R E M E M B E R T O M O R R O WT O U R O N E

2 0 F E B R U A R Y — 1 1 M A R C H , 2 0 1 5

A U S T R A L I A NS T R I N G

Q U A R T E T

N A T I O N A L S E A S O N

2 0 1 5

Welcome to our 30th Anniversary season, a time to reflect on years gone by and a celebration of the future. In recognition of the original Australian String Quartet – William Hennessy, Douglas Weiland, Keith Crellin and

Janis Laurs – we begin our season with one of Haydn’s most sophisticated and polished quartets, opus 76 no 3, Emperor. This work is perhaps most famous for its second movement theme, based on the anthem “God Save

Francis the Emperor”, and was one of the works that appeared at the ASQ’s inaugural concert 30 years ago.

Another anniversary this year is the Centenary of the ANZAC landing at Gallipoli. Ross Edwards has written an evocative and moving work entitled

Gallipoli especially for us to play on this occasion. It is to be premiered on this national tour in Albany, Western Australia, where many troops had their last glimpse of Australian soil. We are most grateful to Lady Primrose Potter, the Ian Potter Cultural Trust and Professor Richard Divall for their incredible

support of this project. The work was recently recorded for a commemorative ANZAC CD Gallipoli - A Tribute and is dedicated to the RSL Australia,

RSA New Zealand and Legacy.

The third String Quartet of Dmitry Shostakovich was the only work he completed in 1946 following World War II. The original cellist of the Borodin

Quartet, Dmitry Dmitriyevich, recalls how over several glasses of vodka, Shostakovich revealed the ideas behind the five movements: firstly, the peaceful

life in Russia, the build up of war in surrounding countries, the tank armada invasion of Russian territory, a requiem for the dead, and in the last movement a reflection on the fate of mankind. There is debate about the validity of these statements as they aren’t written into the manuscript, but they do correspond closely to the musical structure, tempos and themes, and the times in which it was composed. This quartet was known to be one of the composer’s favourite

works, and its performance was banned in Russia at the time.

Behind the scenes of this concert series we are auditioning and trialing to build the ASQ of tomorrow and of many years to come. For this concert we welcome our longtime friends, Wilma Smith on first violin and Cameron Hill on second

violin as guest artists. We are really enjoying working with them for this first tour and heartily thank them!

Steve, Sharon and the ASQ team.

W E L C O M E

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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.

music.adelaide.edu.au

Elder Conservatorium of Music

Delivering over 130 years of music excellence

Haydn, String Quartet in C major op 76 no 3, EmperorRoss Edwards, Gallipoli* (World Premiere performances)

IntervalShostakovich, String Quartet no 3 in F major, op 73

With guest violinists, Wilma Smith and Cameron Hill

*Commissioned by the Ian Potter Cultural Trust to commemorate the 100th Anniversary of ANZAC

Perth, Friday 20 February Government House Ballroom

Melbourne, Thursday 26 February Melbourne Recital Centre

Canberra, Sunday 1 March Gandel Hall, National Gallery of Australia

Brisbane, Thursday 5 March Conservatorium Theatre, South Bank

Sydney, Saturday 7 March City Recital Hall Angel Place

Adelaide, Wednesday 11 March Adelaide Town Hall

Don’t miss our next National tour, Abundance 1 – 8 September

P R O G R A M

D A T E S

PRESENTED IN ASSOCIATION WITH

With a rich history spanning 30 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.

Violist Stephen King and cellist Sharon Draper are the current members and Artistic Directors of the ASQ. In 2015, they

are joined by invited guest violinists to present the Quartet’s performance season, whilst working behind-the-scenes to

recruit two permanent violinists to the Quartet.

The Quartet’s performance calendar for 2015 comprises its National Season featuring three 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 an international

tour to Italy in May.

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 Australian String Quartet 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.

A U S T R A L I A NS T R I N G

Q U A R T E T

Stephen played violin while growing up in Canberra and turned to the dark side (viola)

after all but completing an architecture degree in Brisbane. Stephen holds a Doctorate

in Chamber Music from the University of Maryland. His teachers include Elizabeth

Morgan, James Dunham, and Michael Tree of the Guarneri Quartet. From 1997 Stephen

was violist of the Coolidge String Quartet based in Washington D.C. and also Associate Principal Viola of the Boston Philharmonic

Orchestra and a member of the Boston Modern Orchestra Project. Stephen returned

to Australia in 2003 to join the Australian Chamber Orchestra. Since 2012 he has

performed with the Australian String Quartet.

