeth FinneganJean Finnegan & Peter KerrSheila Fitzpatrick

in memory of Michael Danos

Michael FogartyNancy & Graham FoxBrian GoddardGeorge H. Golvan qc &

Naomi GolvanProf Ian & Dr Ruth GoughGrandfather’s Axe

Victoria GreeneAnnette GrossLesley HarlandSusan HarteAlan Hauserman &

Janet NashGaye HeadlamKingsley HerbertMarian HillSue & David HobbsGeoff HogbinMary IbrahimHow to Impact Pty LtdPeter & Ann HollingworthPam & Bill HughesDr & Mrs Michael HunterGeoff & Denise IllingMargaret & Vernon IrelandDr Anne James &

Dr Cary JamesOwen JamesBarry Johnson & Davina

Johnson oamCaroline JonesGeoff JoyceMrs Angela KarpinBruce & Natalie KellettProfessor Anne Kelso aoGraham Kemp & Heather

NobbsJosephine Key & Ian BredenWendy Kozica & David

O’Callaghan qcTFW See & Lee Chartered

AccountantsWayne & Irene LemishGreg Lindsay ao & Jenny

LindsayAndrew & Kate ListerMegan LoweJames MacKeanPeter MarshallIan & Linda MartinDr & Mrs Donald MaxwellPhilip Maxwell & Jane

ThamJenny McGeeH E McGlashanJeanne McMullinI MerrickLouise MillerJohn MitchellJohn K MorganSimon Morris & Sonia

Wechsler

Julie MosesDr Greg NelsonJ NormanGraham NorthRichard & Amanda

O’BrienRobin OfflerLeslie ParsonageDeborah PearsonRobin & Guy PeaseMichael PeckKevin PhillipsRosie PilatMichael PowerBeverly & Ian PryerDr Anoop RastogiRuth RedpathManfred & Linda SalamonGarry Scarf & Morgie

BlaxillBerek Segan obe am &

Marysia SeganJohn C Sheahan qcAndrew & Rhonda SheltonSherbourne ConsultingAnne ShiptonRoger & Ann Smith-

JohnstoneDr P & Mrs D

Southwell-KeelyAlida Stanley & Harley

WrightJudy Ann StewartIn memory of Dr Aubrey

SweetGabrielle TaggArlene TanseyBarrie & Jillian ThompsonMatthew TooheyNev & Janie WitteyG C & R WeirEvan Williams amEd WittigAnonymous (23)

CONTINUO CIRCLE BEQUEST PROGRAMThe late Charles Ross

AdamsonThe late Kerstin

Lillemor AndersenSteven Bardy

Dave BeswickRuth BellSandra CassellThe late Mrs Moya

CraneMrs Sandra DentLeigh EmmettThe late Colin EnderbyPeter EvansCarol FarlowMs Charlene FranceSuzanne GleesonLachie HillThe late John Nigel

HolmanPenelope HughesEstate of Pauline Marie

JohnstonThe late

Mr Geoff Lee am oamMrs Judy LeeThe late Shirley MillerSelwyn M OwenThe late Josephine

PaechThe late Richard PonderIan & Joan ScottLeslie C ThiessG.C. & R WeirMargaret & Ron WrightMark YoungAnonymous (11)

LIFE PATRONSIBMMr Robert Albert ao &

Mrs Libby AlbertMr Guido

Belgiorno-Nettis amMrs Barbara BlackmanMrs Roxane ClaytonMr David Constable amMr Martin Dickson am

& Mrs Susie DicksonDr John Harvey aoMrs Alexandra MartinMrs Faye ParkerMr John Taberner &

Mr Grant LangMr Peter Weiss ao


ACO PARTNERS

Mr Guido Belgiorno-Nettis am Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings

