C O N C E R T T H R E E 11 – 31 August 2014

Welcome

Hello and welcome to tonight’s concert, a good old-fashioned string quartet program featuring the music of Haydn, Beethoven and Bartók. When it comes to breaking new ground within the medium of the quartet, few can match these three giants; Haydn who essentially invented the form; Beethoven who endowed it with limitless potential; and Bartók who rewrote the textbook on virtuoso quartet playing. All three works being played tonight are also arguably the finest contributions to the genre of their respective creators.

Haydn gave us a lifetime’s worth of remarkable quartets. At the time of writing op 77, one of his final two quartets, he was already a very old man, particularly considering the life expectancy of his era. But the character, humility and depth as well as, of course, his signature humour, are as present as ever.

Beethoven’s Serioso quartet is one of a select few of his works where the nickname comes from the composer himself. Right from the outset the intention behind the title is clearly evident in every note in the work; while it is irrefutably a highly entertaining work, it’s borne of blood, sweat and tears, and there is less of Beethoven’s typical humour. One is left with the impression of a very long journey that has been packed into an extraordinarily short space of time.

Our program concludes with Bartók’s fifth quartet, generally considered the most challenging of his quartets to perform. The original ASQ spent over a hundred hours rehearsing this hugely entertaining work back in the eighties and we’ve found out why. It’s devilishly tricky, and is a true test of a quartet’s ensemble, stamina, imagination and navigational skills (getting from point A to point B isn’t always simple).

We are travelling with this program for even longer than usual; we are excited to be performing in Canberra and regional New South Wales as well as Hobart and China over the next month or two. It’s a great privilege to present this incredible music to such a wide audience. Enjoy!

Kristian, Ioana, Stephen and Sharon

(L TO R): KRISTIAN WINTHER, IOANA TACHE, STEPHEN KING, SHARON DRAPER.

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The Elder Conservatorium of Music is one of Australia’s oldest and most distinguished tertiary music schools. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts.

Home to the ASQ—our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.

Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts.

Visit our website to learn more about the program of events, and comprehensive range of undergraduate and postgraduate degrees available in a wide variety of specialisations.

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Program

Dates

H A Y D N String Quartet in G major op 77 no 1 B E E T H O V E N String Quartet op 95 Quartetto Serioso IntervalB A R T Ó K String Quartet no 5

B R I S B A N E Conservatorium Theatre, South Bank Monday 11 August 7pm Pre-concert speaker Gillian Wills

P E R T H Perth Concert Hall Wednesday 13 August 7pm Pre-concert speaker Cassandra Lake

A D E L A I D E Adelaide Town Hall Friday 15 August 7pm Pre-concert speaker Richard Chew

M E L B O U R N E Melbourne Recital Centre, Southbank Monday 18 August 7pm Pre-concert speaker Alistaire Bowler

This concert will be broadcast live on ABC Classic FM.

S Y D N E Y City Recital Hall Angel Place Thursday 21 August 7pm Pre-concert speaker David Garrett

C A N B E R R A Gandel Hall, National Gallery of Australia Sunday 31 August 2pm

Don’t miss our next National tour Relativity 10 – 19 November 2014

The members of the Australian String Quartet are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts. The instruments are currently on loan to the Australian String Quartet from Ulrike Klein, Maria Myers and Ngeringa Arts.

In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity.

Already through the generosity of the Klein Family and other donors, Ngeringa Arts has acquired the viola. Its next priority is the cello, which is the most valuable of the set. Crafted in 1743 it is one of his finest and was featured in an international exhibition in Parma, Italy to celebrate the 300th anniversary of Guadagnini’s birth.

