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ACTEWAGL LLEWELLYN TWO

SEASON 2018

New Combination “Bean” Lorry No.341 commissioned 31st December 1925.

Photograph courtesy of The University of Melbourne Archives 2008.0045.0601

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1802

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VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis

VAŇHAL Double Bass Concerto in D majorAllegro moderatoAdagioAllegro moderato

STANHOPE Morning Star

BEETHOVEN Symphony No. 2 in D major, op. 36Adagio molto–Allegro con brioLarghettoScherzo (Allegro) and TrioAllegro molto

Wednesday 2 MayThursday 3 MayLlewellyn Hall, ANU, 7.30pmPre-concert talk 6.45pm

Johannes Fritzsch Conductor Phoebe Russell Double Bass

We acknowledge and celebrate the First Australians on whose traditional lands we meet, and pay our

respect to the elders of the Ngunnawal people past and present.

ACTEWAGL LLEWELLYN TWO

Estimated Durations:VAUGHAN WILLIAMS 17 minutes, VAŇHAL 18 minutes, 20 minute interval, STANHOPE 9 minutes,

BEETHOVEN 32 minutes

CSO OPERA GALA

LOVE AND LUSTSaturday 9 JuneLlewellyn Hall, ANU, 7.30pm

Simon Kenway ConductorSoloists from Pacific Opera

You can’t afford to miss this year’s Opera Gala, which features Australia’s finest young singers from Pacific Opera singing arias, ensembles, and directed scenes from operas such as Beethoven’s Fidelio, Verdi’s Rigoletto and Tchaikovsky’s Eugene Onegin. This beautiful program is guarantees you a very special Saturday night!

Tickets CSO Direct 6262 6772 cso.org.au or ticketek

Full repertoire and biographies at cso.org.au/events

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Life is better with music cso.org.au

SEASON 2018

WELCOME Good evening

We are delighted to share tonight’s extraordinary music with you at this, the second in the Canberra Symphony Orchestra’s 2018 ActewAGL Llewellyn Series. This fascinating concert offers so many new and exciting elements weaving together to

create a unique and inspiring moment in time. We thank ActewAGL for their generous support which brings us together to share this memorable event.

Tonight’s music is an intriguing menu of beloved works and less well-known pieces which transport us from Tudor England to Vienna Austria and the Northern Territory of Australia. It is an historic moment to welcome legendary conductor Johannes Fritzsch to lead the Canberra Symphony Orchestra for the first time. Conductor Laureate with the Queensland Symphony Orchestra and Principal Guest Conductor of the Tasmanian Symphony Orchestra, Maestro Fritzsch brings a wealth of experience from Australia and overseas to inspire tonight’s performance. Guest soloist Phoebe Russell also makes her CSO debut tonight and we are delighted to showcase this young Australian superstar on the rise.

The diverse nature of this evening’s concert is reflected in other music activities we are presenting in the next quarter. On 17 May, the first 2018 CSO Australian Series concert, presented by Singapore Airlines will take place at the National Portrait Gallery. Featuring the SCM Saxophone Orchestra and curated by Prof Matthew Hindson AM, please join us for the world premiere of a new work by Canberra’s own Natalie Williams at this one hour concert which also gives you access to the National

Photographic Portrait Prize exhibition. It’s perfect for an after-work treat. Find out more at www.cso.org.au

If you like a delicious luncheon with your music, the autumn edition of Strings in the Salon is taking place on Sunday 27 May at Monster in NewActon. You can book tickets through Ovolo Nishi on 6287 6287. Should opera be your favourite, you won’t want to miss the incomparable CSO Opera Gala on Saturday 9 June. Love & Lust features five soloists and an ensemble in directed scenes from some of your favourite works in the operatic canon.

The CSO is also busy in your community, bringing our free education program Music in My School to primary schools in the ACT, Queanbeyan and the Yass region in early June. The CSO is also committed to creating more opportunities for more people to engage with more music in your community. In 2018 we have launched a One4One campaign, asking for donations to match the Community funding we receive from the ACT Government. If each person donated just $5 we would be able to extend those music opportunities which impact on the wellbeing of your community. If you are interested in making a tax-deductible donation, please go onto our website for details: www.cso.org.au

Last but certainly not least, we extend our sincere gratitude to the ACT Government through artsACT, and the Commonwealth Government through the Australia Council for the Arts, for their ongoing support, which is vital and never taken for granted. In addition, we thank our musicians, partners, donors, patrons and our community, for sharing our belief in the importance of music in our world.

