2013 CONCERT SEASON · PDF file · 2014-07-29a quartet of rugged individualists to...

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TOUR SIXBRAHMS PIANO QUINTETRICHARD TOGNETTI Director & ViolinSATU VÄNSKÄ ViolinCHRISTOPHER MOORE ViolaTIMO-VEIKKO VALVE CelloJEREMY DENK Piano

Th e Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

ADELAIDETown HallTue 13 Aug, 8pm

MELBOURNERecital CentreMon 26 Aug, 8pm

NEWCASTLECity HallMon 12 Aug, 7.30pm

PERTHConcert HallWed 14 Aug, 7.30pm

SYDNEYCity Recital Hall Angel PlaceSat 17 Aug, 7pmTue 20 Aug, 8pmWed 21 Aug, 7pmFri 23 Aug, 1.30pm

WOLLONGONGTown HallSat 24 Aug, 7.30pm

BACH (arr. Tognetti) Canons on a Goldberg Ground, BWV1087

LIGETI Etudes No.7, No.10, No.11 and No.13

IVES Scherzo, “Holding your Own!”

IVES Piano Sonata No.2, “Concord”: Th e Alcotts

BACH Keyboard Concerto in F minor, BWV1056

I N T E R VA L

BRAHMS Piano Quintet

Approximate durations (minutes):8 – 12 – 2 – 7 – 10– INTERVAL – 38

Th e concert will last approximately one hour and forty-fi ve minutes including a 20-minute interval.

2 AUSTRALIAN CHAMBER ORCHESTRA

ABOUT THE MUSIC

Concord, Massachusetts, is one of America’s sacred sites, or as Henry James put it, ‘the biggest little place in America’.

It was home of philosopher and cabin-builder Henry David Th oreau, author Louisa May Alcott and essayist Ralph Waldo Emerson. Th e American Revolution caught fi re here in 1775 with the ‘shot heard round the world’. In its way, it is the capital city of this concert, not just because of the presence of Charles Ives’ nostalgic evocation of Concord’s intellectual life, but also in its celebration of the individual, the wayward, the Romantic and the transcendent.

First, the cosmic mathematics of Bach’s keyboard concerto and Goldberg canons, with their intimations of eternity, then György Ligeti’s Etudes, which test a pianist’s technique and sanity.

Charles Ives’ portrait of the Alcotts is the lyrical heart of his Concord Sonata and celebrates the everyday poetry of existence while his terse and tumultuous Scherzo requires a quartet of rugged individualists to ‘hold their own’. A portrait of Johannes Brahms hung on the back of Ives’ upright piano, one of the few European composers who had Ives’ unreserved approval, perhaps because of the gritty honesty and rigor of works like the Piano Quintet, a masterpiece perfectly suited to the abilities of pianist Jeremy Denk and the ACO principals.


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ACO ON THE RADIO

ABC CLASSIC FM:

Brahms Piano QuintetWed 21 August, 7pm

UPCOMING TOURS

Scholl Sings Vivaldi3—9 October

The Crowd11—13 October

Brahms 4 & Steven Isserlis19—29 October

FREE PROGRAMSTo save trees and money, we ask that you please share one program between two people where possible.

PRE-CONCERT TALKSFree talks about the concert take place 45 minutes before the start of every concert at the venue.

