ILYA GRINGOLTS PLAYS PAGANINI - au-com-aco-assets.s3 ... · Niccolò Paganini (1782 – 1840) (arr. Bernard Rofe) Violin Concerto No.1 in E-flat major, Op.6 Niccolò Paganini is the

PRINCIPAL PARTNERNATIONAL TOUR PARTNER

A never-ending discovery

Emily Bitto meets violinist Ilya Gringolts

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Shadowy theatrics and brazen tactics

Sam Twyford-Moore upacks the beguile of the virtuoso

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Aiko and the ACO

Violinist Aiko Goto celebrates 20 years with the Orchestra

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ILYA GRINGOLTS PLAYS PAGANINI

SEP–OCT 2018

T A K I N G O F F

C O M I N G H O M E I S N I C E B U T

I S W H E R E T H EE X C I T E M E N T L I V E S

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

O R C H E S T R A

T A K I N G O F F

C O M I N G H O M E I S N I C E B U T

I S W H E R E T H EE X C I T E M E N T L I V E S

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

O R C H E S T R A

WelcomeFrom the ACO’s Managing

Director Richard Evansp.2

ProgramListing and

concert timingsp.3

MusiciansPlayers on stage for

this performancep.6

About the ACO

Explosive performances and brave interpretations

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Program in Short

Your five-minute read before lights down

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A Never-ending Discovery


p.14

Shadowy Theatrics and Brazen Tactics

Sam Twyford-Moore upacks the beguile of the virtuoso

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Aiko and the ACO

Violinist Aiko Goto celebrates 20 years with the Orchestra

p.32

ACO News

News, highlights and upcoming events

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

INSIDE:

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NATIONAL CONCERT SEASON 2018COVER PHOTO. THOMASZ TRZEBIATOWSKI | PRINTED BY. PLAYBILL PTY LTD

The ACO is renowned the world over for the virtuosity, excellence and mastery of its musicians. For these concerts I am delighted to welcome an artist who also epitomises these qualities, Russian violin virtuoso Ilya Gringolts.

Ilya is an extraordinary musician; a violinist whose virtuosity and artistry sits at the very top of our profession. It’s only fitting that Ilya will make his ACO debut with the music of Paganini, a composer and violinist whose own skill was so unfathomable to audiences that, during his lifetime, rumours abounded that he had sold his soul to the devil to attain such technical prowess.

Our National Tour Partner, Maserati, likewise embrace and reflect these qualities of virtuosity and excellence. I thank Maserati for their support of this tour, and their now eight-year support of the ACO.

Shortly the ACO will embark to London for our first official season in residence as International Associate Ensemble at Milton Court at the Barbican Centre, where Richard Tognetti will lead the Orchestra in three diverse programs, revealing to London audiences some of the breadth and depth of repertoire and interpretation that Australian audiences have access to annually through our subscription program.

There may be some of you yet to renew your subscription for our 2019 Season, and indeed some audience members ready to take the plunge into our full program for the first time. I assure you – you won’t regret it for an instant!

I look forward to seeing you all when we return for Tognetti’s Beethoven, our exhilarating final concert for 2018.

WELCOME

Richard EvansManaging Director

Join the conversation #ACO18

AUSTRALIAN CHAMBER ORCHESTRA

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PROGRAM

ACO concerts are regularly broadcast on ABC Classic FM.

Ilya Gringolts Plays Paganini will be broadcast live from the Sydney Opera House on 7 October, and then repeated on 15 December at 2pm on ABC Classic FM.

Ilya Gringolts Guest Director and Violin

Timo-Veikko Valve Cello

Julian Thompson Cello

Australian Chamber Orchestra

Ilya Gringolts’ appearance is supported by The Dame Margaret Scott ac Fund for International Guests and Composers.

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

CPE BACH Sinfonia in C major, Wq.182/3 10 I. Allegro assai II. Adagio III. Allegretto

PAGANINI (arr. Rofe) Violin Concerto No.1 in E-flat major, Op.6 35 I. Allegro maestoso II. Adagio espressivo III. Rondo: Allegro spiritoso

INTERVAL 20

VIVALDI Concerto for Violin and 2 Cellos in C major, RV561 10 I. Allegro II. Largo III. Allegro molto

BARTÓK Divertimento 24 I. Allegro non troppo II. Molto adagio III. Allegro assai

The concert will last approximately one hour and 50 minutes, including a 20-minute interval.The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

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NATIONAL CONCERT SEASON 2018

When luxury has no limits

Levante GranLusso

On behalf of Maserati, I am delighted to be presenting the ACO’s Ilya Gringolts plays Paganini. I have no doubt that this National Tour will showcase the exceptional talent of this Russian violin sensation.

Clearly Ilya is inspirational for both audiences and fellow musicians alike, looking across his astounding range of performances not just in Europe, but also Asia, Africa and, after a first-time visit in 2009, Australia. He has performed with the world’s leading symphony and chamber orchestras and the breadth and depth of his ability is exceptional.

Ilya and the ACO will together produce a breathtaking realisation of Paganini’s Violin Concerto No.1 in D major which reveals the full development of Paganini’s technical wizardry and which caused audiences to gasp at its audacity when it was first performed. Indeed, it was this very Concerto that brought Ilya to Richard Tognetti’s attention with a performance that mesmerised the Artistic Director and lead violin of the ACO.

Of course, I cannot help but note that, with Paganini being Italian and renowned for that technical virtuosity in both his compositions and his own performances, he can only but provide a link to Maserati’s own Italian technical virtuosity that produces, in its own way, magnificent sounds and inspirational experiences.

The ACO shares with Maserati a rare and unique passion for their respective areas of achievement. This is reflected in our relationship which has enabled the ACO to further extend its reach to new audiences and for Maserati to strengthen its relationship with owners in a manner that truly reflects the Maserati philosophy.

NATIONAL TOUR PARTNER

Glen Sealey Chief Operating Officer Maserati Australia, New Zealand & South Africa

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Helena RathbonePrincipal Violin

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

Satu Vänskä Principal Violin

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

Ilya Gringolts Guest Director and Violin

Ilya plays a 2011 Matthieu Devuyst violin for the Paganini Violin Concerto and a 1723–24 Giuseppe Guarneri del Gesù violin for the CPE Bach, Vivaldi and Bartók.

The musicians on stage for this performance.

MUSICIANS

Glenn Christensen Violin

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

Aiko GotoViolin

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

Mark IngwersenViolin

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

ACO PLAYERS DRESSED BY SABA

Ilya IsakovichViolin

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


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Ida BryhnGuest Principal Viola

Chair sponsored by peckvonhartel architects. Ida appears courtesy of Norwegian Chamber Orchestra.

ACO MUSICIAN PHOTOS. BEN SULLIVAN

Ike SeeViolin

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

Melissa BarnardCello

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

Nathan Greentree Viola

Nathan plays a viola by Štefan Valc�uha made in 2008 in New York.

Liisa Pallandi Violin

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

Nicole Divall Viola

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

Julian ThompsonCello

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

Maxime Bibeau Principal Bass

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

Timo-Veikko ValvePrincipal Cello

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

Elizabeth Woolnough Viola

Elizabeth appears courtesy of Melbourne Symphony Orchestra.

Maja Savnik Violin

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

Discover more

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

aco.com.au


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PHOTO. WOLTER PEETERS

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THE ACO

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

– The Australian, 2017

The Australian Chamber Orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in history but always looking to the future, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations.

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

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

In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Recent releases include Water | Night Music, the first Australian-produced classical vinyl for two decades, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. aco.com.au

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PROGRAM IN SHORTYour five-minute read before lights down.

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Carl Philipp Emanuel Bach (1714 – 1788)Sinfonia in C major, Wq.182/3

Johann Sebastian Bach’s fifth child, Carl Philipp Emanuel, spent the last 20 years of his life in Hamburg, where he succeeded his godfather, Georg Philipp Telemann, as Kapellmeister of the city’s churches.

Known to his contemporaries simply as Emanuel, he worked during an important time of transition from the Baroque style, which his father had so perfected, to the Classical style that Haydn and Mozart would bring to full maturity. But, in stark contrast to the elegant and mannered galant style of his contemporaries, Carl Philipp Emanuel favoured a more dynamic, dramatic approach. Consequently, he earned a reputation for his “singular taste, verging on the bizarre”.

He would have been pleased then, while in Hamburg, to be commissioned by the Dutch-Austrian diplomat Gottfried van Swieten – a patron of Haydn, Mozart and Beethoven – for six string symphonies, in which he was required to “give himself free rein, without regard to difficulty.” These string symphonies are like Frankenstein monsters of string orchestra writing: they are graceful and spirited, fiendishly virtuosic, and decidedly avant-garde – pushing every musical boundary of the era.