Sarah Kimball Chief Executive Officer

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Gordon Darling Hall, National Portrait Gallery, 6.30–7.30pm Bar opens 6pm

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SEASON 2018

AUSTRALIAN SERIES PRESENTED BY SINGAPORE AIRLINES

The CSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

JOHANNES FRITZSCH CONDUCTORIn 2015/2016, Johannes Fritzsch conducted the Queensland, Sydney, West Australian, Adelaide and Tasmanian Symphony Orchestras, led performances of La traviata and Madama Butterfly for Opera Queensland and Luisa Miller, Il barbiere di Siviglia and Der fliegende Holländer

for Hamburg Oper. In 2017, he conducts Die Entführung aus dem Serail and Madama Butterfly for Hamburg Oper and makes major appearances with Auckland Philharmonia and the Melbourne, Queensland and Tasmanian Symphony Orchestras.

Johannes Fritzsch was born in Meissen, Germany, in 1960. He received his first musical tuition in piano and organ from his father, a Cantor and Organist. He also studied violin and trumpet. His higher education was received at the Carl Maria von Weber Music Academy in Dresden, majoring in conducting and piano.

In 1982, after completing his studies, Maestro Fritzsch was appointed 2nd Kapellmeister (Conductor) at the Volkstheater in Rostock. In 1987, Mo. Fritzsch accepted the position of Kapellmeister with the Staatsoper Dresden, Semperoper, where he conducted more than 350 opera and ballet performances within five years.

After the German reunification, Mo. Fritzsch was able to accept engagements outside of Eastern Europe. In 1992/3 he worked as 1st Kapellmeister at the Staatsoper Hannover. During that time, Mo. Fritzsch was appointed Chief Conductor and Artistic Director at the Städtische Bühnen and the Philharmonisches Orchester in Freiburg. There he remained until 1999 enjoying

widespread acclaim. The Verband Deutscher Musikverleger (association of German music publishers) honored his 1998/99 season with the distinction of having the ‘Best Concert Program’.

Mo. Fritzsch has performed with many orchestras, both within Germany and internationally. These include: Hamburger Sinfoniker, Düsseldorfer Sinfoniker, Philharmonie Essen, Nationaltheater-Orchester Mannheim, Staatskapelle Schwerin, Berliner Sinfonie Orchester, Staatskapelle Dresden, Norddeutsche Philharmonie Rostock, Staatsorchester Halle, the Swedish Radio Orchestra, the Norwegian Radio Orchestra, the Danish Radio Symphony Orchestra, the Orchestre Philharmonique Strassbourg, the Orchestra National de Montpellier, the Orchestra National du Capitole de Toulouse, the Sydney, Melbourne, Tasmanian, Queensland and West Australian Symphony Orchestras and Orchestra Victoria.

Opera Companies with which he has worked include: Sächsische Staatsoper Dresden, Opernhaus Köln, Deutsche Oper Berlin, Komische Oper Berlin, Opera Bastille Paris, Grazer Oper, the Royal Opera Stockholm, Malmö Operan and Opera Australia in Sydney and Melbourne (including Wozzeck, Don Giovanni, Carmen, Tosca, Rigoletto, Salome, Der Rosenkavalier).

Mo. Fritzsch recently held the position of Chief Conductor of the Grazer Oper and Grazer Philharmonisches Orchester, Austria; from 2008-2014, he was Chief Conductor of the Queensland Symphony Orchestra and was recently appointed Conductor Laureate.

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PHOEBE RUSSELL DOUBLE BASSPhoebe Russell returned home to Australia in early 2017 to take up the position of principal double bass with the Queensland Symphony Orchestra.

She was 17 years old when she settled in Berlin and within months made her debut in the double bass section of the Berlin Philharmonic. Since then

she has performed in more than 20 countries across the globe with leading orchestras including the Mahler Chamber Orchestra, the Bavarian Radio Symphony Orchestra, the Berlin Radio Symphony, Deutsches Symphonie Orchester, and the Netherlands Philharmonic Orchestra among others. She has performed under great conductors such as Sir Simon Rattle, Daniel Barenboim, Gustavo Dudamel, Zubin Mehta, and Ricardo Muti among others.

In 2012 Phoebe was an Australian Chamber Orchestra 'Emerging Artist' and was a soloist and chamber musician in the ‘Wilma and Friends’ series run by Wilma Smith.