The Klein Family Foundation has pledged $640,000 and the James and Diana Ramsay Foundation a further $510,000 over three years and a group of donors have so far contributed $87,000. This leaves a further $593,000 to be raised in order to reach the purchase price of $1.83M. History-making endeavors like this are born from passion. To succeed, Ngeringa Arts needs the involvement of visionaries who understand the significant cultural value in a collection of this calibre. The Board of Ngeringa Arts recognizes and thanks the following patrons who have each made a significant contribution to this project

Klein Family Foundation

James and Diana Ramsay Foundation

Diana McLaurin

Joan Lyons

Mrs F.T. MacLachlan OAM

Mr H.G. MacLachlan

Hartley Higgins

David and Pam McKee

Ian and Pamela Wall

Richard Harvey

Jill Russell

Mrs S.T. McGregor

Lyndsey and Peter Hawkins

Jari and Bobbie Hryckow

Anonymous (1)

Please join Ngeringa Arts in building this extraordinary musical legacy. To donate go to www.ngeringaarts.com

For more information contactAlison BeareGeneral Manager, Ngeringa ArtsP (08) 8227 1277E Alison@ngeringaarts.com

Guadagnini Quartet Project

With a rich history spanning 29 years, the Australian String Quartet (ASQ) has established a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad.

One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years. The Quartet is frequently broadcast on ABC Classic FM and records regularly for public release.

The Quartet’s performance calendar for 2014 comprises its National Season featuring four unique concert programs presented in Adelaide, Brisbane, Melbourne, Perth and Sydney; its own flagship festivals in the Southern Grampians and Margaret River; regional touring and prestigious invitations to collaborate with leading artists and organisations including their performance earlier this year with the Sydney Symphony Orchestra premiering John Adams’ Absolute Jest at the Sydney Opera House.

Australian String Quartet

As advocates for Australian music, the Quartet delivers an annual forum for emerging composers and regularly commissions, showcases and records new Australian work. Its education program extends beyond workshops and masterclasses to include the Quartet Project – a national mentoring program for emerging quartets.

The members of the ASQ are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite Italian instruments were brought together through the vision of Ulrike Klein. The instruments are on loan to the ASQ for their exclusive use through the generosity of Ulrike Klein, Maria Myers and a group of donors who have supported Ngeringa Arts to acquire the viola.

Kristian Winther plays a 1784 Guadagnini Violin, Turin.

Ioana Tache plays a 1748-49 Guadagnini Violin, Piacenza.

Stephen King plays a 1783 Guadagnini Viola, Turin.

Sharon Draper plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’.

Joseph Haydn (1732-1809) String Quartet in G major op 77 no 1, Hob.III:81 Allegro moderato Adagio Menuetto: Presto Finale: Presto

In 1809, Napoleon’s armies besieged Vienna for the third time. The first two occupations were relatively peaceful affairs, but in 1809 the French resorted to bombarding the city. Beethoven took refuge in his brother’s cellar with pillows over his ears to preserve what was left of his hearing; in another part of town, the frail and elderly Haydn died peacefully amid the confusion.

Ten years before, Haydn wrote to the publisher Härtel that ‘the strain and effort’ of composition was causing him to suffer ‘the worst sort of depression’ which rendered him incapable of composing for days at a time. At the time he was, understandably, feeling the effects of a long life in the service of music, and particularly the heady excitement of his stardom in London in the early 1790s. He composed less from around about 1799 – the time of this letter – though a few months later he was at work on his second great oratorio, The Seasons.

The op 77 quartets date from this time, and it may be that Haydn’s loss of stamina

Joseph Haydn

contributed to the fact that there were only two, rather than the usual six, in this set. They are dedicated to Prince Joseph Franz Lobkowitz (to whom Beethoven, at around his time, also dedicated his op 18 quartets). Haydn was distressed about his increasing frailty, but one would never know from these late works, which do indeed have that ‘fire’ for which he was often complimented. Op 77, like the previous set (op 76), carry on with the expansive, public and indeed frankly populist idiom that Haydn had perfected for the London crowds a few years earlier. While the amount Haydn composed in his last decade decreased, the same cannot be said for its quality.