Niccolò Paganini (1782 – 1840) (arr. Bernard Rofe)Violin Concerto No.1 in E-flat major, Op.6

Niccolò Paganini is the prototype for all instrumental virtuosi. To this day, he is regarded as the greatest violin virtuoso of all time, and his cult reputation included claims that he sold his soul to the Devil in exchange for his seemingly superhuman abilities.

As a young man, Paganini was already considered “unquestionably the leading and greatest violinist in the world”. Despite enjoying enormous success in his native Italy, he did not yet feel ready to launch himself on the capitals of Europe, as he was worried he wouldn’t be recognised as a serious musician until he could demonstrate his skills in music of his own composing.

In 1820, Paganini’s first compositions were published, including his famously

“unplayable” 24 Caprices, and first Violin Concerto, premiered in Naples in 1819. The concerto is written in E-flat, a difficult key for string players, but the solo violin is written in D, tuned up to match the orchestra, allowing the soloist to achieve “impossible” virtuosic effects.

Despite this trickery, the concerto demonstrates a vast range of violinistic wizardry: from flamboyant passagework to ridiculous double stops. Essentially in the Italian bel canto style akin to the operas of Rossini, the orchestral accompaniment lends itself to this less bombastic, but appropriately operatic, scoring for string orchestra.

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Antonio Vivaldi (1678 – 1741)Concerto for Violin and 2 Cellos in C major, RV561

Antonio Vivaldi was born in Venice and was the son of a violinist in the orchestra of St Mark’s Church. Consequently, he became an outstanding violin virtuoso himself, with accounts of his playing typically reading as follows: “For such playing has never been heard before and can never be equaled. He placed his fingers but a hair’s breadth from the bridge, so that there was hardly room for the bow.”

For much of his life, Vivaldi conducted the orchestra and chorus at one of Venice’s four institutions for orphaned young girls, the Ospedale della Pietà. Many of these girls became brilliant singers and instrumentalists, with people travelling from far and wide to hear them. Of Vivaldi’s 500-plus concertos, many were written for the talented girls of these institutions.

The Concerto in C major, RV561 is written for a curious combination of instruments (violin and two cellos), unique to Vivaldi’s output. There is an abundance of wit and humour in the fast outer movements, in which the violin teases the cellos into chasing after it. In the central Largo, the violin sings a charming aria while accompanied by the gentle rocking of arpeggios from the two cellos.

Béla Bartók (1881 – 1945)Divertimento

The Swiss conductor Paul Sacher was responsible for commissioning a number of important 20th-century string orchestra pieces for his Basel Chamber Orchestra, including works by Honegger, Hindemith and Stravinsky. He also commissioned some of Bartók’s greatest pieces, including Music for Strings, Percussion and Celesta (1936), the Sonata for Two Pianos and Percussion (1937) and the Divertimento (1939).

Divertimenti were popular in the 18th century, with notable examples coming from Mozart and Haydn. In the early 20th century, the form made a comeback as part of the Neoclassical trend that even the folk music devotee Bartók was not immune to. “Divertimento” comes from the Italian “divertire” which means “to amuse”. Perhaps Bartók had hoped for some light-hearted respite from the gloom of pre-war Europe.

The Divertimento’s outer movements certainly bustle with Bartók’s usual sunny, folk-inspired optimism, but always lead to darker territory. This optimism is absent from the twists and turns of the brooding middle movement, which seems to foreshadow impending terrors: Bartók completed his Divertimento in 15 days, only one month before the outbreak of the Second World War.

Bartók’s Divertimento was part of the program for the ACO’s inaugural concert in 1975 and remains a favourite of both our musicians and audiences today.

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

We are dedicated supporters of both.


A Never- ending Discovery

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A Never- ending Discovery


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PHOTO. THOMASZ TRZEBIATOWSKI

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member of the prestigious BBC Radio 3 New Generation Artists program. Since then, he has performed the world over, and spends almost half of every year away from his home base in Zurich.

Gringolts is now a teacher himself, and has thought deeply about the development of musical potential, both in himself and in his students. He tells me that, although a myriad of factors are involved in the early development of virtuosity, he believes the single most important factor is “what happens later on, after one grows up”. He explains that,

“after the whole puberty thing happens and you actually become a person and no longer a child, then this personal development, how it proceeds, that is, I think, what makes a musician, really…”

This distinction between technical skill and artistic value is fundamental for Gringolts, one he says he has only truly begun to understand since becoming a teacher. “I think I grew out of this childhood state actually just a

When I speak to Ilya Gringolts, he is back in Russia for a few brief

days of recording. In September, he will fly to Australia to guest-direct and perform with the Australian Chamber Orchestra. Somewhat nervously, I begin by asking him about the mantle of

“child prodigy”, having heard he resists the label. “Well, I suppose you could call me that,” he says drily. “Although I developed too late for a child prodigy. These days you call child prodigies really five-, six-year-olds, maybe 10-year-olds, that can already play everything. But I haven’t started playing concerts properly until I was 14, 15, which is still early but hardly a child.”

Gringolts was 16 when he won the International Violin Competition Premio Paganini, the youngest winner in the history of the competition. A year later, the Russian virtuoso moved to New York to study at the Juilliard School under Itzhak Perlman, also flying in and out of Britain as a select

“Gringolts has been known to use gut strings for certain projects, including performances of Paganini –something Satu Vänskä, principal violinist for the Australian Chamber Orchestra, describes as ‘a completely insanely frightening thing to do for a violinist’.”

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few years ago,” he laughs. What he has now gained is an understanding of, in his words, “what I’m looking for in music”. When I ask what that might be, he hesitates, as if unsure whether I will be able to follow him down a more esoteric path. “It’s just… it’s about time, how you manage time in music. That’s one factor, and the other factor is how you manage emotion. Emotion that is in music, and how you reconcile it with emotion that is in you, and that mixture of emotion that goes out, and then it has to awaken something in the listener. So that process is threefold, and has to be tightly controlled.” Returning to the idea of time, he explains that some of it is metaphysical. “A lot of it is linked to harmony, but not all. So it’s quite complex, really, and difficult to explain, but it makes the whole process of interpretation much more fine, because there are so many layers to open and to explore. It’s a never-ending discovery process.”

Looking at images and concert footage of the dark, handsome, sometimes brooding musician, I was unsure what to expect from our conversation, but Gringolts is

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AUSTRALIAN CHAMBER ORCHESTRA PHOTO. ANDREY PERFENOV

“The ACO is one of the most exciting, fantastic groups around,” he says. “Playing with these wonderful people and sharing my ideas with them… it’s a dream, really.”

delightful, relaxed and chatty, answering questions with gentle seriousness in his soft, international accent. He seems untroubled by the fact our conversation has interrupted a recording session. Although he is due back in the studio imminently, when I ask about the violins he will play in Australia, and about the kinds of strings he plays on, he becomes intensely animated. Gringolts has been known to use gut strings for certain projects, including performances of Paganini – something Satu Vänskä, principal violinist for the Australian Chamber Orchestra, describes as “a completely insanely frightening thing to do for a violinist”. Gringolts explains that gut strings are “more difficult to control, but the sound is warmer… the attack is more immediate”. He won’t, however, be playing on full gut strings for this tour, preferring a complex combination of string types he has been perfecting over the past couple of years. “I’ve experimented with a lot of different set-ups,” he says. “I normally play a combination of gut covered in metal, one synthetic covered in metal, and one steel… We could talk about this for hours.”

Gringolts will be bringing two violins to Australia: a 1743 Guarneri he describes as “really one of the most beautiful instruments that you can imagine”, and another made by a living Viennese violinmaker in 2011. This striking mix of ancient and contemporary characterises the range of projects Gringolts chooses. He is known for his versatility, regularly performing and recording everything from the most ancient to the most contemporary classical music. I ask him how he chooses each project. “Well, Isaac Stern said to use the rule of three P’s: prestige, payment and… what was the third one?” He chuckles when I suggest that perhaps it should, in any case, be pleasure. “I realise that life is not endless,” he says. “So I have to choose carefully.”

Gringolts describes his debut with the ACO as “the kind of project which you accept without any thinking, it just has to happen”. He will be directing as well as performing with the ACO, something of which he has not done a great deal. “The ACO is one of the most exciting, fantastic groups around,” he says. “Playing with these wonderful people and sharing my ideas with them… it’s a dream, really.”

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and Jörg Widmann, and is a regular guest at the festivals in Lucerne, Kuhmo, Verbier, Colmar and Bucharest (Enescu Festival), as well as the Serate Musicali in Milan and St. Petersburg Philharmonia.

