The Best of British with Alexander Sitkovetsky and ACO2

P R E S E N TS

NT, VIC & SA TOUR 2015

19–30 AUGUST

STARRING ALEXANDER SITKOVETSKY & ACO2

THE BEST OF BRITISH

Best of British Brochure.indd 1 4/08/2015 3:42 pm

2

MESSAGE FROM THE GENERAL MANAGER

English composers have a distinctive sound when writing for strings and

this program of music by either native-born or adopted Brits captures this

unique tonal quality from its earliest soundings in the 17th century through

to music of the late 20th century. The music demands stylistic flair and

versatility and the young musicians of ACO2 have demonstrated time and

again a fearless approach to new challenges. Leading the Orchestra for the

first time is the brilliant Russian-born violinist Alexander Sitkovetsky –

a student of the legendary Yehudi Menuhin, himself a force in British music

through most of the last century.

August is a remarkably busy month for the Australian Chamber

Orchestra in all of its incarnations. It encompasses performances

and education projects all over the country, including our partnership

in Western Sydney to create the Penrith Youth Orchestra, ACO2’s

geographically vast tour to Darwin, regional Victoria and South

Australia, installations of ACO VIRTUAL (our immersive, interactive

digital installation of the Orchestra) in Gladstone, QLD and in Sydney,

and a large-scale symphonic program of Mozart and Brahms directed

by Richard Tognetti in Adelaide, Brisbane, Melbourne and Sydney. Later

in the year, the ACO travels to Hong Kong for an exciting week-long

residency before rounding off 2015 with performances of Vivaldi’s

Four Seasons.

We are most grateful to the Australia Council for its support of this tour

of ACO2 and to our generous education patrons who support not only the

formation of ACO2 but the expansive educational activities which ACO2

provides to local communities while touring in regional Australia.

The most exciting news has just been announced: from the beginning

of 2016, ACO2 will have not only a new Artistic Director and a new name,

but will also welcome a new sponsor. From January 2016 the thrillingly

dynamic Finnish violinist Pekka Kuusisto will become the new Director.

ACO2 will become ACO Collective, capturing the spirit of collaborative

music-making which is so much a part of this Orchestra’s character.

And the great Australian corporation Wesfarmers will become the

Principal Partner of ACO Collective.

With exciting young talent on stage, a brilliant new Artistic Director, a

fresh identity and an enlightened and visionary sponsor, the future has

never looked brighter.

Timothy Calnin

General Manager


3

Alexander Sitkovetsky Guest Director & Lead Violin

ACO2

HANDEL Concerto Grosso in G major, Op.6, No.1, HWV319

PURCELL Chacony in G minor, Z730

PANUFNIK Violin Concerto

INTERVAL

HOLST St Paul’s Suite, Op.29, No.2

BRITTEN Variations on a Theme of Frank Bridge, Op.10

DARWIN

Entertainment Centre

Wed 19 Aug, 7pm

ACO2 is being presented

as part of the 2015

Darwin Festival.

HEALESVILLE

The Memo

Fri 21 Aug, 7.30pm

MONTROSE

Town Centre

Sun 23 Aug, 2pm

BENDIGO

The Capital

Wed 26 Aug, 8pm

WARRNAMBOOL

Lighthouse Theatre

Thu 27 Aug, 7.30pm

MOUNT GAMBIER

Sir Robert Helpmann Theatre

Fri 28 Aug, 7.30pm

ADELAIDE

Elder Conservatorium

Sun 30 Aug 2.30pm

This performance will be recorded

by ABC Classic FM and will be

broadcast on Thursday

3 September at 8pm.

This concert will run for approximately one hour and

40 minutes, including a 20-minute interval.

PROGRAM


4

ABOUT THE MUSIC

GEORGE FRIDERIC HANDELBorn Halle 1685

Died London 1759

Concerto Grosso in G major Op.6, No.1, HWV319

(Composed 1739)

I. A tempo giusto

II. Allegro

III. Adagio

IV. Allegro

V. Allegro

On 22 November 1739 (St Cecilia’s Day), Handel opened a new

concert series in London. Unfortunately things went against it. The

War of Jenkins’ Ear had reluctantly been declared on the Spanish

colonies, so many people didn’t feel like going out for a good time.