Sharon began her career as a freelance cellist with the Melbourne Symphony Orchestra (MSO), Melbourne Chamber Orchestra, Academy of Melbourne Orchestra and

Orchestra Victoria. After joining the Australian Chamber Orchestra’s (ACO) Emerging

Artists program, she toured extensively with the ACO, was appointed to the MSO, and founded the Hopkins String Quartet. In

2011 she studied in Berlin and toured with the Mahler Chamber Orchestra and Spira

Mirabilis Chamber Orchestra. Sharon joined the Australian String Quartet in 2013 and this year will also perform as a guest with the Australian World Orchestra, Australia Ensemble, and guitarist Slava Grigoryan.

S T E P H E N K I N GV I O L A

S H A R O N D R A P E R C E L L O

The members of the Australian String Quartet are privileged to have access to 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. For this tour, the viola and cello are on loan to the Australian String Quartet from Ulrike Klein 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 a further $510,000 over three years and a group of donors have contributed $182,404. To acquire the cello Ngeringa Arts must raise a total 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

Hartley Higgins

David and Pam McKee

Ian and Pamela Wall

Janet and Michael Hayes

Richard Harvey

Jill Russell

Skye McGregor

Lyndsey and Peter Hawkins

Jari and Bobbie Hryckow

Janet and Gary Tilsley

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

Wilma Smith was Concertmaster of the Melbourne Symphony Orchestra from

2003 – 2014. Born in Fiji and raised in New Zealand, she studied in Boston at the New England Conservatory with the legendary Dorothy DeLay and Louis Krasner before

becoming first violinist of the Lydian String Quartet, winning the Naumburg Award for Chamber Music and prizes at the Evian,

Banff and Portsmouth International String Quartet Competitions. She also worked

regularly with the Boston Symphony Orchestra and was Concertmaster of the Harvard Chamber Orchestra and Handel

and Haydn Society. Invited to return home to form the New Zealand String Quartet,

Wilma was later appointed Concertmaster of the New Zealand Symphony Orchestra, then

the Melbourne Symphony Orchestra. She curates her own chamber music series called “Wilma and Friends”. Wilma has appeared as Guest Concertmaster with the Sydney, West Australian, Tasmanian symphony orchestras and the Auckland Philharmonia Orchestra and continues to free-lance while her focus

shifts once more to chamber music.

Cameron Hill is an Australian violinist who appears as soloist, chamber musician and orchestral player. He studied with Cathryn

Bills, William Hennessy and Alice Waten. He has performed as soloist with many Australian

orchestras, including the Melbourne Symphony Orchestra, Queensland Symphony Orchestra, Tasmanian Symphony Orchestra,

Canberra Symphony Orchestra and the Melbourne Chamber Orchestra. Cameron has also had success in major competitions,

winning both the 2005 Dorcas McClean National Violin Competition and the 2006 ABC Young Performer of the Year. He has appeared as guest leader of the Flinders Quartet in 2012-2013, as Principal Viola of the ACO2, has toured Europe with the

Mahler Chamber Orchestra, and continues to perform casually with the Australian

Chamber Orchestra. During 2014, Cameron appeared as guest concertmaster of both the

Melbourne Symphony Orchestra and Adelaide Symphony Orchestra.

G U E S T A R T I S T W I L M A S M I T H

V I O L I N

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

V I O L I N

Haydn’s life took an unexpected turn in 1790 with the death of his employer, Prince Nikolaus Esterházy. Nikolaus often spent ten months a year at the relatively remote palace of Eszterháza with his retinue, including musicians for his orchestra, opera

house and chapel. Prince Anton, who succeeded Nikolaus, disbanded the orchestra. Haydn could at last accept invitations to travel – while he had been working in the seclusion of Eszterháza his music had become renowned throughout Europe. (As he once quipped, isolation had ‘forced me to be original’.) His visits to London in the early 1790s established him as the most sought-after composer of his time.

In 1795 Haydn settled in Vienna, and devoted himself largely to choral and vocal music. The only kind of instrumental music that interested him at this time was

his beloved string quartet. Op 76 was completed in 1797 and is dedicated to the Hungarian Count Erdödy (a member of the same family which supported

Beethoven some years later). Op 76 is the work of someone in full control of his technique, with the same sense of popular idiom and expansive scale as we hear in

works written for the large, appreciative middle class audience of London.