When Richard Tognetti and Jeremy Denk met for the fi rst time in New York last year, it was clear that a meeting of musical minds was taking place. Jeremy’s big-hearted and broad-minded approach to repertoire leads to some fascinating collisions and the resulting program is an ideal collaboration between the ACO and a new musical partner.Last month, during the winter school holidays, we hosted the second ACO Academy in our studios in Sydney. Th is project involves the formation of a youth string orchestra which in ACO fashion is directed from the violin and plays rich and exhilarating string repertoire from the Baroque period up to today. Aiko Goto led the ACO Academy, which comprised 23 string players aged 9–17, and she was impressively backed up by Rebecca Chan, Ilya Isakovich, Mark Ingwersen, Nicole Divall, Julian Th ompson and Maxime Bibeau. Over the course of an intensive week of rehearsals, sectionals, lessons and chamber music workshops, the participants were transformed into a chamber orchestra which proudly strode onstage at the City Recital Hall Angel Place, and performed Handel, Vivaldi and Josef Suk to a loudly enthusiastic audience of nearly 800. Plans are in place to take the ACO Academy to Melbourne in 2014.Our newest music education initiative ACO VIRTUAL is a fully immersive, interactive, digital installation of the ACO in which you can stand inside the Orchestra and experience a performance from within, completely encircled by the projected images of the musicians and in completely true surround sound. From a touch-pad controller in the centre, you can highlight any individual musician and hear and see that musician’s performance in isolation, with everyone else in shadow, both visually and aurally. If you’re a violin student in Bathurst or Albany, you can come into the installation to learn the fi rst violin part of Bach’s Brandenburg Concerto No.3 from Richard Tognetti’s performance of it, with Richard’s score rolling across the screen. Once you’ve mastered it, you can switch Richard off , bring up the rest of the musicians and you can lead the ACO in the performance – and it’s in 3D too! We’ve nicknamed it Play With Th e Band.ACO VIRTUAL has appeared so far at the Gold Coast and in Swan Hill, Victoria, and we will be installing it in regional and metropolitan centres across Australia later this year.We will announce our 2014 season later this month. Make sure you’re on our mailing list by emailing [email protected] to ensure you receive an early copy.TIMOTHY CALNINGENERAL MANAGERAUSTRALIAN CHAMBER ORCHESTRA

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J.S. BACH (arr. Tognetti)(14) Canons on the fi rst eight fundamental notes of the Goldberg Variations, BWV1087(Composed c.1747–48)

I. Canon simplex II. all’ roverscio III. Beede vorigen Canones zugleich, motu recto e contrario IV. motu contrario e recto V. Canon duplex à 4 voci VI. Canon simplex über besagtes Fundament à 3 voci VII. Idem à 3 voci VIII. Canon simplex à 3, il soggetto in Alto IX. Canon in unisono post semifusam à 3 voci X. Alio modo, per syncopationes et per ligaturas à 2 voci XI. Canon duplex übers Fundament à 5 voci XII. Canon duplex über besagte Fundamental-Noten à 5 voci XIII. Canon triplex à 6 voci XIV. Canon à 4 voci per augmentationem et diminutionem

BACKGROUNDIn 1974, a copy of the Goldberg Variations (BWV988) that was once owned by J.S. Bach himself appeared in Strasbourg. On the inside back cover was a single sheet in the composer’s hand of 14 canons based on the fi rst eight notes of the Goldberg bass-line, or ‘ground’. While the exact date of composition is unknown, they seem to be late works, from 1747 or 1748, at a time when Bach was concerned with canonic experimentation (including composing canonic variations on the chorale Vom Himmel hoch and the canons of the Musical Off ering). Canon is the most exacting form of contrapuntal writing: a single melody must work in many guises – as bass-line, melody and harmonising voices – with the additional diffi culty of having to be musically satisfying. In the Goldberg Variations, nine strict canons on increasingly wide intervals (from the unison to the ninth) are interspersed with free variations in an intricate structure which gives the set its satisfying ‘plot’ and unity.

ABOUT THE MUSICLate Bach sometimes gives the impression of a retirement into scholasticism – a brilliant mind working out problems with no intention of them being performed. Th at’s why no instrumentation is specifi ed for the Art of Fugue or for the tiny canons of BWV1087 – they are pure thought. Th ey are also riddles. Like the Musical Off ering, Bach presents the canons in a kind of shorthand – a few bars of music – with a Latin tag or visual clue to unlock the counterpoint he has hidden, in two to six parts. For example, the fi rst canon (I) ‘Simplex’ presents the six-bar bass-line (the ‘subject’) with a bass clef at one end and an upside-down bass clef

Johann Sebastian BACH(b. Eisenach, 1685 — d. Leipzig, 1750)

J.S. Bach is one of the greatest, if not the single greatest, of all composers. A working musician his entire life, his composition ranges from the deeply spiritual to the fl amboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.