The weather was unfavourable: the Thames had frozen over in one

of the bitterest seasons on record. Despite the pleas of the theatre

management at Lincoln’s Inn Fields that ‘Particular Preparations are

making to keep the House warm’, the audience stayed away in droves.

Then the singers fell sick too.

Passing not quite unnoticed in this ill-fated concert series was a

collection of ‘Grand Concertos’, which were designed as interludes

to rest ears wearied by the mostly vocal content of the program.

Between 29 September and 30 October Handel wrote at unbelievable

speed, producing a concerto grosso every two days or so. The result

was his Opus 6, containing ‘Twelve Grand Concertos in Seven Parts,

for four Violins, a Tenor [viola], a Violoncello, with a Through-Bass for

the Harpsichord’. The set is now widely considered the pinnacle of

Handel’s compositions for instrumental ensemble.

The title concerto grosso is literally ‘big concerto’, or ‘grand

concerto’, as Handel more elegantly put it. Whereas these days

we tend to think of a concerto in terms of a single soloist pitted

competitively against an orchestra, a ‘big’ concerto used a group of

soloists instead of just one. In this case (Op.6, No.1) they are a gang

of three, the ‘concertino’, working alternately with and against their

colleagues in the larger ‘ripieno’.

Handel’s Opus 6 was undoubtedly inspired by the concerti grossi of

Arcangelo Corelli, and those of his pupil Francesco Geminiani. The

English had learned to appreciate these even before Handel came

on the scene; he was deliberately catering to public taste. Musical

scholarship suggests that Handel borrowed from other colleagues

too. George Muffat’s keyboard suites and Domenico Scarlatti’s

harpsichord exercises come in for their own fair share of the sincerest

form of flattery.

George Frideric Handel


5

Although the concert series for which the concertos were designed

didn’t make him wealthy, Handel had the satisfaction of seeing

published copies of Opus 6 sell to most of the royal family, London’s

two biggest impresarios, and a number of the major musical societies

in England and Ireland.

HENRY PURCELLBorn London c.1659

Died London 1695

Chacony in G minor, Z730

(Composed c1678)

When Purcell died in 1695, poems and musical tributes flowed from

pens across Britain. To this day there are few English composers who

can lay claim to an equivalent place in musical history.

The boy Henry Purcell followed in the footsteps of his uncle and

possibly also his father in becoming a musician with the Chapel Royal,

where he studied and worked with some of the best composers, singers

and instrumentalists. After his voice broke in 1673, he moved smoothly

into various jobs associated with the Chapel and with Westminster

Abbey – by 1682 he had been appointed Organist at both venues, and

was simultaneously making a name as a theatre composer.

However, his biography still contains a number of mysteries, and

his catalogue contains many shadows of uncertainty. One such

minor puzzle is why he called this work a ‘chacony’. The French term

‘chaconne’ was used at that time; perhaps it is just his own quaint

pronunciation of the word, in a period when consistent spelling was

not as valued as it is today. But this piece is not strictly speaking

a chaconne anyway, but rather its triple-time, bass-dependent

cousin the passacaglia, a work with a low ostinato line that repeats

throughout, while decorations are applied ever more lavishly.

This is thought to be an early piece, written at perhaps the age of 18.

Purcell loved this kind of musical approach and used it throughout his

life, most often as a kind of ‘ground bass’ where the repeated phrase

sits in the lowest line – a famous example is his Dido’s Lament, in the

same key. This Chacony may have been written for solo harpsichord.

Yet something about its rich harmonies comes more vividly alive

on strings, suggesting its suitability for playing domestically, with

cheerful friends, despite the minor tonality.