The G major quartet is vintage Haydn, with its deceptively simple-sounding first movement. Unusually for Haydn, the slow movement is marked adagio (rather than – for him – the more common and slightly faster andante); its sombre, minor-tinged themes, and their fragmentation into sobbing motives of two or three notes in the central section have a kind of exhausted grief, prefiguring the Beethoven adagios of the next few years. Also Beethovenian is the menuetto (actually a scherzo with its relentless one-in-a-bar metre), though Haydn’s musical personality is still clearly heard, especially in the Balkan-inspired folky trio section at the movement’s centre, and the energetic finale.

© Gordon Kerry 2009

Ludwig van Beethoven (1770-1827) String Quartet in F minor, op 95, Quartetto Serioso Allegro con brio Allegretto ma non troppo Allegro assai vivace, ma serioso Larghetto espressivo – allegretto agitato

The Napoleonic Wars and subsequent economic crisis led Beethoven to consider leaving Vienna until three devoted patrons organised an annuity to keep him there. Despite his financial security, however, Beethoven composed little in the period following. 1810 saw two major works, the op 95 quartet (with Beethoven’s own subtitle, Quartetto Serioso) and the incidental music to Goethe’s Egmont.

Egmont tells of the incarceration and death of a just man at the hands of tyranny, but his fight for liberty is represented in the overture and incidental music by a triumphant F major ‘victory symphony’. Both the Egmont overture and op 95 are in the key of F minor, and both end with an unexpectedly joyous, fast coda in the major key.

In the ‘Razumovsky’ Quartets, Beethoven had done for the string quartet what he had for the symphony in the ‘Eroica’, expanding them beyond anything contemplated up to that point. Something, however, had wonderfully concentrated the mind that wrote op 95. The piece is little more than twenty minutes long, the result of a ruthless pruning of any extraneous material on

Ludwig van Beethoven

Beethoven’s part. In the first movement, for instance, he eschews many of the conventional formulae which indicate cadences and other points of musical punctuation, and radically shortens the recapitulation of the movement’s main material. Counterpoint is one constant preoccupation within the work, nowhere more so than in the second movement, where an amazing tension is created between the home key of D major (itself remote from the F minor of the work) and a saturation of chromatic twists and turns. A contrasting preoccupation is with the briefest of rhythmically characteristic gestures framed by a humming silence. The resulting rush of continuous energy in the final pages of the work is made even more breathtaking.

In this work, radical concentration balances the expansion of form and expression in the ‘Razumovsky’ set. Its drama is that of Haydn: the sudden silence, the shock change of key. In some respects it harks back even beyond Viennese classicism to the emotive style of CPE Bach; its preoccupation with counterpoint reflects an interest in the music of the Baroque which in turn allowed Beethoven to experiment with counterpoint in a way that transformed his quartet writing. And when he was able to marry the serene lyricism of the Harp Quartet with the Quartetto Serioso’s rigour and economy, the transcendental style of the late quartets could be born.

Gordon Kerry © 2009

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ibis Perth334 Murray Street, PerthTel (08) 9322 2844

Mercure Perth10 Irwin Street, Perth Tel (08) 9326 7000

PROUD SPONSORS OF THE AUSTRALIAN STRING QUARTET

Experience the exceptional comfort of the Mercure Perth and ibis Perth hotels, both conveniently located within Perth’s vibrant city centre.Turn your evening into an occasion with great value rates at accorhotels.com

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Superbcity locations

Béla Bartók (1881-1945) String Quartet no 5, BB110 Allegro Adagio molto Scherzo: alla bulgarese Andante Finale: Allegro vivace

Bartók’s Fifth Quartet was commissioned by American philanthropist Elizabeth Sprague Coolidge, a supporter of many mid-20th century classics. Premiered in Washington in 1935 by the Kolisch Quartet, it was immediately recognised as a masterpiece.

The composer at this time was still living and working in Budapest. In 1934, Bartók had finally freed himself from teaching, having been employed by the Academy of Sciences to pursue his work in ethnomusicology. He had by now amassed much material from a variety of sources, including Romanian, Bulgarian, Turkish and Slovak folk-music, as well as that of Hungary itself.