The Melburnian spent two years as scholarship recipient of the Berlin Philharmonic’s prestigious Karajan Orchestra Academy from 2013 to 2015, and was a bachelor student at the Hanns Eisler University of Music in Berlin. Phoebe is also an alumna of the Australian National Academy of Music where she completed a professional performance program in 2011 under the guidance of Damien Eckersley.

In 2015 she performed as recitalist to a full house in the Berlin Philharmonic's lunchtime series and a few months later, won the conductors prize for best concerto in the 2016 Carl Flesch Akademie Concerto competition, performing Giovanni Bottesini's second concerto with the Baden Baden Philharmonic. Phoebe has appeared as a soloist, both at home and abroad, with orchestras that include the Tasmanian Symphony Orchestra, the Baden Baden Philharmonic Orchestra, the Zelman Symphony Orchestra and the Melbourne Youth Strings Orchestra.

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MUSIC NOTES

RALPH VAUGHAN WILLIAMS (1872–1958)

FANTASIA ON A THEME BY THOMAS TALLIS There is some consolation for novice composers in learning that the aunt who described her young nephew Ralph Vaughan Williams as ‘hopelessly bad’ at music also lamented the budding E.M. Forster’s inability to write.

Undeterred, Vaughan Williams decided at an early age that the prevailing state of English music was not his ideal. Like his near-contemporaries Bartók and Kodály, he reasoned that a new yet truly national music must derive from tradition and the past. He looked for these origins not only in folksongs (of which he collected and arranged a great many), but in other places where communal music-making occurred, such as churches. He also turned to previous Golden Ages of British composition, notably the Elizabethan and Jacobean times.

Thomas Tallis (c.1505-1585) was one such ‘Golden’ composer. He served four monarchs: Henry VIII, Edward VI, Mary I and Elizabeth I. Presumably, he adapted to the various religious requirements of all of these, serving as a Gentleman of the Chapel Royal for many years.

Tallis worked within the musical customs of his day, including using ‘Ecclesiastical’ or ‘Church’ modes. There were eight established modes (or scales). Around 1567, Tallis wrote a series of eight hymn tunes, one in each of the church modes, for a psalter commissioned by Matthew Parker, the first Anglican Archbishop of Canterbury; these tunes are described in the psalter as follows:

The first is meeke: deuout to see.The second sad: in majesty.The third doth rage: and roughly brayth.The fourth doth fawne: and flattry playth.The fyfth delight: and laugheth the more.The sixth bewaileth: it weepeth full sore.The seuenth tredeth stoute: in forward race.The eighth goeth mild: in modest pace.

The theme so readily taken up by Vaughan Williams was the third of these, based on the Phrygian mode. (The notes of this mode correspond to the white notes of the piano beginning on ‘E’: e f g a b c d e.) Most folksongs are also based on modes rather than chromatic scales, so it’s small wonder that so much of Vaughan Williams’ work sounds modal.

Tallis’ original setting of his ‘Third Tune’ was for Psalm 2, one version of which is now best known as ‘Why do the nations so furiously rage together’. His words, though, ran:

Why fum’th in sight the Gentiles spite, in fury raging stout?

Why tak’th in hand the people fond, vain things to bring about?

The kings arise, the Lords devise, in counsels met thereto,

Against the Lord with false accord, against his Christ they go.

Sung vigorously, with such a text, the Tallis tune might well fit the ‘rough’ character assigned to it. Vaughan Williams instead seized on the unusual beauty of the harmony and well-balanced form of the melody to create a far smoother work. He was probably also inspired by his knowledge of the fantasias for string ensembles popular

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MUSIC NOTES

FANTASIA ON A THEME BY THOMAS TALLIS, CONT.

in Tallis’ time (such as the In nomines of John Taverner). The form is somewhat similar to such works, being a series of related themes developed in relatively independent sections.

Other references to the period are manifest in this Fantasia. It is scored for three groups: a string quartet, a large string orchestra and a small string orchestra. This allows for antiphonal effects such as Tallis (and his colleague William Byrd) regularly used with their choirs. It also promotes the ‘echo’ effects achieved in the acoustic of a great cathedral, including Gloucester, where the work was premiered in 1910. (Vaughan Williams revised the work in 1919.) Tallis’ original setting places the melody in the tenor part, a common practice. Vaughan Williams, himself a violist, frequently assigns the tune to the violas or the inner parts (or, in some places, a solo viola). His famously distinctive parallel chords recall the ‘faux bourdon’ technique as used by Tudor composers.