Henry Purcell


6

ANDRZEJ PANUFNIKBorn Warsaw 1914

Died London 1991

Violin Concerto

(Composed 1971)

I. Rubato

II. Adagio

III. Vivace

Andrzej Panufnik is to Poland what György Ligeti is to Hungary:

a significant and adventurous composer, whose work reflects his

connection to his country’s folk traditions. Both escaped the Iron

Curtain to the West during the Cold War. Panufnik left Poland in 1954

to live in the UK and did not return until 1990, the year before

his death.

The composer wrote of this work:

When Yehudi Menuhin asked me to compose a violin concerto

for him, I immediately had in mind his unique spiritual and poetic

qualities and I felt I should provide a vehicle which would accentuate

these rare gifts, and not obscure his deep inner musicianship by

virtuoso pyrotechnics. I treated the violin as a singing instrument so,

though keeping within my strict self-imposed discipline of sound-

organisation, I constructed rather long and unbroken melodic lines.

The concerto opens with a Rubato, music which gives considerable

freedom to the performer. Cadenza-like virtuoso passages, whose

material is an imaginative response to the basic three-note triads,

are contrasted with long, singing lines.

The second movement is also a musical discussion of triads,

presented as alternating major and minor thirds, passed around

between orchestra and soloist. Panufnik wanted this Adagio

movement to have ‘utter simplicity and frugality of means, but with

much poetic content’.

The final movement continues to explore major and minor, but the

real interest becomes rhythm. Described by the composer as ‘almost

dance-like’, he wanted the soloist to ‘convey the most human feelings

of joyousness, vitality and even some sense of humour.’

Andrzej Panufnik


7

GUSTAV HOLSTBorn Cheltenham 1874

Died London 1934

St Paul’s Suite, Op.29, No.2

(Composed 1913)

I. Jig: Vivace

II. Ostinato: Presto

III. Intermezzo: Andante con moto

IV. Finale (The Dargason): Allegro

Gustav Holst is best-known for composing The Planets, a mighty

orchestral suite mixing astronomy, astrology and fabulous

orchestration (subsequently ripped off by many film composers). But

that success arrived quite late in his career. Like most composers,

Holst had to do something besides write music in order to make a

living. For some years he survived as a casual trombonist in light

orchestras, and as a choir director for a socialist men’s club. In 1905

he became Director of Music at the brand new St Paul’s Girls’ School

in Hammersmith, London, and discovered both a gift for teaching, and

also how much better life can be with a regular salary.

He stayed there for nearly 30 years. It’s worth mentioning that at a

time when young ladies’ music education often leaned to sentimental

drawing-room songs, his approach to teaching ‘serious’ music bore

some substantial fruit, with a number of pupils going on to pursue

groundbreaking careers in music. In 1913 the school opened a new

music wing, including a soundproof studio. As well as teaching

there, Holst now had somewhere to work which was conducive to

composing. Out of gratitude he quickly responded with this Suite for

strings, though some of it is a reworking of earlier material.

His most popular music presents an attractive balance between

tradition, and looking forward. His interest in the unpretentious

appeal of folksongs was encouraged by his great friend Ralph

Vaughan Williams. Perhaps the most famous British song,

Greensleeves, which Vaughan Williams used so beautifully in his

Fantasia, appears in this Suite by Holst as a tantalising glimpse in

the final movement (alongside a number of other musical references).

Folksongs, country dance rhythms and historical references nudge

their way into the other movements too.

Holst as a teacher inspired devotion – we know for example that a

number of students volunteered as careful copyists of some of his

major scores. The enduring popularity of this small-scale, charming

Suite is a happy tribute to those days: teaching was a valued part of

his creative life, not merely an imposition on his composing time.

Gustav Holst


8

BENJAMIN BRITTENBorn Lowestoft 1913

Died Aldeburgh 1976

Variations on a Theme of Frank Bridge, Op.10

(Composed 1937)

‘To F.B. A tribute with affection and admiration.’

– Composer’s dedication

Frank Bridge (1879–1941) is today almost solely known through this

musical tribute from his only composition student, Benjamin Britten.

Bridge was something of an outsider, particularly when his music

began to range outside cosy British pastoralism and to look towards

the more acerbic, structured, intellectual path that music was taking

in Europe. Had Britten found a more ‘establishment’, less intellectually

curious teacher, he may not have grown into the highly individual

compositional voice that is now so admired.