Following numerous critically praised recordings on the Deutsche Grammophon, BIS and Hyperion labels, Ilya Gringolts devoted himself to the chamber music of Robert Schumann from 2010 to 2011, releasing three CDs on Onyx. In 2013/14 his recording of Paganini’s 24 Caprices for solo violin received many outstanding reviews, and in the orchestral realm, he has released recordings of Mieczysław Weinberg’s Violin Concerto with the Warsaw Philharmonic Orchestra in 2015 as well as Dvor�ák’s violin concerto with the Prague Philharmonia for Deutsche Grammophon, and concertos by Korngold and Adams with the Copenhagen Philharmonic (Orchid Classics) in 2017. Following his recently released CD of Stravinsky’s Duos on BIS records is an eagerly awaited upcoming recording of the composer’s orchestral works.

After studying violin and composition in St. Petersburg with Tatiana Liberova and Jeanna Metallidi, he attended the Juilliard School of Music where he studied with Itzhak Perlman. In 1998 he won the International Violin Competition Premio Paganini, as the youngest first prize winner in the history of the competition.

As well as his position as violin professor at the Zurich Academy of the Arts, he is also a Violin International Fellow at the Royal Scottish Academy of Music and Drama in Glasgow. Ilya Gringolts plays a Giuseppe Guarneri “del Gesù” violin, Cremona 1742–43, on loan from a private collection.

The Russian violinist Ilya Gringolts wins over audiences with his extremely virtuosic playing and sensitive interpretations, and is always looking for new musical challenges. As a sought-after soloist, he devotes himself to the great orchestral repertoire but also to contemporary and seldom-played works. He has premiered compositions by Sir Peter Maxwell Davies, Augusta Read Thomas, Christophe Bertrand and Michael Jarrell. In addition, he is interested in historical performance practice and collaborates with ensembles such as the Finnish Baroque Orchestra, Arcangelo and Oxford Philharmonia.

Ilya Gringolts has performed with leading orchestras around the world such as the Royal Liverpool Philharmonic, BBC Symphony, Deutsches Symphonie-Orchester Berlin, St. Petersburg Philharmonic, Los Angeles Philharmonic, Chicago Symphony, NHK Symphony, Mahler Chamber Orchestra, and both orchestras of Southwest German Radio.

Ilya Gringolts is also first violinist of the Gringolts Quartet, which he founded in 2008 and which has enjoyed great success at the Salzburg Festival, Lucerne Festival, Menuhin Festival Gstaad, Edinburgh Festival and Teatro La Fenice in Venice among others. As a keen chamber musician, Ilya Gringolts collaborates with artists such as Yuri Bashmet, David Kadouch, Itamar Golan, Peter Laul, Aleksandar MadŽar, Nicolas Altstaedt, Andreas Ottensamer, Antoine Tamestit

Ilya GringoltsViolin

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PHOTO. THOMASZ TRZEBIATOWSKI

One can hardly play the violin more expressively and uncompromisingly

than Gringolts.– Süddeutsche Zeitung

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Shadowy Theatrics and Brazen Tactics

ILLUSTRATION. LEBRECHT MUSIC & ARTS / ALAMY STOCK PHOTO

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Shadowy Theatrics and Brazen Tactics ACO Artistic Administrator Anna Melville

and ACO cellist Julian Thompson upack the beguile of the virtuoso. Words by Sam Twyford-Moore.

Niccolò Paganini was, among other things, an extremely effective,

if not quite completely shameless, self-promoter. He might have been the first person in classical music to really embrace the notion of marketing.

“Paganini basically invented the concept of the performer as the star,” says Anna Melville, the Artistic Administrator of the Australian Chamber Orchestra. “He would set up his own media hype.”

There was a rumour, for instance, that Paganini sold his soul to the Devil. This rumour floated around long before the story of Robert Johnson doing the same at a crossroads in Mississippi. Melville believes that Paganini “fanned the flames” of that story himself.

It was Paganini who the ACO’s Artistic Director, Richard Tognetti, first heard Ilya Gringolts perform.

Tognetti was crossing the Sydney Harbour Bridge, listening to ABC Classic FM, as Gringolts’ 1998 recording of Paganini’s First Violin Concerto came on the air. Apparently, he was so struck he had to pull over. When I mention to Melville that there really isn’t anywhere to pull over on the Sydney Harbour Bridge, she confesses that this story itself might be an exaggeration. “Never let the truth get in the way of a good story,” she says. Paganini would be proud.

Although only in his mid-30s, Gringolts has been known for more than 20 years

for his performances of Paganini. At just 16, he placed first in the prestigious Premio Paganini. Melville is fully aware of the reputation Gringolts brings with him. He is, she states, “very much of this Russian virtuosic school and family. He trained with Itzhak Perlman. His brother-in-law is Maxim Vengerov. He’s of that rich tradition, of which there are not actually that many left. He’s one of a kind for us.”

For ACO cellist Julian Thompson, who will perform as soloist alongside ACO Principal Cello, Timo-Veikko Valve and Gringolts in this concert, the prospect of working with someone of Gringolts’ stature is an opportunity to measure the Orchestra against the particular traits of a great artist.

“Every year we have a different group of international stars and artists who come out to work with us in a variety of capacities,” Thompson explains. “And every different artist that comes to work with the band brings a different energy, brings a different approach, brings a different musical intellect. It’s really exciting for us to mould ourselves to a different directive and to interpret this personality and how that fits with our personality.”

Thompson, like Tognetti, has long been a fan of Gringolts’. In anticipation of playing with him, he has been watching the Russian virtuoso’s performances online. “I was just watching a video of him

ILLUSTRATION. ALAMY

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Previous. Portrait of Italian violinist and composer, Niccolò Paganini, playing the violin in his first performance in London at the King’s Theatre. Published by Thomas McLean, London, 10 June 1831.

Top. Julian Thompson, ACO cellist. Above. ACO Artistic Administrator, Anna Melville.

playing Locatelli’s wonderful Harmonic Labyrinth on gut and it’s remarkable.”

Gringolts will be playing Paganini's First Violin Concerto with the ACO. This wasn’t without potential obstacles, however. The concerto, as originally intended, involves wind and brass, so the Orchestra’s resident Librarian and Composer, Bernard Rofe, instead wrote an arrangement for strings only. As a result this particular interpretation will be a first.

Thompson believes that the very notion of this adaptability is in keeping with the spirit of Paganini. He confesses that the 17-piece orchestra often “steals” from the quartet or sextet repertoire to form many of their programs, altering things to “suit their forces”. And, besides, Thompson says, he is confident “Paganini was improvising left, right and centre”.

“I’m sure that if he arrived at a certain town to play a concert and there was no French horn, he would rewrite it. He was the classic composer-virtuoso performer. So his works were quite flexible in their realisation, I would imagine. It’s very much a part of what we do, we’re often adapting work for our own purposes and to fit within the context of the performances that we put on.”

The rest of the program, inspired by Paganini’s demanding work, was purposefully built around the concept of the virtuoso, in honour of both Paganini and Gringolts. Melville makes

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arrive at rehearsals and only hand the music out to the orchestra just before the performance – he would do no rehearsal with them – so nobody could steal his new techniques”.

“He had all these tricks so that it looked like he was almost magical,” Melville says, before describing Paganini’s theatrical dark arts as being almost like

“violin hacks, like flattening the bridge”. Paganini was also known to deliberately sabotage his own violin strings before a performance, so they would snap, and, unflustered, he would go on playing.

Thompson describes the stories about Paganini in amazement. “He

would break two of the strings on his instrument and then play a duet between a high string and a low string and then he would go one step further and he’d break the other string, and just play on one string.”

Gringolts, meanwhile, views himself as almost the exact opposite of Paganini. Melville says that Gringolts, a very private person, “considers himself an introvert, and prefers to just let the music speak”. In a promotional video for the concert, Satu Vänskä, the ACO’s principal violinist, describes the promise of Gringolts’ Australian appearances as showing us a form of “alternative virtuosity”.

the point, however, that “we didn’t want the entire program to just be a vehicle for Ilya to show his own personal virtuosity, but for the whole orchestra”.

For Thompson, the choice of Paganini is appropriate as the Romantic-era artist is the perfect example of the virtuosic composer “not just in that he did things that other people couldn’t do, but because he had a whole persona that went along with being an entertainer. Part of his entertainment was to play incredibly beautifully, but also part of it was to make people go, ‘Wow, how do you make those sounds on those four strings, or one string in his case?’’’

Looking back, there is something pre-emptively rock’n’roll about Paganini. Thompson talks excitedly about Paganini’s use of the supernatural as a selling point and his choice to dress in all black, arriving at concerts in a black carriage led by four black horses.

There has long been conjecture that Paganini, like The Ramones lead singer Joey Ramone, suffered from Marfan syndrome – a genetic disorder that affects connective tissue, including tendons, ligaments, cartilage – which gave him the extreme flexibility to perform his many tricks.

Both Thompson and Melville are quick to note that Paganini was extremely secretive about his own compositions. Thompson explains that “he would

“Paganini was also known to deliberately sabotage his own violin strings before a performance, so they would snap, and, unflustered, he would go on playing.”

Right. Paganini, half length, during a stage performance. Berlin, Germany, 1829.