In London, Haydn had experienced the galvanising effect of the mass singing of the National Anthem, something that Imperial Austria did not so far have. On

returning to Vienna he agreed to write a similar tune to words by Lorenz Haschka to celebrate the birthday of Emperor Franz II. This Volkslied (a ‘folk-song’ or ‘song of the people’) was sung to the Imperial couple at the Burgtheater on 12 February

1797. Never one to waste a good tune, Haydn used it as the theme for the variations that form the slow movement of this work.

The Imperial connections don’t stop there, though. As Marc Vignal has noted, the first movement begins with an acrostic: the notes G-E-F-D-C ‘spell’ G(ott) E(rhalte) F(ranz) D(en) C/K(aiser) (God preserve the Emperor Franz), the first

line of Haschka’s poem, though the theme thus spelled is by no means ‘dignified’, as the movement hurtles forward with a trademark mixture of sheer fun

and sophisticated technique.

After the variations on the famous theme, Haydn offers a disarmingly simple menuet that contrasts with its chromatic, introspective trio. The finale begins

with a terse gesture in the minor key, though any seriousness is ultimately dispelled by Haydn’s humour.

© Gordon Kerry 2004/15

String Quartet in C major, op 76 no 3, EmperorAllegro

Poco adagio. CantabileMenuet

Finale: presto

J O S E P H H A Y D N ( 1 7 3 2 - 1 8 0 9 )

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As part of our partnership we are delighted to offer ASQ members 10% off the best available rate*. which includes our newly refurbished apartment style rooms. Plus receive a Moleskine passions journal as part of your stay with us.

To book please call 1300 361 455 and mention ASQ to take advantage of this offer, or email grandhotelmelbourne@accor.com

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Ross Edwards’ music reconnects with elemental forces and restores its traditional association with ritual and dance. Universal in that it is concerned with age-old

mysteries surrounding humanity, it is at the same time deeply connected to its roots in Australia, celebrating its cultural diversity, and drawing inspiration from its natural environment – especially birdsong and the mysterious patterns and drones of insects.

Ross Edwards’ compositions include orchestral, choral, chamber and vocal music, children’s music, film scores, a chamber opera and music for dance. His Dawn Mantras greeted the new millennium from the sails of the Sydney Opera House

in a worldwide telecast. Works designed for the concert hall, sometimes requiring special lighting, movement, costume and visual accompaniment, include his Fourth

Symphony Star Chant; the Oboe Concerto Bird Spirit Dreaming, which Diana Doherty premiered with the Sydney Symphony and Lorin Maazel, subsequently

performing it with the New York Philharmonic and many other orchestras around the world; and The Heart of Night, for shakuhachi and orchestra, composed for

Grand Master Riley Lee. Recent commissions include Sacred Kingfisher Psalms for The Song Company, Ars Nova Copenhagen and the Edinburgh Festival; a Piano

Sonata for Bernadette Harvey commissioned by the Sydney Conservatorium; Full Moon Dances, a saxophone concerto for Amy Dickson and the Sydney Symphony Orchestra; Five Senses, to poems of Judith Wright; Zodiac Dances for the Houston

Ballet; his String Quartet no 3 Summer Dances, for the Kelemen Quartet, commissioned by Kim Williams for Musica Viva Australia and Harp Mantras for the

Seven Harp Ensemble and didjeridu master William Barton.

The composer writes: I felt honoured when the Ian Potter Cultural Foundation invited me to create a musical work to help commemorate the 100th Anniversary of ANZAC, and I was especially pleased that it was to be performed by the Australian String Quartet, a distinguished ensemble with which I have collaborated over many

years and for which I have respect and admiration. I’ve tried to make the music both memorable and approachable to as wide as possible an audience without

compromising the solemnity of its purpose.

Gallipoli ranges between the sorrowful, drone-based questioning with which it begins and graceful, almost dance-like tenderness. There are contained

outbursts of anguish as well as consolatory moments which draw briefly upon harmonic idioms of the period, until finally, an ethereal violin melody wanders heavenwards – as if still seeking an answer – over a prayer for peace from the

Agnus Dei of my Mass of the Dreaming.

© Ross Edwards 2014

Gallipoli

R O S S E D W A R D S ( B O R N 1 9 4 3 )

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10% OFF THE BEST AVAILABLE RATE FOR ASQ MEMBERS*The Grand Hotel Melbourne is proud to be the preferred accommodation partner for the Australian String Quartet when they tour Melbourne throughout their National Season 2015.