The pair met during the Norwich Festival in 1924. Young Ben

Britten then began making occasional day trips up to London for

composition lessons. He later recalled that there were two ‘cardinal

principles’ in Bridge’s methods. ‘One was that you should find yourself

and be true to what you found. The other – obviously connected

with the first – was his scrupulous attention to good technique, the

business of saying clearly what was in one’s mind.’

Britten went on to study at the Royal College of Music; after leaving

he was hired to write the music for some documentaries created by

a film unit where he met useful colleagues, including the writer WH

Auden, and the conductor Boyd Neel. In May 1937 Neel approached

Britten for a new work for the Boyd Neel Orchestra – but the stakes

were high: it was to premiere at the famous Salzburg Festival in

August, and time was very tight.

Britten started work on his piece for Neel on 5 June 1937. It was

essentially shaped within the next 10 days, and printed ready for

rehearsals on 12 July. This would have been a terrific effort for even

the most established composer.

It helped that Britten took as his starting point a theme by Frank

Bridge: the principal theme from No.2 of Three Idylls for string

quartet. Choosing to write a set of variations meant that he was

really writing a series of smaller works rather than trying to compose

a single massive one. It also gave this young, almost unknown

musician the opportunity to show his flair in a great variety of styles

and forms.

Benjamin Britten


9

Britten decided that each movement would represent something

about his esteemed teacher. Although he probably wouldn’t approve

of us for publishing those descriptions here, they are quite an

interesting insight into the character of each variation, and useful

signposts for the listener.

1. Introduction & Theme (Himself) [i.e. Frank Bridge]

2. Adagio (His depth)

3. March: Presto alla marcia (His energy)

4. Romance: Allegretto grazioso (His charm)

5. Aria italiana: Allegro brillante (His humour)

6. Bourrée classique: Allegro e pesante (His tradition)

7. Wiener Walzer: Lento – vivace (His enthusiasm)

8. Moto perpetuo: Allegro molto (His vitality)

9. Funeral march: Andante ritmico (His sympathy)

10. Chant: Lento (His reverence)

11. Fugue and Finale: Allegro molto vivace – molto animato –

Lento e solenne (His skill and dedication)

As well as the principal theme, introduced by tender solo strings after

a brisk introduction, the Variations also allude to five of Bridge’s more

important scores, including the first Britten ever heard. The Sea; Enter

Spring; Summer; There is a Willow Grows Aslant a Brook; and the

Piano Trio (1929) make their way cunningly into the score.

The premiere was a triumph, and the work was immediately taken

up for performance by other ensembles. It can fairly be said to be

the piece which launched Britten’s career. This must have been

particularly satisfying for his first and best teacher, whose name is

thus remembered when so many other great teachers are forgotten.

All notes © K.P. Kemp


10

“ACO2 IS BREATHING PURE MUSICAL

OXYGEN ... IF YOU’RE LOOKING FOR THE

FINEST YOUNG STRING PLAYERS IN THIS

COUNTRY AND, MOST PROBABLY, WELL

BEYOND, THIS IS WHERE YOU’LL FIND THEM.”

AUSTRALIAN STAGE ONLINE

Ima

ge

© J

ac

k S

alt

mir

as


11

ACO 2

ACO2 , the ACO’s critically acclaimed string ensemble, delivers the ACO’s

regional touring and education programs. It connects the elite musicians

of the ACO with Australia’s most talented young professional musicians

at the outset of their careers, creating a combined ensemble with a fresh,

energetic performance style.

These young professionals have all participated in the ACO’s

year-long Emerging Artists’ Program and are in demand from

Australia’s professional orchestras but choose to spend time

experiencing the ACO’s high-octane performance style for

intense touring periods. It is testament to the ACO’s Emerging

Artists’ Program’s success that four former ACO2 members have

been appointed members of the ACO.