A ground bass (or basso ostinato) is a continuously repeated bass-line which forms the basis for compositions like the Goldberg Variations, or other variation forms such as the chaconne or passacaglia. In the case of the Goldbergs, the bass-line is 32 bars long and it is this — not the Aria — which is subjected to variation. The other (inescapably) famous work which uses a ground bass is Johann Pachelbel’s Canon.


Further listeningAmong the many recordings of Bach’s Goldberg Variations,two of the best are by recent ACO guest director Richard Egarr who appends the 14 Canons to his recording of the Goldberg Variations (Harmonia Mundi) and by Baroque ensemble Café Zimmermann, who arranged the canons for a chamber group of strings and harpsichord (Alpha).

at the other end, an instruction that the second part is to be played backwards (in retrograde). Th e heading ‘all’ roverscio’ (II) means that the subject is turned upside down (inversion) and played against its inverted retrograde. (III) ‘Motu recto e contrario’ means to play the original subject against its inversion. (IV) ‘motu contrario e recto’ means to play the inversion of the subject and the inversion of that inversion. Bach has just completed a methodical exploration of the possibilities of inversion and reversal of the subject and now starts to get complicated. Th e Canon Duplex à 4 Voci (V) combines the original ground and its inversion, plus a new melody and its inversion in canon. Other highlights include the Canon in unisono post semifusam à 3 Voci (IX), with the voices chasing each other at the tiny gap of the semiquaver, generating a scintillating texture.

It’s hard to speak about the music of Johann Sebastian Bach without resorting either to mysticism or academic jargon, so powerful is the blend of heart, faith and mind that animate his works. Th is is true even of these tiny scraps of music. Th e eleventh canon was known before the 1974 discovery. It was written in a notebook owned by Johann Gottlieb Fulda with the two legends: Symbolum Christus Coronabit Crucigeros (Symbol: Christ will Crown the Cross-bearers) and Domino Possessori hisce notulis commendare se volebat J. S. Bach (J.S. Bach wanted to commend himself to the lord possessor by means of these notes). Th e fi rst refers to the fi ve descending semitones, one for each of Christ’s wounds, the second puns on Domino as lord and Lord (God). A version of Canon XIII appears on the piece of manuscript Bach holds in the iconic 1746 portrait of him by Haussman (pictured). Th e fourteenth canon is unusual in this set for employing augmentation and diminution (lengthening and shortening of durations), with each of the voices using diff erent rhythmic proportions to generate the canon (this is called a mensuration canon). Th ere is one last game embedded in the set, and that is the number of canons. Fourteen is perhaps not arbitrary: in the numerology of Bach’s day, the letters B-A-C-H add up to 14. If this arcane fact seems like a reach, consider that there are also 14 ‘Contrapuncti’ in the Art of Fugue.

Bach didn’t specify which (if any) instruments should be employed and didn’t provide any material to connect one canon to the next. Like the riddle canons themselves there are multiple solutions to this puzzle. Richard Tognetti’s playful arrangement for strings and piano evokes the spirit of Bachians like harpsichordist Richard Egarr, pianist Jacques Loussier (whose jazzy takes on Bach have immense rhythmic vitality) and the fl amboyant orchestrations of Leopold Stokowski. Th e other important touchstone is the Hungarian modernist György Kurtág (b.1926), whose Bach transcriptions for four hands at one piano have a translucent clarity and quiet candour which is immensely moving. Tognetti hasn’t been constrained by the considerations of ‘authenticity’ and freely uses contemporary string techniques and ear-tickling sonorities to better highlight certain textures and tricks in the canons and make them more fun to play and hear.

J.S. Bach by Haussman, 1746.


György LIGETI(b. Dicsoszentmárton, Romania, 1923 — d. Vienna, 2006)

György Ligeti is one of the 20th century’s defi ning musical voices. After completing his musical education in Hungary, Ligeti fl ed the Soviet-controlled state for Vienna where he lived the rest of his life. He adopted a new (and constantly evolving) style, beginning as a 12-tone composer but ending with a distinctive idiom which encompassed medieval techniques, African polyrhythms, Eastern-European folk music, non-Western and unconventional scales and tunings, fractal-like complexity, fantastic literature and visual art, electronics, minimalism, black humour and fascinating orchestral sonorities. His Lux Aeterna, Atmosphères and Aventures were used in the fi lm 2001: A Space Odyssey.