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“Thompson points out that despite all the shadowy theatrics and brazen tactics, Paganini was still, at heart, an emotive musician. He talks of reports of Schubert being left in tears after hearing Paganini play, ‘Not with the wild technical wizardry… but just the beauty of the music-making, so there’s a kind of virtuosity – and virtuousness – in that as well.’”

Should we take this to mean someone who is virtuosic in their mastery of an art, but not themselves a naturally showy person? In either case, there is something inherently fascinating in interpreting someone’s music whose character might be the complete opposite to your own. Thompson agrees. “One of the remarkable things about Ilya,” he explains, “is that he has this phenomenal technical facility and yet he’s not throwing the technique at the audience. And this is almost one of the things that for us performers really defines the true virtuosity, when people like Ilya can do things that are truly in the realm of the nigh on impossible and do them with such ease and accomplishment, that as an audience member you would almost not even notice that he’s just performed this feat of absolute daredevil prowess. To us that is the sign of a performer who has really transcended the technical limitations of the instrument, or, of course, of themselves.”

Thompson points out that, despite all the shadowy theatrics and brazen tactics, Paganini was still, at heart, an emotive musician. He talks of reports of Schubert being left in tears after hearing Paganini play, “Not with the wild technical wizardry… but just the beauty of the music-making, so there’s a kind of virtuosity – and virtuousness – in that as well.”

Melville can see Paganini’s influence in unexpected places, too. “If you say the word virtuoso in classical music, the other name people think of is Liszt, on the piano. And he saw Paganini play and the way he sold himself, and how he lived up to this image that he created, and so he started selling his own tours by

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saying, ‘I’m the Paganini of the piano.’’’The concept of virtuosity comes

to dominate my conversations with Thompson and Melville, as you imagine occurs often in the classical music community, and it is easy to fall into a spirited debate about its merits.

Virtuosity, after all, can feel like an extremely slippery concept at times. Is it just technical mastery? Or does it have something to do with pure, electric talent? What relation does it have to the virtuous, in terms of moral standing? Is there something more than just skill transferred to the audience?

Melville believes that virtuosity “can get a bit of a bad rap sometimes”. She wants to “separate it from the concept of, perhaps, prodigy or, at least, from the precocious six-year-olds who go and play piano on Australia’s Got Talent, or people who can cook well and lose weight fast or whatever the latest reality show celebrates”.

Thompson argues that virtuosity may have come to mean simply facile technique – “that capacity to do very technically difficult things” – but he believes that this is just the common parlour usage. There remains, he argues, a deeper connection to the term out there, linking it to its Latin origins in the virtuous.

“As a classical musician it’s always an interesting conflict of sorts where part of what we do is in the realms of entertaining, and with that goes all the technical wizardry and the smoke and mirrors and all that excitement that goes into a performance. But underlying all of that is the inherent virtue in music as a communicative art, which goes further than the technical wizardry.

Really, for the purists amongst us, all that technical wizardry should be in the service of the music, but there is inherent value in putting on a great show and people going, ‘Wow, that is amazing.’”

Listening to both Melville and Thompson talk, their passion is clear. However, I wonder at the cost of playing classical music at this level. What is sacrificed in the name of the virtuosic? The virtuoso in its classical music context sounds less like your usual artist and more like an elite sportsperson.

“The elite sports reference is a pretty valid one,” Thompson says. “There are few things in this world that I know of, that require a similar connection between mind and body. In the playing of an instrument you’re really speaking about micro-micro-millimetres and extremely rapid physical dexterity.

“In practical terms, we need to maintain, I guess, the equivalent of a fitness and training regimen where we maintain our very specific fitness and that requires physical agility that’s specific to the instrument – cello fitness – but also the mental agility that goes along with what we do. It is really the training over time of the connection between eyes, brain, ears and body.”

Thompson, who is 42, has already been playing cello for 33 years. He talks pointedly about having invested thousands of hours into doing what amounts to an “asymmetric specific activity”. When he was younger, he visited a physiotherapist who, picking up on his asymmetric muscle development, suggested that he would have to start playing the cello the other way around. “You’re like, ‘Yeah, I

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don’t think that’s going to work.’”Thompson chooses to surf now, to help

even himself out. He mentions that, for other musicians he knows, it is swimming that provides that balance. “It’s a lifelong pursuit,” he says. “We have the luxury that our careers don’t peak at 28 or 25 or 18, that we can keep improving on those skills… until well into our 60s.”

The sacrifices that players such as Thompson and Gringolts make in order to be able to interpret the legacies of composers such as Paganini is not lost on Melville. “It’s an obsession for many of them,” she says. “Without the negative connotations that come with that. You have to start quite early. You have to practise consistently. And it’s a hard world.”

That hard world, however, gives birth to great beauty. The resulting beauty is clear in the programming. Paganini is joined by other virtuosos: Bartók, CPE Bach and Vivaldi. All three were composers who were also virtuosic performers of their own work and all three were taught from a very early age by their fathers.

“Pushy stage dads,” Melville quips. CPE Bach, obviously, has the most famous lineage of the three. Paganini’s father was an unsuccessful trader, and taught his son to play on the mandolin.

Melville wishes to make a distinction between CPE Bach and Bartók, and, on the other hand, Paganini and Vivaldi.

“CPE Bach and Bartók were both virtuosic players for sure, but what they were doing in music in their respective eras – which was the way they wrote as well – was new and innovative, was pushing things,” she says.

“While Paganini and Vivaldi were pushing what people could do on an

Violinist Niccolò Paganini. Pencil drawing by Jean-Auguste-Dominique Ingres, 1819.

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that his Divertimento will showcase the Orchestra as a whole and push each and every individual member into the spotlight. Thompson thinks this difficulty comes from Bartók’s influences of Hungarian and Romanian folk music – commonplace at celebratory events such as weddings.

“Those guys have to play really fast, really loud, really virtuosically, and often for days on end,” Thompson says. “When you go to some of these weddings, they just go for days and days. Play for days and days.”

Thompson is the ACO’s education representative. There is something egalitarian about the way he speaks from this position about music, as if to say that virtuosity is, ultimately, an accessible

medium for some of the greatest works of art the world has ever produced. And it can be found anywhere: “I think when we look at more popular culture examples of virtuosity, we’re talking about guys like Jimi Hendrix – these guys who could make the instrument sing and scream and everybody could be touched by that approach to the instrument, the capacity to do things that brought awe and amazement and joy and sadness to the audience.”

To attain the level of virtuoso is certainly an individual achievement, but to partake in virtuosity – to listen – is a collective act, and one, clearly, for the greater good.

instrument – they were inventing entirely new techniques, which we use today, every day – musically what CPE Bach was doing was bridging the whole gap between baroque and classical, really.”

That differentiation, of course, doesn’t diminish either grouping. Thompson, for example, is steadfast in saying that Vivaldi was considered, like Paganini, one of the finest players of his generation.

“He wrote just bucketloads of virtuosic concertos for a variety of instruments. Something like 230 for the violin.”

The Vivaldi concerto chosen by the orchestra is, like its Paganini counterpart, a piece whose performances are rare. Thompson is excited to hear Gringolts

“going back pre-Paginini, to hear how he approaches that style of playing”.

Each of the programmed pieces seems designed to test their players. In the case of CPE Bach – an oft-misunderstood figure who was far more famous in his own time than his father was in his – Thompson is aware that his “style is very changeable – drastic changes in tempo, and dramatic shifts in harmonic structure and foundation. And it is extremely virtuosic to play, technically demanding but also musically demanding.”

Although the program is built around Paganini, Bartók might be its beating heart. Both Melville and Thompson believe

“Although the program is built around Paganini, Bartók might be its beating heart. Both Melville and Thompson believe that his Divertimento will showcase the Orchestra as a whole and push each and every individual member into the spotlight.”

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Steve Dow meets violinist Aiko Goto to mark her 20 years with the ACO

Aiko and the ACO

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NATIONAL CONCERT SEASON 2018PHOTO. NIC WALKER

When Aiko Goto arrived on a scholarship at the Juilliard

School in New York, she could not speak English. “I was really shy, too,” she says, laughing, during a rehearsal break in the Australian Chamber Orchestra’s bunker at Circular Quay.

Goto was three and barely walking when she asked her parents if she could play violin, the instrument played by her cousins, shrugging off her parents’ suggestion she follow her older brother and play piano. “They never pushed me,” she recalls. “I just loved playing.”

Goto is a grandniece of the late Dr Shinichi Suzuki, and studied Suzuki’s famous method of music education, although her parents did not think she would become a professional musician.

Violin masters took some persuading, too: having studied at the Toho Gakuen School of Music in Tokyo, Goto went overseas for the first time at 19, to the Aspen Music Festival in Colorado, ambitious to make her mark internationally.

At the festival, she met renowned violin teachers Dorothy DeLay and Masao Kawasaki. She played for them, then waited for their response.