Aurizon Holdings Limited

Mr Philip Bacon am Director Philip Bacon Galleries

Mr David Baffsky ao

Mr Brad Banducci Director Woolworths Liquor Group

Mr Marc Besen ao & Mrs Eva Besen ao

Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management

Mr Jeff Bond Chief Executive Officer Peter Lehmann Wines

Mr John Borghetti Chief Executive Officer Virgin Australia

Mr Michael & Mrs Helen Carapiet

Mr Jim Carreker Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux

Mr Stephen & Mrs Jenny Charles

Mr & Mrs Robin Crawford

Rowena Danziger am & Kenneth G. Coles am

Dr Bob Every Chairman Wesfarmers

Ms Tracey Fellows Chief Executive Officer REA Group

Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

Mr Richard Freudenstein Chief Executive Officer FOXTEL

Ms Ann Gamble Myer

Mr Daniel Gauchat Principal The Adelante Group

Mr Colin Golvan qc & Dr Deborah Golvan

Mr John Grill ao Chairman WorleyParsons

Mr Grant Harrod Chief Executive Officer LJ Hooker

Mrs Janet Holmes à Court ac

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

Mr John Kench Chairman Johnson Winter & Slattery

Ms Catherine Livingstone ao Chairman Telstra

Mr Andrew Low Chief Executive Officer RedBridge Grant Samuel

Mr Didier Mahout CEO Australia & NZ BNP Paribas

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Donald McGauchie ao Chairman Nufarm Limited

Mr David Mendelson Managing Director Total E&P Australia

Ms Naomi Milgrom ao

Ms Jan Minchin Director Tolarno Galleries

Mr Jim Minto Managing Director TAL

Mr Alf Moufarrige Chief Executive Officer Servcorp

Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects

Mr Jeffrey Rhoda General Manager IBM Australia & New Zealand

Mr Mark Robertson oam & Mrs Anne Robertson

Ms Margie Seale & Mr David Hardy

Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Tony Shepherd ao

Ms Anne Sullivan Chief Executive Officer Georg Jensen

Mr Paul Sumner Director Mossgreen Pty Ltd

Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd

Mr Michael Triguboff Managing Director MIR Investment Management 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

2014 CHAIRMAN’S COUNCIL MEMBERSThe Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.


CONCERT AND SERIES PARTNERS

OFFICIAL PARTNERS

PERTH SERIES AND WA REGIONAL TOUR PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

EVENT PARTNERS

K A T E R I N G

ACO CORPORATE PARTNERSThe ACO would like to thank its corporate partners for their generous support.

NATIONAL TOUR PARTNERS

FOUNDING PARTNER FOUNDING PARTNER: ACO VIRTUAL

PRINCIPAL PARTNER

FEATURING

— Vivaldi’s Four Seasons— Vaughan Williams’ The Lark Ascending— Mendelssohn Violin Concerto— Richard Egarr & The Golden Age— Susan Graham— Brahms Symphony No.3— Olli Mustonen— Mozart’s Last Symphonies— Basel Chamber Orchestra— Tchaikovsky’s Serenade

And so much more…

ACO.COM.AU / 1800 444 444

SAVE UP TO 30% WITH AN ACO SUBSCRIPTION

PRINCIPAL PARTNER

FEATURING

— Vivaldi’s Four Seasons— Vaughan Williams’ The Lark Ascending— Mendelssohn Violin Concerto— Richard Egarr & The Golden Age— Susan Graham— Brahms Symphony No.3— Olli Mustonen— Mozart’s Last Symphonies— Basel Chamber Orchestra— Tchaikovsky’s Serenade

And so much more…

ACO.COM.AU / 1800 444 444

SAVE UP TO 30% WITH AN ACO SUBSCRIPTION

IBMNCA1173_ACO_Sponsorship_240x150_NCSP.indd 1 24/06/14 2:39 PM

Documents

i n i agan P i t t e n og T - Amazon Web Services · Barber and Denisov ACCOMMODATION The ACO ... Concerto for Two Violins in D minor, BWV 1043 HAYDN (arr. Rofe) Symphony No. 83