LIGETIEtudes No.7, No.10, No.11 and No.13for Piano (Book II)(Composed 1988–1994) VII. Galamb borong X. Der Zauberlehrling XI. En suspens XIII. L’escalier du diable

BACKGROUNDTh e unlikely poetic and musical possibilities of technical study were fi rst realised by Frédéric Chopin (1810–1849) in the late 1820s in his sets of concert Etudes. Any piano student who has endured Carl Czerny’s (1791–1857) exercises will know that these are the opposite of music: ruthlessly designed to seek and destroy any technical weaknesses through banal scalic sequences and patterns in all possible keys joined by trite modulations to be performed with metronomic precision. Th ese are utilitarian études for the practice-room, not the concert hall. Chopin’s Etudes are also concerned with specifi c technical, interpretative and musical problems but in the context of actual music. Chopin’s friend Franz Liszt (1811–1886) also contributed to the genre with his Transcendental Etudes, which he gave colourful programmatic titles like Feux Follets (Will O’ the Wisps). Claude Debussy (1862–1918) also composed 12 études in the manner of Chopin and Lizst and they are among his fi nest works. Ligeti’s Etudes are in this great tradition and the spirits of his antecedents hover over them. Like Lizst’s they require superhuman technique, like Chopin’s they disguise their didacticism behind poetry and like Debussy’s they are quietly radical compositions. Although he intended to compose only 12 (in two books, like Debussy’s) Ligeti eventually completed 18 (in three books) between 1985 and 2001. Th e fi rst book of Etudes won the prestigious Grawemeyer Prize in 1986.In the note accompanying his recording of the Etudes, Jeremy Denk comments on their exploitation of the ‘perversity’ of the genre: ‘Drawing inspiration from the étude’s most unpromising attributes – obsession, monotony, ad infi nitum repetition, mathematical dryness – he fearlessly redeems them.’

ABOUT THE MUSICGalamb borong opens Book II with a nod to the orientalism of Debussy and Ravel, with intricate gamelan-like fi gurations built on the ‘exotic’ whole-tone scale and an Indonesian-sounding title (actually Hungarian and meaningless). Shimmering serenity quickly dissolves into tinkling chaos as cross-rhythms proliferate. An exquisite out-of-tuneness, so evocative of the complex overtones of a real gamelan, is created by the left and right hands playing in diff erent keys. Th e innocence of Der Zauberlehrling (Th e Sorcerer’s Apprentice) comes from a harmonic simplicity that only gradually becomes infl ected by ‘wrong’ notes, as a melody is carved ‘in relief ’ by accents in the rapid swirling gestures.

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ACO performance historyIn 2003, Clemens Leske performed Etude No.10 at the Huntington Festival.

Further reading/listeningAn exploration of the music of Ligeti should include the orchestral Lontano and Atmosphères, the Violin Concerto, the Etudes for piano, his opera Le Grand Macabre, and the Trio for Violin, Horn and Piano.


Th e sorcery is in the way the repetition creates the illusion of continuous sound. Th e ambiguous title of En suspens (meaning among other things ‘in suspension’ but also ‘left hanging, unfi nished’) is perhaps better understood as being about irresolution: metrical, because the right hand plays in 6/4 time, fl oating over the left in a slower 4/4 suggesting a swing waltz, and harmonic, with a series of gentle, jazzy dissonances that fade away in mid-phrase… leaving us en suspens. L’Escalier du diable (Th e Devil’s Staircase) is the longest of all the Etudes, a frantic toccata climbing ever higher – impossibly high – in the compass of the piano. Th e trick is eff ected by the staggered overlapping one rising phrase with another coupled with careful cross-fading dynamics, the aural equivalent of MC Escher’s geometric paradoxes. Th e piece ends like a cloud of smoke dispersing to reveal a baleful tritone (the devil’s interval) in the bass.Denk says that Ligeti’s Etudes ‘are a crowning achievement of his career and of the piano literature; though still new, they are already classics’.