The Fifth Quartet contains elements from folk sources, but treats them with rigorous counterpoint. Overall, the work, like the Fourth Quartet and the much later Concerto for Orchestra, is in five movements. These, as in the other works, are arranged symmetrically around a pivotal central movement - here, the Scherzo - so as to produce ‘arch-form’. The other movements form pairs: the first and fifth are energetic, the second and fourth are both slow.

Béla Bartók

The first movement opens with an arresting figure of repeated notes outlining the integral of the major second. Bartók scholar Lajos Lesznai notes that the figure may derive from the folk-song laments of the Székely people, Hungarian-speakers whose region became part of Romania in 1920. This terse motif, when treated contrapuntally, creates an active and urgent texture, interrupted occasionally by crisp short chords. The Adagio molto, perhaps one of Bartók’s signature ‘night-pieces’, is deceptively simple in its use of slow-moving chords and fragmentary melodic motifs that are elaborated into a searing passage of counterpoint. After the relative calm of the Adagio, Bartók launches into a scherzo that is powered by Bulgarian rhythms, with groupings of 4+2+3 quavers. The melodies have a folk-like flavour, interspersed with shimmering textures. Marked Andante, the fourth movement is a little faster than the corresponding second, beginning with characteristic disembodied pizzicatos and punctuated by a stabbing repeated-note motif. The Finale, fast and furious like the opening, contains what Lesznai regards as a joke: a passage of sudden simplicity (Malcolm Gillies likens it to a barrel-organ) as a sarcastic sop to those critics who found Bartók ‘difficult’. But perhaps the last word should go to Mrs Coolidge: ‘My plea for modern music is not that we should like it, nor necessarily that we should even understand it, but that we should exhibit it as a significant human document.’

© Gordon Kerry 2014

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I N H A R M O N Y

AN INTIMATE, BOUTIQUE STYLE, FIVE-STAR HOTEL HOUSED WITHIN A STUNNING HERITAGE-LISTED BUILDING LOCATED IN THE HEART OF SYDNEY.

AUSTRALIAN STRING QUARTET TICKET HOLDERS RECEIVE 15% OFF AT BISTRO FAX BAR.

OFF BEST AVAILABLE RATES15% *

*Only available to Australian String Quartet ticket holders when using promotional code ‘asq’ at time of booking

RADISSON BLU HOTEL SYDNEYPROUD SPONSOR AND PREFERRED SYDNEY PARTNER OF THE AUSTRALIAN STRING QUARTET

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W E E K E N D O F M U S I C

MARGARET RIVER

3rd to 5th October, 2014

Tailored packages and concert tickets for this exclusive weekend event are limited. For more information and to book, go to www.asq.com.au or call 1800 080 444.

Australian String Quartet

Sara Macliver soprano

Slava Grigoryan guitar

Anna Goldsworthy piano

Join the Australian String Quartet for a weekend of intimate performances featuring exceptional guest artists and indulgent gourmet experiences at

leading wineries in the beautiful Margaret River region.

A U S T R A L I A N S T R I N G Q U A R T E T ’ S

Renaissance Tours is offering a fully escorted tour ex Perth (including the ASQ Platinum Package, accommodation and sightseeing). Call 1300 727 095 for details.

$350,000+ Allan Myers AO & Maria Myers AO$250,000+ Klein Family Foundation$50,000+ Clitheroe FoundationRichard & Tess Harvey AMLyndsey & Peter HawkinsHunt Family FoundationNorma LeslieMichael LishmanThe Ian Potter Foundation$30,000+ Mr Philip BaconNicholas & Elizabeth CallinanJanet & Michael HayesDavid & Pam McKeePeter & Pamela McKeeThyne Reid Foundation$15,000+ Mrs Diana McLaurin$10,000+ Josephine DundonAngela FlanneryJoan LyonsMacquarie Group FoundationPauline MenzRobert Salzer FoundationWright Burt Foundation$5,000+ Berg Family FoundationJohn ClaytonHilmer Family FoundationKeith Holt & Anne FullerM & F Katz Family FoundationMr Robert KenrickKevin Long