As part of our partnership we are delighted to offer ASQ members 10% off the best available rate*. which includes our newly refurbished apartment style rooms. Plus receive a Moleskine passions journal as part of your stay with us.

To book please call 1300 361 455 and mention ASQ to take advantage of this offer, or email grandhotelmelbourne@accor.com

*Offer valid until 31/12/15, subject to availability and not available over special event periods. Mention ASQ for discount.

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Having been denounced by the official newspaper, Pravda in 1936, Shostakovich regained precarious favour with the Soviet regime when his Fifth Symphony appeared the following year.

By 1946, however, his stocks were falling again. Hostile critics noted that while the Seventh Symphony offered a vision of triumph during Russia’s darkest house, the Eighth was relatively pessimistic even though victory seemed assured. Despite Stalin’s ‘suggestion’ that the Ninth Symphony should be a choral paean to Soviet power, Shostakovich felt compelled to write a short, apparently light work full of barely concealed irony. In 1948, he was again denounced,

and forced to publicly acknowledge his ‘errors’. Much of Shostakovich’s work from the mid-1940s was written, as he put it, ‘for the drawer’ where works like the Violin Concerto

no 1 stayed until Stalin’s death in 1953.

The Third Quartet was Shostakovich’s major preoccupation during 1946 and, as Norman Lebrecht puts it, ‘opens a triptych of private torture-chamber works’. Where the Second

displayed the resilience of a Russian folk song in the face of a series of variations, the Third is a much more symphonic piece. The first movement is a complex structure of sonata and

learned elements, the second presaging doom in its particular use of the viola. The third movement creates drama out of the alternation of bars with three and two beats respectively.

The fourth is a passacaglia – where the relentless repetition of a theme is countered by a gradual loss of energy. That theme occurs at a climatic moment in the finale, which

eventually reaches a kind of peace.

It was long the accepted wisdom that the Borodin Quartet, who premiered it, had insisted that the quartet’s five movements had the following subtitles:

I Calm unawareness of the future cataclysm II Rumblings of unrest and anticipation

III The forces of war unleashed IV Homage to the dead

V The eternal question: Why? And for what?

referring, of course, to the then-recent war. Scholars have found no evidence for this in contemporary documents or in the published scores, but assuming that Shostakovich

sanctioned them it was perhaps to forestall the charge of ‘formalism’: Soviet code for decadent, Western-influenced music which is more concerned with itself than with proletarian values. But we have on the authority of the Beethoven Quartet’s Fyodor Druzhinin that at a 1964

rehearsal the composer was reduced to tears.

© Gordon Kerry 2003/15

D M I T R I S H O S T A K O V I C H ( 1 9 0 6 - 1 9 7 5 )

String Quartet no 3 in F major, op 73Allegretto

Moderato con motoAllegro non troppo

AdagioModerato

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$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 McKeeThyne Reid Foundation$20,000+Wright Burt FoundationPeter & Pamela McKeeMrs Diana McLaurin$10,000+Macquarie Group FoundationJosephine DundonAngela FlanneryJoan LyonsP. M. MenzRobert Salzer Foundation$5000+Berg Family FoundationJohn ClaytonHilmer Family FoundationKeith Holt & Anne FullerM & F Katz Family FoundationMr Robert KenrickThe Hon Christopher Legoe QC & Jenny LegoeKevin LongSkye McGregor

The Late Elisabeth Murdoch AC DBEJohn O’HalloranMrs Jane PorterTony & Joan SeymourPeter & Melissa SlatteryNigel Steel ScottGary & Janet Tilsley$2000+Don & Veronica AldridgePeter AllanBernard & Jackie BarnwellPhilip BarronGraham & 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 ‡ Court ACJim & Freda IrenicLynette and Gregory JaunayMr S JohnsRenata & Andrew KaldorKevin & Barbara KaneMichael & Susan KiernanRod & Elizabeth KingHugh & Fiona MacLachlanDr Robert MarinSimon Marks-IsaacsHelen and Phil Meddings