Despite these references to past times, here the composer gives Tallis’ theme a thoroughly 20th-century treatment. The introduction glimpses the three principal motifs whose development and interplay create the overall work. A brief series of ‘mystical’ chords moving in contrary motion instantly creates a devotional atmosphere. (Similar phrases begin Vaughan Williams’ first two symphonies.)

The violins then hold a high D, functioning as a pedal against which the second motif (the first phrase from Tallis’ theme) is introduced through pizzicato unison lower strings. The pizzicato is important for providing textural contrast in an all-strings work.

The third motif is a series of legato chords moving in parallel around a very small tonal area. (English music scholar Michael Kennedy described this as a ‘swaying’ motif.) The colours of this particular theme are evocative of pre-13th-century church music, as they suggest parallel organum, an early way of creating harmony in the singing of plainchant (and a device with which the musician/historian Vaughan Williams would have been well acquainted). The melody of this motif is derived from the second and fourth phrases of the Tallis tune.

The Fantasia proper starts with a complete statement of Tallis’ theme against tremolo first violins. It is worth noting the dotted rising triplet figure, which corresponds with the words ‘The kings arise’ in the original work. This musical gesture was extremely important to Vaughan Williams. The same tiny fragment appears in a number of highly significant places in later works, including the Alleluias which mark the entrance to the Celestial City in The Pilgrim’s Progress. Later in the Fantasia, it provides the material for the climactic moments of the piece, where all the parts play in near-unison rhythm.

Vaughan Williams the violist clearly enjoyed assisting his compositional alter ego, and not just in the solo passages that suggest the forthcoming The Lark Ascending. The love of strings shows even in simple things like the final chord, whose already rich resonances would be amplified by a cathedral acoustic, reminding listeners of the Fantasia’s historical as well as literal echoes.

Katherine KempSymphony Australia © 1998Reprinted with permission

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MUSIC NOTES

JOHANN BAPTIST VANHAL (1739–1813)

CONCERTO FOR DOUBLE BASS AND ORCHESTRAAllegro moderatoAdagioAllegro moderato

The double bass is by no means the most popular choice of solo instrument for a concerto. The rumbling earthy timbre and low frequencies make the instrument—rather unfairly maligned as The Elephant in Saint-Saëns’ The Carnival of the Animals— a trickier beast to tame, particularly as far as orchestration is concerned, than the violin or cello. But a number of composers have risen to the challenge, including the likes of Serge Koussevitzky, Gordon Jacob and Jean Françaix. In Australia, the double bass seems to be enjoying something of a renaissance recently, with the world premiere here of American composer Missy Mazzoli’s concerto earlier this year and the unveiling of Elena Kats-Chernin’s concerto for no less than eight double basses, The Witching Hour, in 2016.

Czech composer Johann Baptist Vanhal’s single contribution to the genre, however, remains an enduring staple of the instrument’s solo repertoire and perhaps the greatest work written for the instrument to emerge from the Classical period. There is something almost Mozartean about the elegant phrases of Vanhal’s concerto, particularly the Allegro moderato first movement. Indeed, the composer reportedly met the child Mozart in Vienna and an anecdote by Irish tenor Michael Kelly (who sung Don Basilio in the first performance of The Marriage of Figaro) has Vanhal performing in a string quartet in 1784 with Mozart, Haydn and Carl Ditters von Dittersdorf (the last of whom also added several concertos to the double bass repertoire).

But Vanhal didn’t always move in such eminent circles. He was born into bondage in 1739, a serf living on the estate of Count Schaffgotsch in the Bohemian village of Nechanicz. He received musical training—in singing, organ, string and wind instruments—and later worked as an organist and choir director, before moving to Vienna in the early 1760s where the income he derived from teaching eventually allowed him to purchase his freedom. He would go on to travel widely—including to Italy on a trip paid for by Baron Isaac von Riesch of Dresden, whose patronage he would later spurn—and compose prolifically. His symphonies—he wrote more than 70—influenced the Sturm und Drang (storm and stress) style explored by both Haydn and Mozart, and he wrote dozens of keyboard sonatas and sacred works. Haydn was the only contemporary composer to write more string quartets.