Skye McGregorThe Late Elisabeth Murdoch AC DBEJohn O’HalloranMrs Jane PorterTony & Joan SeymourPeter & Melissa SlatteryNigel Steel Scott$2,000+ Don & Veronica AldridgePeter AllanBernard & Jackie BarnwellGraham & Charlene BradleyHillier Carter PropertiesRic Chaney and Chris HairJohn & Libby ClappGeoff ClarkDr Peter CliftonDavid Constable AMMaurice & Tess CrottiDr Neo DouvartzidisMichael J DrewMargaret FlatmanJohn Funder & Val DiamondDr E.H & Mrs A. HirschAnita Poddar & Peter HoffmannJanet Holmes à Court ACLynette and Gregory JaunayMr S JohnsRenata & Andrew KaldorKevin & Barbara KaneMichael & Susan KiernanThe Hon Christopher Legoe QC & Jenny LegoeHugh & Fiona MacLachlan

Dr Robert MarinSimon Marks-IsaacsHelen and Phil MeddingsMrs Inese MedianikSusan & Frank MorganMrs Frances MorrellJon Nicholson & Jennifer StaffordMrs Jenny Perry (in memory of John)Patricia H ReidSusan M RenoufTrish & Richard Ryan AOPaul & Margarita SchneiderVivienne SharpeAndrew SissonKeith & Dianne SmithElizabeth SymeGary & Janet TilsleyMr Eng Seng TohIan Wallace & Kay FreedmanMarjorie WhiteLyn Williams AMJanet WorthAnnie & Philip Young$1,000+ David & Liz AdamsJohn & Angela ArthurJohn & Mary BarlowPhilip BarronDianne Barron-DavisSimon BathgateJean & Geoff BaulchAlison BeareCandy BennettMs Baiba BerzinsBHP Billiton’s Matched Giving ProgramHeather Bonnin OAMStephen & Caroline Brain

3Thomas BreenDavid & Kate BullenPam CaldwellCaptain & Mrs D P ClarkePeter Clemenger AO & Joan ClemengerCaroline & Robert ClementeIan CochraneDavid CookeColin & Robyn CowanRobin Crawford & Judy JoyeMarie DalzielJiri & Pamela FialaPhilip Griffiths ArchitectsProfessor Keith HancockDr Penny Herbert in memory of Dunstan HerbertHiggins Coatings Pty LtdJim & Freda IrenicKevin & Barbara JarryNeil J JensBrian L Jones OAMRod & Elizabeth KingHon Diana Laidlaw AMKeith & Sue LangleyDavid & Anne MarshallHE & RJ McGlashanDG & KC MorrisVictor & Barbara MulderDonald Munro AM & Jacquelyn MunroKen NielsenLady Potter ACJohn & Etelka RichardsChris & Fran RobertsJill RussellJeanette Sandford-Morgan OAMMichael & Chris Scobie

The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contribution remains anonymous. The following donations reflect cumulative donations made from 2008 onwards.

The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444.

Donors

Antony & Mary Lou SimpsonDick and Caroline SimpsonPamela and Tony SlaterCarl VineNicholas WardenTed & Robyn WatersPamela YuleFay Zaikos$500+David & Elaine AnnearTerrey & Anne ArcusProf. Margaret ArstallMrs J BeareGC Bishop & CM MoronyStephen BlockJohn & Christine ChamberlainMary Rose & Tim CooneyAlan Fraser CooperRae De TeligaRon DyerMartin DykstraAngela GrutznerJean HadgesDr & Mrs G C HallGerard & Gabby HardistyTim & Irena HarringtonGraeme HarveyMary HaydockMr Hartley HigginsDr Anthony & Emily HortonAndrew & Fiona JohnstonPeter JoplingRose KempStephen & Kylie KingDavid LeeceEdwina LehmannMs Rose McAleerAlison McIntyreJohn McKay and Claire BrittainJames McLeodIan & Margaret MeakinDr Colin E MooreJenny NicolTerry & Pauline O’BrienLeon & Moira PericlesBasil PhillipsGraham & Robyn ReaneyM ResekEllen & Marietta Resek