“They said, ‘Yeah, you play okay, but you need this, this and this’,” Goto says, dropping her voice at the memory: “Oh, I was shocked.”

Goto returned to the festival the following year and played for DeLay and

“Goto was three and barely walking when she asked her parents if she could play violin, the instrument played by her cousins, shrugging off her parents’ suggestion she follow her older brother and play piano. ‘They never pushed me,’ she recalls. ‘I just loved playing.’”

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AUSTRALIAN CHAMBER ORCHESTRA PHOTOS. BEN SULLIVAN / NIC WALKER

Top. Aiko backstage at the Sydney Opera House Right. Aiko outside the Meikyoku Cafe Lion in Tokyo.

PHOTO. NIC WALKER

Kawasaki again. The verdict: much better. The scholarship followed, as did seven

years living in New York, where Goto undertook two years of intensive English lessons. In 1992, she acquired the violin she still plays today with its deep sound, made by 19th-century French instrument-maker Jean-Baptiste Vuillaume.

She graduated from Juilliard in 1994, making her Manhattan debut the following year at Weill Recital Hall at Carnegie Hall.

In 1997, Goto spied an advertisement in a New York musicians’ industry newspaper: the ACO was looking for

a new violinist. “I didn’t know anything about the ACO,” she confides.

She sent an audition tape on which she played a Bach solo and Mozart’s Violin Concerto No.3. A few weeks later, a fax arrived: congratulations, it read, you have passed the first round.

Next came her live audition: the ACO was coming to perform at Carnegie Hall on the last stop of a United States tour, so Goto would be able to play for them afterwards.

“They had a very different sound,” recalls Goto on hearing the ACO play that first time. “It was friendlier. Warmer. I don’t mean the American sound is not warm, but the ACO was different.”

The next morning, at 10 o’clock, upstairs in the Carnegie Hall studio, Goto auditioned for Richard Tognetti and others, repeating the Mozart concerto and an excerpt of the ACO

“It was friendlier. Warmer. I don’t mean the American sound is not warm, but the ACO was different.”

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PHOTO. CHRISTIE BREWSTER

“Here at the ACO Academy, they can be shy, too, but when the music starts, they switch on and go really out.” Goto stretches her arms wide. Playing brings the Australians out of their shell? “Yes, out of themselves.”

Left. Aiko Goto with Principal Violinist, Helena Rathbone at the Japanese coffee and classical music house, Meikyoku Cafe Lion, in Tokyo. Top. From the archive: a 2002 ACO concert poster featuring Aiko Goto and Helena Rathbone. Above. Celebrating with musicians backstage at Yomiuri Otemachi Hall after the last performance in Tokyo.

repertoire. “They had wet hair,” Goto recalls, laughing. “They must have had a big night before my audition.”

Goto got her acceptance, by fax again, a few weeks later, for a two-month trial period. Her friend, bass player Maxime Bibeau, was also accepted, and the pair remain core ACO players two decades later.

Goto also runs the ACO Academy for students, and when the orchestra travelled to Tokyo in May, she and her ACO collegues conducted workshops with young string players at her old Tokyo school, Toho Gakuen.

Is there a fundamental difference between Australian and Japanese music students?

“Yes,” Goto says in a whisper, leaning in. “I think so. Maybe like the character of the country. In Japan, they’re very good at playing, but kind of not going out, more kind of shy – but [the playing] is really correct.

“Here at the ACO Academy, they can be shy, too, but when the music starts, they switch on and go really out.” Goto stretches her arms wide. Playing brings the Australians out of their shell? “Yes, out of themselves.”

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AUGMelbourne Fundraiser

22 August, 2018 MelbourneOur Melbourne Fundraiser was held on Wednesday 22 August in aid of our Education programs. The ABC’s Kumi Taguchi was MC and Liisa Pallandi spoke about her experience moving from being an Emerging Artist to a full time musician with the Orchestra. There was a beautiful performance by our musicians and some of the very talented students from this year’s ACO Academy.

News and highlights.

ACO NEWS


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The 2018 Season continues.

COMING UP

OCT2019 Subscriptions now on saleaco.com.au/2019Secure the best seats, save up to 40% off the cost of single tickets and experience the full 2019 Season journey. You’ll also access a host of other benefits including discounts from our principal, arts and corporate partners.

2019 Flexi-packs go on sale18 OctoberCurate your own season of music at the date, venue and seating reserve that suits you when you choose three or more concerts in our 2019 Season. Sign up to our enews to book your flexi-pack ahead of the general public onsale.

2018 Barbican Residency22 – 24 OctoberLondon, EnglandThe first of three ACO seasons at London's Barbican Centre as International Associate Ensemble at Milton Court.

NOV2019 single tickets go on sale1 NovemberSecure individual tickets to our 2019 Season – a great Christmas gift!

Tognetti’s Beethoven8 – 21 NovemberAdelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney Richard Tognetti directs our monumental season finale, featuring Beethoven’s Violin Concerto and Fifth Symphony.

DECSonatas For Strings5 DecemberMelbourne Recital CentreRichard Tognetti leads the ACO through a collection of works of timeless beauty, featuring Elgar, Walton and Sculthorpe.

Vasse Felix Festival7 – 9 DecemberMargaret RiverSavour some of Australia’s most awarded wines while enjoying the magical views from the Vasse Felix Estate in Margaret River, Western Australia, as ACO Collective serenades you over three glorious days.


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

Artistic DirectorRichard Tognetti ao

Administrative Staff Executive OfficeRichard EvansManaging Director

Alexandra Cameron-FraserChief Operating Officer

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

Claire DimentHR Manager

Artistic OperationsLuke ShawDirector of Artistic Operations

Anna MelvilleArtistic Administrator

Lisa MullineuxTour Manager

Ross ChapmanTouring & Production Coordinator

Nina KangTravel Coordinator

Bernard RofeLibrarian

Joseph NizetiMultimedia, Music Technology& Artistic Assistant

Learning & Engagement

Tara SmithLearning & Engagement Manager

Caitlin GilmourEmerging Artists and Education Coordinator

Stephanie DillonAssistant to the Learning & Engagement and Operations Teams

FinanceFiona McLeodChief Financial Officer

Yvonne MortonFinancial Accountant & Analyst

Dinuja KalpaniTransaction Accountant

Samathri GamaethigeBusiness Analyst

Market Development

Antonia Farrugia Director of Market Development

Caitlin Benetatos Communications Manager

Rory O’Maley Digital Marketing Manager

Christie Brewster Lead Creative

Cristina Maldonado CRM and Marketing Executive

Shane Choi Marketing Coordinator

Leigh Brezler Director of Partnerships

Penny Cooper Corporate Partnerships Manager

Kay-Yin Teoh Corporate Partnerships Administrator

Colin Taylor Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Mel Piu Box Office Assistant

Robin Hall Archival Administrator

Philanthropy

Jill ColvinDirector of Philanthropy

Lillian Armitage Capital Campaign & Major Gifts Manager

Tom Tansey Events & Special Projects Manager

Sarah Morrisby Philanthropy Manager

Yeehwan Yeoh Investor Relations Manager

Anna Booty Philanthropy Executive

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

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

By MailPO Box R21, Royal ExchangeNSW 1225 Australia

Telephone(02) 8274 3800Box Office 1800 444 444

[email protected]

Webaco.com.au

Behind the scenes


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contemporary japanese cuisine

sydney the rocks || double bay

melbourne f linders lane || hamer hall

brisbane eagle street pier

sakerestaurant.com.au

contemporary japanese cuisine

sydney the rocks || double bay

melbourne f linders lane || hamer hall

brisbane eagle street pier

sakerestaurant.com.au

Venue Support

ADELAIDE TOWN HALL128 King William Street,Adelaide SA 5000GPO Box 2252, Adelaide SA 5001

Venue Hire Information Telephone (08) 8203 7590 Email townhall@ adelaidecitycouncil.com Web adelaidetownhall.com.au

Martin Haese Lord Mayor Mark Goldstone Chief Executive Officer

ARTS CENTRE MELBOURNE100 St Kilda Rd, Melbourne, VIC, 3004, AustraliaPO Box 7585, St Kilda Road, Melbourne VIC 8004

Telephone (03) 9281 8000Box Office 1300 182 183Web artscentremelbourne.com.au

James MacKenzie President Victorian Arts Centre TrustClaire Spencer Chief Executive Officer

CITY RECITAL HALL LIMITED2–12 Angel Place, Sydney NSW 2000

Administration (02) 9231 9000Box Office (02) 8256 2222Web cityrecitalhall.com

Renata Kaldor ao Chair, Board of DirectorsElaine Chia CEO

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

Brendon Ellmer General Manager

SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001

Telephone (02) 9250 7111Box Office (02) 9250 7777Email [email protected] sydneyoperahouse.com

Nicholas Moore Chair, Sydney Opera House TrustLouise Herron am Chief Executive Officer

QUEENSLAND PERFORMING ARTS CENTRECultural Precinct, Cnr Grey & Melbourne Street,South Bank QLD 4101PO Box 3567, South Bank QLD 4101

Telephone (07) 3840 7444Box Office 131 246Web qpac.com.au

Professor Peter Coaldrake ao ChairJohn Kotzas Chief Executive

In case of emergencies…Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.