Mrs 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 SymeMr Eng Seng TohIan Wallace & Kay FreedmanMarjorie WhiteLyn Williams AMJanet WorthAnnie & Philip YoungFay Zaikos$1000+BHP Billiton’s Matched Giving ProgramDavid & Liz AdamsJohn & Angela ArthurJohn & Mary BarlowDianne Barron-DavisSimon BathgateJean & Geoff BaulchAlison BeareCandy BennettMs Baiba BerzinsHeather Bonnin OAMStephen & Caroline BrainThomas BreenDavid & Kate BullenPam CaldwellCaptain & Mrs D P ClarkeNo AcknowledgementPeter 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 LtdKevin & Barbara JarryNeil J JensAndrew & Fiona JohnstonBrian L Jones OAMHon Diana Laidlaw AMKeith & Sue LangleyDavid & Anne MarshallHE & RJ McGlashanDG & KC MorrisVictor & Barbara MulderDonald Munro AM & Jacquelyn MunroKen NielsenLady Potter ACM ResekJohn & Etelka RichardsChris & Fran RobertsJill RussellJeanette Sandford-Morgan OAMMichael & Chris ScobieAntony & Mary Lou SimpsonDick and Caroline SimpsonPamela and Tony SlaterCarl VineNicholas WardenTed & Robyn WatersJenny Wily & Adrian Hawkes

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.

D O N O R S

Pamela Yule$500+Tony and Carol BergAnita Poddar & Peter HoffmannProf Alan T JamesJulie AlmondDavid & Elaine AnnearTerrey & Anne ArcusProf. Margaret ArstallMrs J BeareGC Bishop & CM MoronyStephen BlockJohn & Christine ChamberlainMary Rose & Tim CooneyAlan Fraser CooperRae De TeligaRon DyerMartin DykstraMrs Helen GreensladeAngela GrutznerJean HadgesDr & Mrs G C HallGerard & Gabby HardistyTim & Irena HarringtonGraeme HarveyMary HaydockMr Hartley HigginsDr Anthony & Emily HortonPeter JoplingRose KempStephen & Kylie KingDavid LeeceEdwina LehmannMegan LoweMs Rose McAleerAlison McIntyreJohn McKay and Claire BrittainJames McLeodIan & Margaret MeakinDr Michaela MeeDr Colin E MooreJenny NicolTerry & Pauline O’BrienLeon & Moira PericlesBasil PhillipsGraham & Robyn ReaneyEllen & Marietta ResekPeter RushDeborah SchultzDavid ScownSandra Stuart

James SymeMrs A.N.Robinson & Dr M.G.TingaySimon & Rosita TrincaPeter WilkinsonPat & Rosslyn Zito$100+Marion R AllenBill AndersonSusan ArmitageNo AcknowledgementDr Reiko AtsumiSylvia BacheMerrawyn BagshawJohn BaldockNo AcknowledgementPatricia 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 DebelleProf Richard Divall AO OBEMary DraperDr H EastwellMrs Alexandra ElliottLynette EllisMrs Charlotte EnglandSusan FallawPhilip & Barbara FargherMrs Judy FlowerNo AcknowledgementMr John ForsythPamela FoulkesBill & Penny Fowler

Richard FrolichChristopher FyfeR & J GalleryProf. Robert GilbertDr Joan Godfrey OBECameron GoodairJan GrantDieter Grant-FrostH.P. GreenbergRoz Greenwood & Marg PhillipsMargaret 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 LitchfieldGrant 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 NaffineMr Colin NeaveDerrick NicholasGraham DudleyMrs Mary O’HaraJohn Overton

Lee PalmerJosie PennaSabine PfuhlColin A PhysickMr William PickJ & P PincusDr Roger PlayerJanice 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 SchroderAdrienne ShawMrs Angela SkinnerJudy SloggettMr Michael SteeleBarbara StodartNo acknowledgementDavid & Jo TamblynRobyn TamkeJolanta TargownikJJ & AL TateRoger & Cherry TrengoveSue TweddellJ.P. UhrMr Ian UnderwoodBrian & Robyn WaghornProfessor Ray WalesJonathan Wells QCIan & Hannah WilkeyMr David YoungSarah YuSilvana Zerella

Music Library FundProf Richard Divall AO OBEJohn & Carole GraceRoz Greenwood & Marg PhillipsJanet & Michael HayesMrs Diana McLaurinGary & Janet Tilsley

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A S Q B O A R D

Alexandra Burt Nicholas Callinan (Chair)

Janet Hayes Paul Murnane

Maria Myers AO Susan Renouf

Jeanette Sandford-Morgan OAM Angelina Zucco – Executive Director