It is unclear for whom Vanhal wrote his double bass concerto, but the sole surviving manuscript was a copy owned by Johann Matthias Sperger (with cadenzas in his own hand), a leading double bass player and composer in his own right. Typical of the Classical period the concerto is in three movements, the vibrant first movement is followed by a more lyrical Adagio, which sees the soloist climbing to the instrument’s honeyed, cello-like upper register. The finale is bright and bubbly, a lively dancing movement that fittingly shows off the beauty and agility of a wonderful, if underappreciated, instrument.

Angus McPherson © 2018Angus McPherson is Deputy Editor of Limelight magazine.

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MUSIC NOTES

PAUL STANHOPE (B. 1969)

MORNING STAR (1992)Morning Star is the first in a series of three chamber pieces whose material is partly derived from Aboriginal clan from central Arnhem Land. This piece refers obliquely to a melody called “Morning Star” which is presented in a simple, song-like arrangement in the first movement, fragmented into insistent ostinatos in the second and subsequently transformed into a frenetic dance in 7/8 for the final movement. The use of this material is in no way an overt attempt to present something 'Australian' nor to represent Aboriginal culture: Morning Star, my first piece for ensemble, is a personal musical response to the rich tradition of indigenous music making in the Northern Territory.

LUDWIG VAN BEETHOVEN (1770–1827)

SYMPHONY NO.2 IN D, OP.36Adagio molto–Allegro con brioLarghettoScherzo (Allegro) and TrioAllegro molto

Composed in 1802 and premiered three years almost to the day after Beethoven’s first symphony, the Symphony No.2 proved uncomfortable listening for those who heard its first performance on 5 April 1803. Critics fondly recalled the ‘unaffected ease’ of the First Symphony, compared with which the Second, ‘striving [to be] new and striking’, succeeded only in being ‘bizarre, harsh and undisciplined’. To one imaginative critic,

the abrupt, quivering figures of the finale seemed no less than a monster, ‘a wounded, tail-lashing serpent, dealing wild and furious blows as it stiffens in its death agony…’.

To a modern listener, the movement merely proclaims the composer’s youthful vigour.

Beethoven was by now expanding symphonic form significantly. On one hand there is a vast slow introduction—by turns imposing, solemn and lyrical—which reaches a powerful climax in D minor (presaging the Ninth Symphony) before a mood of hushed expectancy gives way

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MUSIC NOTES

SYMPHONY NO.2 IN D, OP.36, CONT.

to an irresistible ‘boil-over’ directly into the Allegro. On the other hand, the outer movements culminate in bigger and grander codas than ever before. And, perhaps most significantly, we see unprecedented weight and emphasis on the last movement—the finale no longer just a high-spirited wrap-up but now beginning to bear a greater burden of symphonic argument.

If the first-movement Allegro pursues a course of unprecedented brilliance and energy, it nevertheless remains essentially ‘normal’ until the coda, where, as Donald Francis Tovey has suggested, Beethoven’s orchestra rises to an intense climax assuming the grandeur of a great chorus.

To follow such exhilaration comes a Larghetto movement described by Tovey as ‘one of the most luxurious slow movements in the world’, and by Robert Simpson as ‘an outstanding marvel of beauty and grace’. Even with no indication of the normal sonata-form repeats, this leisurely movement is unusually substantial, causing Beethoven in a later arrangement for piano trio to indicate a marginally livelier tempo, Larghetto quasi andante.

The third movement is the first in a Beethoven symphony to bear the supposedly characteristic designation Scherzo, and is, in fact, the first of only two such movements in all Beethoven’s symphonies. It reveals the composer in boisterous good humour, as he contrives to make music out of a variety of staccato three-note figures with impulsive chordal

interjections, yet managing to sound joyful, as if he were out in the countryside free of all worldly cares.

Similar sharp dynamic contrasts characterise the finale—the movement which, more than any other, marks the composer’s advance in the three years since the First Symphony. Like the Larghetto, this is a sonata movement without repeats, displaying great brilliance and good humour, and posing a problem of dissonant harmony which finds resolution in a massive coda more than half as long again as the main body of the movement. It is in the coda that Beethoven opens the magic casements briefly, poised on a knife-edge of hushed expectancy, to reveal a blissful glimpse of future glories in store. But it cannot last. Beethoven at age 32 can only round it off and bring us conventionally down to earth.