A toccata (from the Italian toccare, ‘to touch’) is a Baroque compositional technique, often for keyboard, where fast runs, arpeggios, broken chords etc. showcase virtuoso fi ngerwork.

The optical illusion MC Escher exploited in some of his drawings is known as ‘Penrose Stairs’. In music, the ‘Shepard Scale’, creates a similar illusion of a scale going ever higher or lower but somehow also staying still. This ‘pitch circularity’ is very disorientating, especially when the notes are smudged into a continuous portamento (or slide).

Charles IVES(b. Connecticut, 1874 — d. New York, 1954)

Charles Ives was a pioneering American composer who explored avant-garde techniques such as polymetre (music in two or more different time signatures simultaneously), polytonality (in two or more keys), piled-up quotations of popular song, and atonality well in advance of his European contemporaries. Ignored for most of his career, his music was championed by younger generations of composers and conductors, for example, Leonard Bernstein.

IVESScherzo: Holding Your Own! for String Quartet, from A Set of Th ree Short Pieces, Op.84(Composed 1903–4)

Th e scherzo for string quartet shows Ives’ sense of humour at its most rebarbative and his voice at its most experimental. Composed around 1904, the short piece is a mash-up of popular songs – My Old Kentucky Home, the Sailor’s Hornpipe and others – with no accommodation for their diff erent meters and keys. He subtitled it ‘An Exercise in Holding Your Own’ because in the slower middle section the four players are at metrical odds with each other, fi rst four beats to the bar against six, and then clashing two against nine against sixteen.

IVESPiano Sonata No.2 Concord, Mass. 1840-60: ‘Th e Alcotts’(Composed 1916–17) III. Th e Alcotts

BACKGROUNDEven if Charles Ives hadn’t been one of music’s great visionaries, he would be assured of fame, at least in certain circles, as a pioneering insurance executive (his big idea was estate planning as means to avoid inheritance tax). His insurance work made him rich enough to not have to worry about writing music that anyone would or could perform, music as defi antly challenging and take-it-or-leave-it as his sometimes bristly persona.

Ives once said, “Beauty in music is too often confused with


something that lets the ears lie back in an easy chair.” A question he posed in Essays Before a Sonata, could be a motto for his musical modus operandi: ‘How far afi eld can music go and keep honest as well as reasonable or artistic?’ He discovered that it could go pretty far. Ives did not have a modernist agenda though. As his (sometimes blinkered) Nationalism hints, he was a Romantic.

ABOUT THE MUSICIves called the four pieces that comprise Concord, Mass. 1840–60 a ‘sonata, for want of a more exact name’. It was, he said, ‘an attempt to present (one person’s) impression of the spirit of transcendentalism that is associated in the minds of many with Concord, Mass., of over a half century ago.’

Th e movements are portraits of Ralph Waldo Emerson, Hawthorne, Th e Alcotts and Th oreau and each of them contains a reference to the opening notes Beethoven’s Fifth Symphony – that essential document of the Romantic imagination – symbolising ‘the soul of humanity knocking at the door of the divine mysteries, radiant in the faith that it will be opened.’

Th e third movement, really a double portrait of philosopher Bronson Alcott and his daughter Louisa May, is an oasis of tender nostalgia in the midst of the stormy, Romantic ‘maximalist’ outer movements. Th e Beethoven quotation here is melded with two American hymn tunes (Martyn and Th e Missionary Chant) in a ruminative ‘improvisation’.

Th e image is of the Alcotts gathered around the ‘little old spinet-piano Sophia Th oreau gave to the Alcott children, on which Beth (March, of Louisa May’s Little Women, based on Elizabeth Alcott) played the old Scotch airs, and played at the Fifth Symphony.’ Bell-like chimes (‘overtones’ from Orchard House, the Alcott’s home) ring over the impressionistic mesh of quotations. ‘All around you,’ Ives writes, ‘under the Concord sky, there still fl oats the infl uence of that human faith melody, transcendent and sentimental enough for the enthusiast or the cynic respectively.’