Peter RushDeborah SchultzSandra StuartJames SymeSimon & Rosita TrincaPeter WilkinsonJenny Wily & Adrian HawkesPat & Rosslyn Zito$100+ Marion R AllenJulie AlmondBill AndersonSusan ArmitageSylvia BacheMerrawyn BagshawJohn BaldockPatricia BarkerJoy Barrett-LennardMrs Jillian BeareMr & Mrs Peter & Alison BeerWendy BirmanMichael BlandProfessor John BradleyDavid BrightMax & Elizabeth BullPip BurnettChris & Margaret BurrellAlastair & Sue CampbellTim & Lyndie CarracherDon CarrollMrs Ann CastonRichard and Lina CavillMax and Stephanie CharlesworthGreg Coulter & Carolyn PolsonMrs Margaret Daniel OAMSusan DavidsonMrs Daphne DaviesBruce DebelleMary DraperGraham DudleyDr H EastwellMrs Alexandra ElliottMrs Charlotte EnglandSusan FallawPhilip & Barbara FargherMrs Judy FlowerMr John ForsythPamela FoulkesBill & Penny FowlerRichard Frolich

Christopher FyfeR & J GalleryProf. Robert GilbertDr Joan Godfrey OBEJan GrantDieter Grant-FrostH.P. GreenbergMrs Helen GreensladeMargaret GregoryDes GurryAlison HarcourtGeoff HashimotoAnn HawkerMrs Helen HealyLaurie & Philippa HegvoldMr Dennis HenschkeDudley and Julie HillDavid HilyardEmily HuntAnthony IngersentVernon IrelandRobin IsaacsMs Nola JenningsMr Martin KeithAngus & Gloria KennedyWayne & Victoria LaubscherAnne LevySusan LitchfieldMegan LoweGrant LuxtonMargaret & Cameron MacKenzieGreg Mackie OAMJean MatthewsHelen McBrydeJohn & Jill McEwinDuncan McKayMrs Janice E MenzRichard & Frances MichellMr & Mrs I MillMs Elizabeth MorrisFlorence MorrowRobert & Heather MotteramHughbert MurphyJohn & Gay NaffineDerrick NicholaMrs Mary O’HaraJohn OvertonLee PalmerJosie PennaSabine Pfuhl

Colin A PhysickMr William PickJ & P PincusJanice PleydellJ & M PollMr Franz PribilJen & Ian RamsayThe Rev’d Dr Philip RaymontIan & Gabrielle ReeceDr James RobinsonMs Chloe RoeMrs Clare RogersLesley RussellJenny SalmonMeredyth Sarah AMThe Late Judith SchroderDavid ScownAdrienne ShawMrs Angela SkinnerJudy SloggettMr Michael SteeleBarbara StodartDavid & Jo TamblynRobyn TamkeJolanta TargownikJJ & AL TateMrs A.N.Robinson & Dr M.G.TingayRoger & Cherry TrengoveSue TweddellJ.P. UhrMr Ian UnderwoodBrian & Robyn WaghornProfessor Ray WalesMr David YoungSarah YuSilvana Zerella

MUSIC LIBRARY FUNDThe ASQ greatly appreciates the support of the following patrons who have generously contributed to the acquisition of musical works to establish and build the ASQ’s own music library.Prof Richard Divall AO OBEJohn & Carole GraceRoz Greenwood & Marg PhillipsJanet & Michael HayesMrs Diana McLaurinGary & Janet Tilsley

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PHOTOGRAPHY BY JACQUI WAY & ARTWORK BY SUE NINHAM COURTESY OF BMG ART

A S Q B O A R D

Paul Clitheroe AM (Chair) Alexandra Burt Nicholas Callinan Angela Flannery Janet Hayes Ulrike Klein Paul Murnane Maria Myers AO Susan Renouf Jeanette Sandford-Morgan OAM Angelina Zucco – Executive Director

Quartet-in-Residence The University of Adelaide SA 5005 Australia

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