Beethoven completed the Second Symphony in the seclusion of rural Heiligenstadt, outside Vienna, where he was under doctor’s orders to rest and try to restore his failing hearing. It was there that he realised his ailment was progressive and incurable, there that he was driven to pen his despairing, valedictory Heiligenstadt Testament. Yet at the same time he was able to compose a symphony of mingled exhilaration and bliss—a salutary reminder that he, unlike the Romantics, is to be interpreted by heart-on-sleeve analysis at one’s peril.

Anthony Cane © 1998/2011Reprinted by permission of Symphony Services International

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Wish the ABC would record concerts for broadcasting.

Thank you kindly to all the orchestra members for their dedication and

excellence in their craft.

I love the variety of people you attract to your concerts. I like that the different series provide different experiences. You

make classical music accessible even to those of us who don't know a note.

Good to see more women featured in the 2018 program.

I enjoy it when the conductor introduces and talks about the works. This makes the

music much more accessible

more well known pieces please!

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Not a big fan of some modern composers. Some are good, others are just

raucus noise.

ViolinBarbara Jane GilbyDoreen CummingPip ThompsonLeanne BearTahni ChanJack ChenowethLauren DavisIrene de SilvaJenny HiggsMichelle HiggsValerie JacksonAndrew LorenzErin PatrickClaire PhillipsDan RussellTim WickhamMatthew WitneyHanna Yu

ViolaTor FrømyhrBen CarvalhoJulia ClancyJosephine LumanauIska SampsonHayasa Tanaka

CelloPatrick SuthersJames BeckJoseph EisingerLindy RekstenAlex Voorhoeve

Double BassKyle Ramsay-DanielIsabella BrownDave FlynnCaroline Renn

FluteTeresa RabeKiri Sollis

OboeMegan PamplingJulie Igglesden

ClarinetEloise FisherRachel Best Allen

BassoonRichard McIntyreJordan London

French HornDianna GaetjensVictoria Chatterley

TrumpetJohn FosterJustin Lingard

TimpaniAndrew Heron

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Samuel Payne

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THE ORCHESTRAACTEWAGL LLEWELLYN TWO

more well known pieces please!

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AUSTRALIAN SERIES Supported by Singapore Airlines Pictures at an Exhibition Thursday 17 MaySCM Saxophone OrchestraMichael Duke ConductorGordon Darling Hall, National Portrait Gallery, 6.30pm

STRINGS IN THE SALON: AUTUMNSunday 27 MayMonster Salon and Dining Rooms, NewActon, 1pm

JUNECSO OPERA GALA Love and LustSaturday 9 JuneSimon Kenway ConductorSoloists from Pacific OperaLlewellyn Hall, ANU, 7.30pm

JULYRECITAL THREEDimity Hall (Violin) & Julian Smiles (Cello) Sunday 15 JulyWesley Music Centre, 3pm

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Nicholas Milton AM Conductor Artistic patronage ActewAGL

Dimity Hall Violin, Julian Smiles Cello, Piers Lane Piano

Llewellyn Hall, ANU, 7.30pmPre-concert talk 6.45pm BRAHMS: Academic Festival Overture, op. 80BEETHOVEN: Triple Concerto for Violin, Cello and Piano in C major, op. 56ELGAR: Variations on an Original Theme Enigma, op. 36

STRINGS IN THE SALON: WINTERSunday 22 JulyMonster Salon and Dining Rooms, NewActon, 1pm

AUGUSTLAUNCH OF 2019 SEASON Tuesday 14 August Renew subscription for same seats by 5 October

AUSTRALIAN SERIES Supported by Singapore Airlines ReimaginingsThursday 30 AugustGordon Darling Hall, National Portrait Gallery, 6.30pm

Tickets CSO Direct 6262 6772 or cso.org.au Complete repertoire and 2018 events cso.org.au/events

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CSO DEVELOPMENTCSO Development brings CSO Partnerships and Philanthropy together to share networks, ideas and resources in pursuit of commonly-held goals. More and more, the CSO activity that attracts corporate support is often precisely what inspires our audience to donate.

While musical excellence and great concerts in Canberra are central to the CSO, so too are our Education and Community activities, particularly from a fundraising perspective. The CSO’s existing partners and donors are central to this, but we’ll continue to pursue new business and private opportunities where appropriate.

Partners and donors and new CSO Education programs for 2018–2020

Recently, CSO donor group, the Education Giving Circle, funded a review and strategic plan for new CSO Education programs for 2018–2020. Last year their support funded a music education specialist to research, consult and make recommendations toward the new program.