ACO2 commenced touring in 2007 and has since toured to over

70 regional centres in every state and territory. In 2013, the ACO

presented ACO2 in a national subscription tour led by Richard

Tognetti and it was named by The Australian as ‘one of the

year’s must see concerts’. ACO2 regularly works with international

and Australian guest artists of the highest calibre, including

violinists Elizabeth Wallfisch, Pekka Kuusisto, Lara St. John

and Thomas Gould; cellist Daniel Müller-Schott; harpist Alice

Giles; recorder virtuoso Genevieve Lacey; singer/songwriter Tim

Freedman from The Whitlams; and oud player Joseph Tawadros.

Biennially, ACO2 is the Orchestra in Residence at the Vasse

Felix Festival in WA.

In 2014 ACO2 was featured in four performances at the Canberra

International Music Festival. ACO2 performed in the Classical

Destinations II television series screened worldwide and released

on CD and DVD by Sony.

ACO2 performs in regional and metropolitan Australia and runs

workshops and presents concerts for school-aged students in

regional and metropolitan areas. In this way the ACO’s Education

Program identifies, connects and mentors three generations of

Australian string players, making the future very bright indeed.

aco.com.au


12

ALEX ANDER SITKOVETSKY GUEST DIRECTOR & LEAD VIOLIN

Alexander Sitkovetsky was born in Moscow into a family with an established

musical tradition. He made his concerto debut at the age of eight and in

the same year began his studies at the Menuhin School. Lord Menuhin was

his inspiration throughout his school years and they performed together

on several occasions, including the Bach Double Concerto, Bartók Duos at

St James’s Palace, and when Alexander played the Mendelssohn Concerto

under Menuhin’s baton.

He has gone on to perform with the Netherlands Philharmonic,

the Philharmonia, Royal Philharmonic, English Chamber Orchestra,

Tokyo Symphony, Konzerthaus Orchester Berlin, the European

Union Chamber Orchestra, Academy of St Martin in the Fields,

St Petersburg Symphony, Moscow Symphony, Welsh National Opera

and the BBC Concert Orchestra among many others. Conductors

he has worked with have included Sir Mark Elder, Yakov Kreizberg,

Dmitry Sitkovetsky, Denis Russell Davies, Andrew Sewell, and

Alexander Dmitriev.

This season Alexander makes his debut in Brussels, Poznan, and

Bolivia, as well as going on two nationwide tours of the UK with the

Brussels Philharmonic and St Petersburg Symphony. He will also

perform a series of concerts with the Royal Philharmonic Orchestra

at the Royal Albert Hall. He will also make his debut with the Yomiuri

Nippon Symphony Orchestra in Tokyo and with the BBC Scottish

Symphony Orchestra in Glasgow.

His new recording for CPO of Andrzej Panufnik’s Violin Concerto has

been critically acclaimed and is winner of the 2015 ICMA Special

Achievement Award.


13

MUSICIANS ON STAGE

VIOLIN

Alexander Sitkovetsky – Guest Director & Lead Violin

Zoë Black (ACO)

Amy Brookman 1

Peter Clark 2

Madeleine Jevons 1

Anne-Marie Johnson 2

Jenny Khafagi

Monique Lapins 2

Emily Sheppard 2

VIOLA

Nicole Divall (ACO) 3

Martin Alexander 1

Benjamin Caddy 2

CELLO

Paul Stender – Guest Principal Cello

Anna Pokorny 2

Paul Zabrowarny 2

DOUBLE BASS

Aurora Henrich 1

1. 2015 Emerging Artist

2. Emerging Artist alumni

3. Chair sponsored by Ian Lansdown


14

2015 EMERGING ARTISTS

The Emerging Artists’ Program connects the next generation of

up-and-coming string musicians with the stars of the ACO in a dynamic

17-piece ensemble with a fresh and unique sound of their own.

AMY BROOKMAN Violin

Amy Brookman is a Melbourne-based violinist and in 2014 became

a graduate of the Australian National Academy of Music (ANAM).

She previously studied at the Queensland Conservatorium

completing a Bachelor of Music in 2009 and Master of Music Studies

in 2010. Amy has studied with Rachel Smith, Michele Walsh and

Adam Chalabi and is currently studying with Robin Wilson.