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PRESENTING PARTNER

To make a booking please contact Anna Booty, ACO Philanthropy Executive [email protected] | 02 8274 3810

THURSDAY 29 NOVEMBER 2018 6:30pm for a 7:00pm performance

CARRIAGEWORKS – BAY 17 245 Wilson Street, Eveleigh, NSW 2015

Join us for a special excerpt performance and screening of Mountain and help raise money for the ACO’s Learning & Engagement Program

MC: Annabel Crabb | Dress: Cocktail

TICKETS $500 PER GUEST Tables of ten $5,000 | VIP Corporate tables of ten $10,000

VIP corporate tables receive premium seating, a full-page advertisement in the program and on-screen logo acknowledgment

The ACO invites you to our 2018 Sydney Fundraising Gala

Arts Centre Melbourne

Anna Melville Sun 30 Sep, 1.45pm Mon 1 Oct, 6.45pm

Adelaide Town Hall

James Koehne Tue 2 Oct, 6.45pm

Perth Concert Hall

Cassandra LakeWed 3 Oct, 6.45pm

City Recital Hall, Sydney

Anna Melville Fri 5 Oct, 12.45pm

Sydney Opera House

Anna Melville Sun 7 Oct, 1.15pm

QPAC Concert Hall, Brisbane

Stephen Emmerson Mon 8 Oct, 6.15pm

Pre-concert speakers are subject to change.

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

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

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

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

ACO Medici Program

Medici PatronThe late Amina Belgiorno-Nettis

Principal Chairs

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

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Principal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter Weiss ao

Maxime BibeauPrincipal Double BassDarin Cooper Foundation

Core Chairs

VIOLIN

Glenn ChristensenTerry Campbell ao & Christine Campbell

Aiko GotoAnthony & Sharon Lee Foundation

Mark IngwersenProf Judyth Sachs & Julie Steiner

Liisa PallandiThe Melbourne Medical Syndicate

Maja SavnikAlenka Tindale

Ike SeeDi Jameson

VIOLA

Nicole DivallIan Lansdown

Ripieno ViolaPhilip Bacon am

CELLO

Melissa BarnardDr & Mrs J Wenderoth

Julian ThompsonThe Grist & Stewart Families

ACO Collective

Pekka KuusistoArtistic Director & Lead ViolinHorsey Jameson Bird

Guest Chairs

Brian NixonPrincipal TimpaniMr Robert Albert ao & Mrs Libby Albert

ACO Bequest Patrons

We would like to thank the following people who have remembered the Orchestra in their wills. Please consider supporting the future of the ACO by leaving a gift. For more information on making a bequest, or to join our Continuo Circle by notifying the ACO that you have left a bequest, please contact Jill Colvin, Director of Philanthropy, on (02) 8274 3835.

Continuo CircleSteven BardyRuth BellDave BeswickDr Catherine Brown-Watt psm & Mr Derek WattSandra CassellSandra DentDr William F DowneyPeter EvansCarol FarlowSuzanne GleesonLachie HillDavid & Sue HobbsPatricia HollisPenelope Hughes

Toni Kilsby & Mark McDonaldJudy LeeJohn MitchellSelwyn M OwenMichael Ryan & Wendy MeadJoan & Ian ScottCheri StevensonJeanne-Claude StrongLeslie C. ThiessNgaire TurnerGC & R WeirMargaret & Ron WrightMark YoungAnonymous (17)

Estate GiftsThe late Charles Ross AdamsonThe late Kerstin Lillemor AndersonThe late Mrs Sibilla BaerThe late Prof. Janet CarrThe late Mrs Moya CraneThe late Colin EnderbyThe late Neil Patrick GilliesThe late John Nigel HolmanThe late Dr S W Jeffrey amThe late Pauline Marie JohnstonThe late Mr Geoff Lee am oamThe late Shirley MillerThe late Geraldine Nicoll

ACO Life Patrons

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

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

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

Acknowledgments


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ACO Special Initiatives

The ACO thanks Dame Margaret Scott ac for establishing the Dame Margaret Scott ac Fund for International Guests and Composition

Special Commissions PatronsDarin Cooper FoundationMirek GenerowiczDavid & Sandy Libling

ACO Academy

LEAD PATRONSWalter Barda & Thomas O’NeillLouise & Martyn Myer ao

PATRONSPeter Jopling am qcHilary GoodsonNaomi Milgrom aoTom Smyth

2018 Emanuel Synagogue Patrons

CORPORATE PARTNERAdina Apartment Hotels

LEAD PATRONThe Narev Family

PATRONSLeslie & Ginny GreenThe Sherman FoundationJustin Phillips & Louise Thurgood-Phillips

ACO Mountain Producers’ SyndicateThe ACO thanks the following people for their generous support of Mountain:

EXECUTIVE PRODUCERMartyn Myer ao

MAJOR PRODUCERSJanet Holmes à Court acWarwick & Ann Johnson

PRODUCERSRichard CaldwellWarren & Linda ColiAnna Dudek & Brad BanducciWendy EdwardsDavid FriedlanderTony & Camilla GillJohn & Lisa KenchCharlie & Olivia LanchesterRob & Nancy PallinAndrew & Andrea RobertsPeter & Victoria ShorthouseAlden Toevs & Judi Wolf

SUPPORTERSAndrew AbercrombieJoanna BaevskiAnn Gamble MyerGilbert GeorgeCharles & Cornelia Goode FoundationCharles & Elizabeth GoodyearPhil & Rosie HarknessPeter & Janette KendallSally LindsayAndy Myer & Kerry GardnerSid & Fiona MyerAllan Myers acThe Penn FoundationPeppertree FoundationThe Rossi FoundationShaker & DianaMark StanbridgeKim Williams amPeter & Susan Yates

LuminousThe ACO thanks the following people for their generous support of the revival of Luminous, the ACO's collaboration with artist Bill Henson, in 2019. For details on how you can be involved, please contact Jill Colvin, Director of Philanthropy, (02) 8274 3835.

PATRONSLeslie & Ginny Green

SUPPORTERSConnie & Craig KimberleyPeter & Victoria Shorthouse

FRIENDSAndrew Clouston Detached HobartPeter Jopling am qcPatricia Mason & Paul Walker


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ACO Instrument Fund

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

PatronPeter Weiss ao

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

Founding Patrons

VISIONARY $1M+Peter Weiss ao

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

OCTET $100,000–$199,999John Taberner

QUARTET $50,000 – $99,999Mr John Leece am E XipellAnonymous (1)

InvestorsStephen & Sophie AllenJohn & Deborah BalderstoneGuido & Michelle Belgiorno-NettisBill BestBenjamin BradySam Burshtein & Galina KasekoCarla Zampatti FoundationSally CollierMichael Cowen & Sharon NathaniMarco D'OrsognaDr William F DowneyGarry & Susan FarrellGammell Family

Adriana & Robert GardosDaniel & Helen GauchatEdward GilmartinLindy & Danny Gorog Family FoundationTom & Julie GoudkampLaura Hartley & Stuart MoffatPhilip HartogPeter & Helen HearlBrendan HopkinsAngus & Sarah JamesPaul & Felicity JensenMangala SFMedia SuperNelson Meers FoundationDaniel & Jacqueline PhillipsRyan Cooper Family FoundationAndrew & Philippa StevensDr Lesley TreleavenJohn Taberner & Grant LangThe late Ian Wallace & Kay Freedman

ACO Reconciliation Circle

The Reconciliation Circle directly supports our music education initiatives for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Colin Golvan qc & Debbie GolvanKerry Landman

Peter & Ruth McMullinPatterson Pearce Foundation

Sam Ricketson & Rosie Ayton

ACO Next

This philanthropic program for young supporters engages with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information please call Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Adrian BarrettMarc BudgeJustine ClarkeEste Darin-Cooper & Chris BurgessAnna CormackSally CrawfordShevi de SoysaAmy DenmeadeJenni Deslandes & Hugh MorrowAnthony Frith & Amanda Lucas-FrithRebecca Gilsenan & Grant MarjoribanksThe Herschell FamilyRuth KellyEvan Lawson

Aaron Levine & Daniela GavshonRoyston LimDr Caroline LiowDr Nathan LoPenny LoaneCarina MartinPaddy McCruddenRachael McVeanPat MillerBarry MowszowskiLucy MyerJames OstroburskiNicole Pedler & Henry DurackKristian PithieMichael Radovnikovic