This month, we’re piloting the first Music in MY School music education program for primary schools. Music in MY School has gained the support of key local organisations, with Ginninderry and Riverview Developments becoming the inaugural CSO Education Partners. Their support will fund the program in Belconnen and Yass Valley. Icon Water will support the program in the Queanbeyan Palerang Region, and the Education Giving Circle funded the Music in MY School teaching notes.

This new model is the result of CSO donor and corporate partner support, a shared ambition to create something new and a unique funding arrangement to realise it.

2018 Tax Appeal and the One4One campaign

The CSO’s 2018 tax appeal is just about upon us and this year we’re challenging private and corporate supporters to match the ACT government funding for the CSOs community engagement programs in 2018.

Matched fundraising has proven to be a strong incentive to secure investment from new sources, with existing supporters and partners seeing matched funding as a means of extending their contribution.

The One4One campaign aims match our ACT government funding of $107,000 with new donor and business support. Currently, we’re tracking at one third of that amount. Matching this amount means that we can grow existing programs and create new ones, based on community needs. More opportunities for more people to connect with more music!

You can donate to the One4One campaign now through our website, cso.org.au, where we’ve made significant improvements to the online donation process. No log in names or passwords—Hooray!

PARTNERSHIPSWe thank our government, corporate and community partners

Department of Communications and the Arts

“ActewAGL’s partnership with the Canberra Symphony Orchestra began in 2001, and we have continued to proudly support the talented musicians and creative team who provide exceptional musical experiences for the Canberra region. We are honoured to be the artistic patron of CSO Chief Conductor and Artistic Director, Nicholas Milton AM, and we are especially proud of our involvement with the CSO’s innovative education and community programs which connect people of all ages and backgrounds through music.” Michael Costello, Chief Executive Officer, ActewAGL

POWERHOUSE PARTNER YARRAMUNDI PARTNER CULTURAL PARTNER

HONORARY SOLICITORS MURRUMBIDGEE PARTNERS

GOVERNMENT PARTNERS

The CSO is all about connecting our partners with the community through music. We believe that life is better with music and our collaborative partnerships support a diverse range of concerts from the mainstage to the extensive CSO Education and Community Outreach programs.

Frances Corkhill—Partnerships frances.corkhill@cso.org.au M: 0428 272 817

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COTTER PARTNERS

Martin Ollman Photography

MEDIA PARTNERS

DIGITALAUTOMOBILE

ACCOMMODATIONESTATES PLANNING

IT SUPPORT PRINT WINE

AUSTRALIAN SERIES VENUE PARTNER

SIDE BY SIDE ORCHESTRA PARTNER

The Kingsland Fellowship Program

Founding DonorsThe late Sir Richard & Lady Kingsland & Family

Marjorie LindenmayerAnonymous 1

Gifts and BequestsBetty Beaver AMDr Pamela RothwellAnonymous 2

In Memoriam Don BeazleyJanice BeveridgePeter CianchiHeather Eastwood Ann & Liam KearnsNancy Shackell

Instrument FundProf Brian Anderson AC & Dianne Anderson

Shane Baker & Linda Pearson

Boronia GiftJoan BostonProf Robert Crompton & Helen Crompton

The Flynn Family Anthony Hedley AM Geoffrey White OAM Sally White OAMIn Memoriam Leonie Voorhoeve

Vanguard Member $25000 +Prof Brian Anderson AC & Dianne Anderson

Tall Foundation

Virtuosi Member Above $10000Kenyon FoundationMandy Westende & Lou Westende OAM

Anonymous 1

Maestro Membership $4000-$9999

Prof Brian Anderson AC & Dianne Anderson

RA David Campbell AMSue Daw OAM (in memory of Peter Cianchi)

Marjorie LindenmayerNoela McDonaldDavid McDonaldAnonymous 3

Education Giving CircleVirginia BergerJoan BostonIn Memoriam Prof John Mulvaney Alan RichardsonAnonymous 1

Principal Member $1000-$3999

Halina BarrettVirginia BergerMax & Lynne BoothJoan BostonPeter Carrigy-RyanHelen DouglasEmeritus Professor Dudley & Mrs Helen Creagh

Sue DyerRaydon & Alison GatesJ P GordonJames GrieveBeatrice GuppyAllan Hall AMBarbara Hall OAMDonald Harris AM & Glenys M Harris

Anthony Hedley AMPaddy & Louise HodgmanColin & Enid HolmesDavid HowardStephanie & Mike HutchinsonBoronia GiftPaul & Jan KriedemannHenry & Dianna LaskaJim & Heather LeedmanPaul Lindwall