She is a founding member of the Penny String Quartet, which

is the proud recipient of the 2014 John and Rosemary Macleod

Travelling Fellowship.

Amy has extensive chamber and orchestral experience and was

a finalist in the 2013 Chamber Music Competition at ANAM.

MADELEINE JEVONS Violin

Melbourne-born Madeleine Jevons holds a Bachelor of Music

Performance (Hons) from the Victorian College of the Arts (VCA)

(2011). While at the VCA, she studied with Zoë Black, Miwako Abe,

Monica Curro and Adam Chalabi. In 2014 she graduated from the

Australian National Academy of Music (ANAM) where she studied

with Robin Wilson.

In 2010, Madeleine was part of the winning string quartet in

the University of Melbourne Alumni Chamber Competition, and

was a finalist the following year. In 2011, she was awarded the

Corinna D’Hage Mayer string scholarship. In 2013, Madeleine’s

quartet was one of three ANAM groups selected to perform at the

Quartetthaus season in Perth and is a founding member of the

Penny String Quartet.

She has performed extensively in orchestras including the

Melbourne Youth Orchestra, the Australian Youth Chamber

Orchestra, Orchestra Victoria and the ANAM symphony and

chamber orchestras. Madeleine is the proud recipient of the

2013 St Silas outstanding achievement award.


15

MARTIN ALEXANDER Viola

As well as playing with many different ensembles both in and outside

of his tertiary studies, Martin Alexander has held principal positions

in the Australian Youth Orchestra, Queensland Conservatorium

Orchestras, the University of Tasmania and University

of Massachusetts. He has also performed with both the Tasmanian

and Queensland Symphony Orchestras.

Martin commenced his tertiary studies at the Queensland

Conservatorium majoring in piano, then in viola, studying with

Graeme Jennings. He graduated with a Bachelor of Music, and

then continued his studies at the University of Tasmania with

Josephine St. Leon. He is currently undertaking a Masters in

Music with esteemed violist Kathryn Lockwood at the University

of Massachusetts.

In 2012, Martin was one of four external participants chosen to

appear at the Australian National Academy of Music’s ‘VIOLA! Week’.

He has performed in masterclasses both in Australia and overseas

for Tobias Lea, Yuri Zhislin, Toby Appel, Kenneth Freed, Michelle

LaCourse, Pieter Wispelwey, Charmian Gadd, and for the New

Zealand, Australian, Goldner, Ying, Chiara, Pacifica, and Borromeo

string quartets.

AURORA HENRICH Double Bass

Aurora began piano at age 5, and flute shortly thereafter. But it was

the double bass, which she began at age 8, that Aurora enjoyed the

most. When she was 10, she began studying with Alex Henery (SSO

Principal Double Bass), and received her AMEB Associate Diploma in

Music in 2009. In 2012 Aurora began tertiary studies at the Sydney

Conservatorium, where she was awarded a Sydney University Entry

Scholarship and the Kathleen E Armstrong Scholarship.

In 2010, Aurora premiered Australian composer James

Humberstone's Miniature Concerto for Double Bass, which she played

on tour in Europe. Aurora performs with Sydney-based group ‘Salut

baroque!’. She has also worked on movie soundtracks for such films

as The Lego Movie and Mad Max: Fury Road. She regularly performs

with the Sydney and Tasmanian symphony orchestras.

In 2014 Aurora was a Sydney Symphony Orchestra Fellow, touring

with the orchestra to China. Aurora has performed in masterclasses

with internationally-renowned musicians including violinists James

Ehnes and Anthony Marwood, and double bassists Kees Boersma,

Paul Ellison, Hiroshi Ikematsu, Owen Lee and Dominic Seldis.