Jessica ReadRob Clark & Daniel RichardsonAlexandra RidoutEmile & Caroline ShermanTom SmythMichael SouthwellTom StackHelen TelferSophie ThomasMax TobinKaren & Peter TompkinsNina Walton & Zeb RicePeter Wilson & James EmmettThomas WrightAnonymous (2)


49

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Chairman’s Council

The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis am Chairman, ACO

Mr Philip Bacon am Director, Philip Bacon Galleries

Mr David Baffsky ao

Mr Marc Besen ac & Mrs Eva Besen ao

Mr John Borghetti ao Chief Executive Officer, Virgin Australia

Mr Craig Caesar & Mrs Nerida Caesar

Mr Michael & Mrs Helen Carapiet

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

Mr Michael Chaney ao Chairman, Wesfarmers

Mr Matt Comyn Chief Executive Officer Commonwealth Bank

Mr Robin Crawford am & Mrs Judy Crawford

Rowena Danziger am & Kenneth G. Coles am

Mr Doug & Mrs Robin Elix

Mr Bruce Fink Executive Chairman Executive Channel Holdings

Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

Mr Daniel Gauchat Principal, The Adelante Group

Mr Robert Gavshon & Mr Mark Rohald Quartet Ventures

Mr James Gibson Chief Executive Officer Australia & New Zealand BNP Paribas

Mr John Grill ao & Ms Rosie Williams

Mrs Janet Holmes à Court ac

Mr Simon & Mrs Katrina Holmes à Court Observant

Mr Andrew Low

Mr David Mathlin

Ms Julianne Maxwell

Mr Michael Maxwell

Ms Naomi Milgrom ao

Ms Jan Minchin Director, Tolarno Galleries

Mr Jim & Mrs Averill Minto

Mr Alf Moufarrige ao Chief Executive Officer, Servcorp

Mr John P Mullen Chairman, Telstra

Mr Martyn Myer ao

Mr Peter Slattery Managing Partner Johnson Winter & Slattery

Ms Gretel Packer

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

Mrs Carol Schwartz am

Ms Margie Seale & Mr David Hardy

Mr Glen Sealey Chief Operating Officer Maserati Australasia & South Africa

Mr Tony Shepherd ao

Mr Peter Shorthouse Senior Partner Crestone Wealth Management

Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO Mitsubishi Australia Ltd

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa Wallace & Mr Alan Liddle

Mr Rob & Mrs Jane Woods

Mr Peter Yates am Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr Peter Young am & Mrs Susan Young


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National Patrons’ Program

Thank you to all our generous donors who contribute to our Education, Excellence, Instrument Fund, International Touring and Commissioning programs. We are extremely grateful for the support we receive to maintain these annual programs. To discuss making a donation to the ACO, or if you would like to direct your support in other ways, please contact Sarah Morrisby, Philanthropy Manager, on (02) 8274 3803.

Program names as at 29 August 2018

PatronsMarc Besen ac & Eva Besen aoJanet Holmes à Court ac

$20,000+Mr Robert Albert ao & Mrs Libby AlbertDr Catherine Brown-Watt psm & Mr Derek WattDaniel & Helen GauchatCatherine Holmes à Court-MatherAndrew LowJim & Averill MintoLouise & Martyn Myer FoundationThe Barbara Robinson FamilyMargie Seale & David HardyRosy Seaton & Seumas DawesTony Shepherd aoE XipellLeslie C ThiessPeter Young am & Susan YoungAnonymous (2)

$10,000–$19,999Australian Communities Foundation – Ballandry FundGeoff AlderKaren Allen & Dr Rich AllenAllens – in memory of Ian WallaceSteven Bardy & Andrew PattersonEureka Benevolent Foundation Rod Cameron & Margaret GibbsJane & Andrew CliffordIn memory of Wilma CollieTerry & Lynn FernMr & Mrs Bruce FinkDr Ian Frazer ac & Mrs Caroline FrazerRobert & Jennifer GavshonLeslie & Ginny GreenJohn Griffiths & Beth JacksonJohn Grill & Rosie WilliamsTony & Michelle GristAngus & Kimberley HoldenBelinda Hutchinson am & Roger Massy-Greene G B & M K IlettDi JamesonJohn & Lisa KenchMiss Nancy KimptonIrina Kuzminsky & Mark DelaneyAnthony & Sharon Lee FoundationLiz & Walter LewinAnthony & Suzanne Maple-BrownJennie & Ivor OrchardJames Ostroburski & Leo OstroburskiBruce & Joy Reid TrustAngela RobertsRyan Cooper Family FoundationPaul Schoff & Stephanie Smee

ServcorpJon & Caro StewartAnthony StrachanSusan ThacoreAlden Toevs & Judi WolfPamela TurnerShemara WikramanayakeCameron Williams

$5,000–$9,999Jennifer AaronSteve & Sophie AllenThe Belalberi FoundationWalter Barda & Thomas O'NeillCarmelo & Anne BontempoHelen BreekveldtVeronika & Joseph ButtaStephen & Jenny CharlesAnnie Corlett am & Bruce Corlett amCarol & Andrew CrawfordRowena Danziger am & Ken Coles amMaggie & Lachlan DrummondSuellen EnestromPaul R Espie aoBridget Faye amVivienne FriedCass GeorgeGilbert GeorgeWarren GreenKim & Sandra GristLiz HarbisonAnthony & Conny HarrisAnnie HawkerDoug HooleyPeter Jopling am qcI KallinikosThe Key FoundationKerry LandmanLorraine LoganDanita Lowes & David FileMacquarie Group FoundationThe Alexandra & Lloyd Martin Family FoundationRany MoranBeau Neilson & Jeffrey SimpsonParis Neilson & Todd BuncombeK & J Prendiville FoundationLibby & Peter PlaskittJohn RickardIn Memory of Lady Maureen Schubert – Marie Louise Theile & Felicity Schubert Greg Shalit & Miriam FaineVictoria & Peter ShorthouseJ SkinnerPetrina SlaytorJeanne-Claude StrongTamas & Joanna SzaboVanessa TayAlenka Tindale

Simon & Amanda WhistonHamilton WilsonDr Mark & Anna YatesAnonymous (4)

$2,500–$4,999Annette AdairPeter & Cathy AirdRae & David AllenWarwick AndersonWill & Dorothy Bailey Charitable GiftLyn Baker & John BevanThe Beeren FoundationVicki BrookeNeil & Jane BurleyLaurie Cox ao & Julie Ann Cox amAnne & Thomas DowlingElizabeth FosterIn memory of Rosario Razon GarciaAnne & Justin GardenerPaul Greenfield & Kerin BrownNereda Hanlon & Michael Hanlon amPeter & Helen HearlRuth Hoffman & Peter HalsteadMerilyn & David HoworthWarwick & Ann JohnsonCharlie & Olivia LanchesterJanet Matton & Robin RowePeter & Ruth McMullinRoslyn MorganJane MorleyJenny NicholDavid Paradice & Claire PfisterSandra & Michael Paul EndowmentProf David Penington acChristopher ReedKenneth Reed amPatricia H Reid Endowment Pty LtdRalph & Ruth RenardMrs Tiffany RensenFe & Don RossD N SandersCarol Schwartz am & Alan Schwartz amJenny Senior & Jenny McGeeKathy & Greg ShandSky News AustraliaMaria SolaEzekiel Solomon amKim & Keith SpenceJosephine StruttRob & Kyrenia ThomasRalph Ward-Ambler am & Barbara Ward-AmblerKathy WhiteDon & Mary Ann YeatsAnne & Bill YuilleRebecca Zoppetti LaubiAnonymous (5)


52

$1,000–$2,499Barbara AllanJane AllenLillian & Peter ArmitageAdrienne BasserDoug & Alison BattersbyRobin Beech Berg Family FoundationGraeme & Linda BeveridgeLeigh BirtlesJessica BlockIn memory of Peter BorosBrian BothwellDiana BrookesElizabeth BrownStuart BrownSally BuféGerard Byrne & Donna O'SullivanThe CainesRay Carless & Jill KeyteAnn CebonJulia Champtaloup & Andrew RotheryAlex & Elizabeth ChernovKaye ClearyDr Peter CliftonJohn & Chris CollingwoodAngela & John ComptonLeith & Darrel ConybeareAnne CraigCruickshank Family TrustJohn CurottaMichael & Wendy DavisGeorge & Kathy DeutschMartin DolanIn memory of Ray DowdellDr William F DowneyPamela DuncanEmeritus Professor Dexter DunphyKaren EnthovenPeter EvansJulie EwingtonPatrick FairPenelope & Susan FieldElizabeth FinneganJean Finnegan & Peter KerrDon & Marie ForrestRon Forster & Jane ChristensenJohn FraserKay GiorgettaBrian GoddardJack Goodman & Lisa McIntyreProfessor Ian Gough am & Dr Ruth GoughLouise Gourlay oamCamilla & Joby GravesMelissa & Jonathon GreenGrussgott TrustIn memory of Jose GutierrezPaul & Gail HarrisLyndsey HawkinsKingsley HerbertJennifer HershonVanessa & Christian HolleChristopher HolmesGillian Horwood