Raymond Macourt OAMGarth Mansfield OAMMargaret Mansfield OAMDavid & Sheila MiddletonElizabeth Morrison Anne & John MotenMargaret OatesPeter & Asha ClarkeUrsula ReidRobyn RobertsonParis '99David ShelmerdinePenelope LaylandGeoffrey White OAMSally White OAMSam & Heather WhittleMuriel WilkinsonAnonymous 4

Associate Member $500-$999Associate Member $500-$999Neil BattyVirginia BergerBrenda BernasconiJoan BostonMiles & Ann BurgessAK & JE CooperJohn FitzgeraldPhil & Julie GreenwoodIsobel GriffinMarlene HallTony HaywardMalcolm & Rhondda HazellDr Marian HillMary Elspeth HumphriesJohn & Ros JacksonPatricia JonesJohn KalokerinosMelanie KontzeN. LandauRaymond Macourt OAMAnne & John MotenJ. NormanMargaret PayneCarolyn PhilpotKatharine PierceUrsula ReidMichael & Emily Reed

CSO PRIVATE GIVINGWe thank all supporters for their commitment and generosity.

David ShelmerdineHaddon SpurgeonRobert StewartKerry TrueloveMuriel WilkinsonDr Margot Woods & Arn SprogisHelen White & Bob RichardsonAnonymous 5

Supporting Member $100–$499Judith AndrewsDr John AzouryPamela Weiss & Trevor Bainbridge

Tim BeckettDaryl & Hermina BlaxlandRobyn BoydStephen BrandMary BrennanC & R BrockDr Peter Brown AMPauline & Kevin BryantMs Ann BullerLouise ButlerDorothy CameronMrs Bev CarfraeAndrew ChalklenFaith ChegwynElizabeth Anne CouplandDon Coutts & Julie CampbellMerrilyn CrawfordMaria DamoYole & Bill Daniels AMWendy DoddMargaret DuncanVicki Dunne MLAJudi EdwardsM N FalkDr Miriam FischerT & W FitzgeraldMargaret FreyBill & Margo GeeringGreg GeorgeGeoff & Lynette GorrieGoyne FamilyGillian & Ian GrahamDr John GrantRosemary Greaves

Carol Grout-SmithMarlene HallIsobel HamiltonB HammondDr David HarColin HarmerTony HaywardHeather HendersonBeth HeydeKathleen HoltzapffelJune HowardWilliam & Rosemary Huff-Johnston

Douglas HurditchRod Hurley & Chris BatesG.A. JosephFrank KellyDavid & Rosemary KennemoreHelga KlippanSusanne KoerberBjarne KraghDenise KrausPaul & Jan KriedemannDr Frederick & Mrs Penelope Lilley

Judith LindgrenJohn & Jinnie LovettSue LudwigDavid MackenziePatricia MakehamSlawomir MakulaDr Heloisa MariathKathleen MarshallPaul & Betty MeyerDiana MildernDr Louise MoranPenelope MoyesLouise MuirMargaret MyersTeresa NeemanBruce NeindorfKate NockelsAnn NorthcoteMarie OakesPamela O'KeeffeJohn & Libby OliverRex N. OramHelen Pampling

Sue PidgeonPaul & Mary PollardEmma PurnellS PurserPeter RandallB&P RhemrevMeg RichensWayne & Linda RobertsMargaret RobinsonClive & Lynlea RodgerJennifer RowlandJohn & Anne RundleIsher & Norah SekhonAdrian Burton & Divya SharmaDaryl SheppardJohn SuttonAndrea SzaboDeane & Jennifer TerrellVirginia TorrensLeonard TuohySuzanne Vaisutis-WhiteBrenton WarrenMike & Ros WelchDon Whitbread OAMDr Anthony WillisHelen White & Bob RichardsonDiane WrightCapt W Graham WrightAnonymous 40

The CSO would like to acknowledge all donations from Contributing Members of up to $99

The 2018 & 2019 CSO Recital Series supported by Brian and Dianne Anderson

ActewAGL Retail ABN 46 221 314 841 a partnership of AGL ACT Retail Investments Pty Ltd ABN 53 093 631 586 and Icon Retail Investments Limited ABN 23 074 371 207.

WE’LL ALWAYS WORK IN HARMONY WITH OUR ORCHESTRA.