16

EMERGING ARTISTS

& EDUCATION PATRONS

$10,000+

Mr Robert Albert AO

& Mrs Libby Albert

Australian Communities

Foundation – Annamila Fund

Australian Communities

Foundation – Ballandry Fund

Daria & Michael Ball

Steven Bardy

& Andrew Patterson

The Belalberi Foundation

Guido Belgiorno-Nettis AM

Luca Belgiorno-Nettis AM

Andre Biet

Leigh & Christina Birtles

Liz Cacciottolo & Walter Lewin

Rod Cameron & Margaret Gibbs

Mark Carnegie

Stephen & Jenny Charles

The Cooper Foundation

Rowena Danziger AM

& Ken Coles AM

Mark Delaney

Ann Gamble Myer

Daniel & Helen Gauchat

Andrea Govaert & Wik Farwerck

Dr Edward C. Gray

Kimberley Holden

Angus & Sarah James

PJ Jopling AM QC

Miss Nancy Kimpton

Bruce & Jenny Lane

Prudence MacLeod

Anthony

& Suzanne Maple-Brown

Alf Moufarrige

Jim & Averill Minto

Louise & Martyn Myer

Foundation

Jennie & Ivor Orchard

Bruce & Joy Reid Trust

Mark & Anne Robertson

Margie Seale & David Hardy

Tony Shepherd AO

Peter & Victoria Shorthouse

Anthony Strachan

John Taberner & Grant Lang

Leslie C. Thiess

Alden Toevs & Judi Wolf

The Hon Malcolm Turnbull MP

& Ms Lucy Turnbull AO

David & Julia Turner

E Xipell

Peter Yates AM & Susan Yates

Peter Young AM & Susan Young

Anonymous (2)

EMERGING ARTISTS & EDUCATION PATRONS $10,000+

CONTRIBUTIONS

If you would like to consider making a donation or bequest to the ACO, or would like to direct your

support in other ways, please contact Ali Brosnan (02) 8274 3830 or [email protected]


17

The ACO would like to thank the supporters of ACO2’s NT, VIC & SA Tour.

In particular, we thank our government and corporate partners, the trusts

and foundations and the many generous patrons of our Emerging Artists’ and

Education Programs who have made this tour possible.

THANK YOU

PATRONS – NATIONAL EDUCATION PROGRAM

TRUSTS AND FOUNDATIONS

Darwin Entertainment Centre

ACO2 is being presented as part of

the 2015 Darwin Festival.

Yarra Ranges Regional Council

The Capital, Bendigo

Lighthouse Theatre, Warrnambool

Country Arts South Australia

Elder Conservatorium, Adelaide

VENUE PARTNERS

GOVERNMENT PARTNERS

Marc Besen AC & Eva Besen AO Janet Holmes à Court AC

Holmes à Court Family

Foundation

The Neilson Foundation The Ross Trust


18

INSPIRE THE NEXT G ENERATION OF MUSICIANS

We celebrate the 10th anniversary of our National Education

Program this year and are committed to providing immersive

music education opportunities for children and young musicians

across the country. Thanks to you, our supporters, we are

nurturing the future of Australian music.

It is my vision to continue delivering and expanding our important

programs, introducing more young people to the joys and

benefits of music.

Please join us by supporting our National Education Program.

Richard Tognetti AO

Artistic Director

To donate please visit ACO.COM.AU/SUPPORT/DONATE

For more information please phone Ali Brosnan on (02) 8274 3830

or email [email protected]

SUPPORT OUR FUTURE

Ima

ge

: Stu

de

nts

an

d A

CO

mu

sic

ian

s p

art

icip

ati

ng

in

a w

ork

sh

op

at

Su

nsh

ine

Ha

rve

ste

r S

ch

oo

l,

pre

se

nte

d i

n p

art

ne

rsh

ip w

ith

th

e A

ustr

alia

n C

hild

ren

’s M

usic

Fo

un

da

tio

n. I

ma

ge

© L

ee

Te

Hir

a


19

Ima

ge

© J

ac

k S

alt

mir

as


Richard Tognetti AO Artistic Director

Timothy Calnin General Manager

PO Box R21,

Royal Exchange NSW 1225

Opera Quays, 2 East Circular Quay,

Sydney NSW 2000


Documents

The Best of British with Alexander Sitkovetsky and ACO2