Penelope HughesStephanie & Mike HutchinsonDr Anne James & Dr Cary JamesOwen JamesAnthony Jones & Julian LigaBrian JonesBronwen L JonesMrs Angela KarpinProfessor Anne Kelso aoJosephine Key & Ian BredenMichael KohnJohn Landers & Linda SweenyDelysia LawsonProfessor Gustav Lehrer faa am & Nanna LehrerAirdrie LloydMegan LoweDiana LungrenNicholas MaartensProf Roy & Dr Kimberley MacLeodDavid MaloneyGarth Mansfield oam & Margaret Mansfield oamMr Greg & Mrs Jan MarshJane Tham & Philip MaxwellKevin & Deidre McCannHelen & Phil MeddingsClaire MiddletonJim MiddletonAbby & Yugan MudaliarPeter & Felicia MitchellDr Robert MitchellBaillieu & Sarah MyerDr G NelsonNola NettheimKenichi & Jeanette OhmaeFran OstroburskiChris OxleyMimi & Willy PackerBenita PanizzaEffie & Savvas PapadopoulosCatherine Parr & Paul HattawayLeslie ParsonageRosie PilatGreeba PritchardDr S M Richards am & Mrs M R RichardsEm Prof A W Roberts amMark & Anne RobertsonJohn & Donna RothwellIrene Ryan & Dean Letcher qcJ SandersonIn Memory of H. St. P. ScarlettMorna Seres & Ian HillDavid & Daniela ShannonDiana Snape & Brian Snape amDr Peter & Mrs Diana Southwell-KeelyCisca SpencerThe Hon James Spigelman ac qc & Mrs Alice Spigelman amHarley Wright & Alida StanleyDr Charles Su & Dr Emily LoRobyn TamkeDavid & Judy TaylorTeam Schmoopy

Jane Tham & Philip MaxwellDr Jenepher ThomasMike ThompsonJoanne Tompkins & Alan LawsonAnne TonkinNgaire TurnerKay VernonJohn & Susan WardleSimon WatsonLibby & Nick WrightMark & Anna YatesPeter Yates am & Susan YatesAnonymous (23)

$500–$999Gabrielle Ahern-MalloyJohn & Rachel AkehurstDr Judy AlfordMr & Mrs H T ApsimonElsa Atkin amMs Rita AvdievChristine BarkerIn memory of Hatto BeckKathrine BeckerRobin BeechRuth BellL Bertoldo HynePhilomena BillingtonElizabeth BoltonLynne & Max BoothCarol BowerDenise BraggettHenry & Jenny BurgerMrs Pat BurkeJosephine CaiElise CallanderHelen CarrigConnie ChairdPierre & Nada ChamiChaney ArchitecturePatrick CharlesColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversCaptain David ClarkeRichard Cobden scDr Jane CookR & J CorneySam Crawford ArchitectsDonald Crombie amJulie Crozier & Peter HopsonMarie DalzielAmanda DavidsonMari DavisDr Michelle DeakerKath & Geoff DonohueJennifer DouglasIn memory of Raymond DudleyGraeme DunnCarmel DwyerJohn FieldVanessa FinlaysonPenny FraserPaul Gibson & Gabrielle CurtinDon & Mary Glue


53

National Patrons’ Program (continued)

$500–$999 (Continued)Sharon GoldieLeo & Paula GothelfCarole A P GraceJennifer GrossKevin Gummer & Paul CumminsRita GuptaRob Hamer JonesHamiltons Commercial InteriorsLesley HarlandSue HarveyRohan HaslamSandra HaslamHenfrey FamilyDr Penny Herbert in memory of Dunstan HerbertDr Marian HillCharissa HoSue & David HobbsGeoff HogbinPeter & Edwina HolbeachGeoff & Denise IllingPeter & Rosemary IngleSteve & Sarah JohnstonCaroline JonesPhillip JonesAgu KantslerBruce & Natalie KellettRuth KellyLionel & Judy KingPeter & Katina LawBronwyn & Andrew LumsdenJoan LyonsGeoffrey MasseyDr & Mrs Donald MaxwellPaddy McCruddenPam & Ian McDougallBrian & Helen McFadyenJ A McKernanMargaret A McNaughtonMichelle MitchellJustine Munsie & Rick KalowskiNevarc Inc.Andrew NaylorJ NormanPaul O’DonnellRobin OfflerMr Selwyn OwenS PackerIan PenbossHelen PerlenKevin Phillips

Erika PidcockBeverly & Ian PryerAlexandra RidoutJennifer RankinMichael ReadJoanna Renkin & Geoffrey HansenAlexandra RidoutProf. Graham & Felicity RigbyJakob Vujcic & Lucy Robb VujcicJennifer RoyleTrish & Richard RyanScott SaundersGarry Scarf & Morgie BlaxillPeter & Ofelia ScottMarysia SeganJan SeppeltJenny Senior & Jenny McGeeAgnes SinclairAnn & Quinn SloanKen SmithMichael SouthwellBrian StagollPatricia StebbensRoss Steele amCheri StevensonNigel StokeC A Scala & D B StuddyDr Douglas Sturkey cvo amIn memory of Dr Aubrey SweetDr Niv & Mrs Joanne TadmoreGabrielle TaggSusan & Yasuo TakaoC ThomsonTWF See & Lee Chartered AccountantsOliver WaltonJoy WearneGC & R WeirWestpac GroupHarley & Penelope WhitcombeJames WilliamsonSally WillisJanie WitteyLee WrightGina YazbekJoyce YongLiLing ZhengBrian Zulaikha & Janet LaurenceAnonymous (41)


54

ACO Committees

Sydney Development Committee

Heather Ridout ao (Chair)Chair Australian Super

Guido Belgiorno-Nettis amChairman ACO

Gauri BhallaCEO Curious Collective

John Kench

Jason LiChairman Vantage Group Asia

Jennie Orchard

Peter ShorthouseSenior Partner Crestone Wealth Management

Mark StanbridgePartner Ashurst

Alden Toevs

The Melbourne Committee

Martyn Myer ao (Chair)Chairman, Cogslate Ltd President, The Myer Foundation

Peter McMullin (Deputy Chair)Chairman McMullin Group

David AbelaManaging Director 3 Degrees Marketing

Colin Golvan qc

James OstroburskiCEO Kooyong Group

Rachel PeckPrincipal peckvonhartel architects

Ken SmithCEO & Dean ANZSOG

Susan Thacore

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

Disability Advisory Committee

Morwenna CollettDirector Major Performing Arts ProjectsAustralia Council for the Arts

Alexandra Cameron-FraserChief Operating Officer, ACO

Dean WatsonCustomer Relations & AccessManager, ACO

ACO Government Partners

We thank our Government Partners for their generous support

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

The ACO is supported by the NSW Governmentthrough Create NSW.

Event Committees

SydneyJudy Crawford (Chair)Lillian ArmitageJane CliffordDeeta ColvinLucinda CowdroyFay GeddesJulie GoudkampLisa Kench

Liz LewinJulianne MaxwellRany MoranFiona PlayfairLynne TestoniSusan Wynne

BrisbanePhilip BaconKay BryanAndrew CloustonCaroline FrazerDr Ian Frazer ac Cass George

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


55

Holmes à Court Family FoundationThe Ross Trust

Janet Holmes à Court AC

Marc Besen AC & Eva Besen AO

We thank our Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

NATIONAL EDUCATION PARTNERS

NATIONAL TOUR PARTNERS

ACO Partners56


PRINCIPAL & TOUR PARTNERGOVERNMENT PARTNERSBOOKINGS

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TOGNETTI’S BEETHOVEN

“Tognetti is giving ‘classical’ music the relevance it needs

to survive another age.” – AUSTRALIAN FINANCIAL REVIEW

In a monumental finale to our 2018 Season, Richard Tognetti and the Orchestra return to Beethoven’s mighty Violin Concerto and the famed Fifth Symphony.

8 – 21 NOVEMBERAdelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth, Sydney

Tickets from $60*

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

2019A NEW LIGHT

Richard Tognetti Artistic Director

PRINCIPAL PARTNER

Helena Rathbone Principal Violin

GOVERNMENT PARTNERSDISCOVER THE FULL SEASON

aco.com.au/2019

Subscriptions now on sale.Flexi-packs on sale 15 October.

Documents

ILYA GRINGOLTS PLAYS PAGANINI - au-com-aco-assets.s3 ... · Niccolò Paganini (1782 – 1840) (arr. Bernard Rofe) Violin Concerto No.1 in E-flat major, Op.6 Niccolò Paganini is the