Transcendentalism was a spiritual and philosophical movement that grew out of New England Protestantism, German Romanticism (fi ltered through the English Romantics), Vedic (ancient Indian) texts and a sense of the numinous in nature. Believing that modern society endangered the authenticity of the individual, transcendentalists prized self-reliance and independence, feeling that a true community could only be formed of individuals like Henry David Thoreau, who wanted to ‘live deliberately’ and close to nature. Adherents included Concord residents Thoreau, Emerson and the Alcott family, who were aligned with socially progressive ideals like abolition. Transcendentalism can be felt in the works of Walt Whitman, Emily Dickinson and, of course, Charles Ives. The key works of the Transcendentalists include Thoreau’s Walden and Civil Disobedience, Emerson’s Essays and Louisa May Alcott’s Little Women.

There is no ‘spinet piano’ at Orchard House today, only a melodeon reed organ and a large square piano, and indeed no record of Sophie Thoreau ever owning a spinet piano to give to the Alcotts. While this connection between the Sonata’s personalities and themes is lovely, the piano and Beth playing at Beethoven seem to be products of Ives’ imagination.

Orchard House

Further reading and listeningThe best introductions to Charles Ives’ work include Three Places in New England, The Unanswered Question, Central Park in the Dark, the ‘pops’ favourite Variations on America and the ‘Concord’ Sonata with its accompanying Essays.


J.S. BACHConcerto for Keyboard, Strings and Continuo in F minor, BWV1056(Composed c1717–1723)

I. AllegroII. AdagioIII. Presto

BACKGROUNDBach’s concertos are less cerebral entertainment than his canons. Th e Keyboard Concerto in F minor (BWV1056) is probably an arrangement of a violin or possibly oboe concerto (in G minor) and bears the stylistic imprints of one of Bach’s heroes, Antonio Vivaldi. It was composed during his time at Köthen-Anhalt (1717–1723), where he was Kapellmeister at the Calvinist court of Prince Leopold where church music was verboten but where secular music was generally loved. With the chore of producing weekly Lutheran cantatas removed, Bach had the time and the latitude for the fi rst time to compose instrumental music, and a high-quality orchestra at his disposal to play it. Many of the concertos, the solo violin and cello sonatas and keyboard works that Bach is best known and loved for were composed during this fertile (and mostly happy) time.

ABOUT THE MUSICTh e short F minor concerto follows the established Italianate pattern of alternating ritornello and solo passages. As the word implies, the ritornello is a recurring refrain that punctuates the fl amboyant displays of the soloist to extend and elaborate the thematic material. Th e emphatic 14-bar ritornello of the Allegro introduces a fi gure in the bass and a rocking motif in the higher voices that permeate much of the pianist’s music, giving the movement a feeling of close (almost claustrophobic) integration. Th is is dispelled by the radiant A fl at major aria of the Adagio, where over skeletal pizzicato (plucked strings) accompaniment, the pianist spins one of Bach’s most exquisite songs with his right hand. Th e seemingly spontaneous tracery of ornament is composed into it. Constant motion, material tossed between soloist, and tutti, and dramatic pauses give the fi nal Presto a mood of impetuous energy.

Further listeningAngela Hewitt’s complete set of Keyboard Concertos with the ACO is available to buy at aco.com.au (Hyperion Records).

The reconstruction for violin has been recorded by Isabelle Faust and Bach Collegium Stuttgart (Hänssler Classic).

Prince Leopold of Köthen-Anhalt, 1710.

ACO performance historyBach’s Concerto for Keyboard, Strings and Continuo in F minor was fi rst performed by the ACO in a 1997 subscription tour with Pedro Burmester, and most recently in 2003 as part of a subscription tour and again in a 2005 tour of North America with Angela Hewitt.


Johannes BRAHMS(b. Hamburg, 1833 — d. Vienna, 1897)

Johannes Brahms is one of the key fi gures of German Romanticism. The pianist and composer’s interest in the music of Bach, Handel and Haydn imbues his music with Classical discipline and contrapuntal and formal rigor, but his harmonic and melodic innovations earned him the respect of later modernists like Schoenberg (who dubbed him ‘Brahms the Progressive’) as well as those of a more conservative character. His masterpieces are too numerous to list but the four symphonies, the two piano concertos, the violin concerto are essential, as are the string quartets and clarinet quintet.

BRAHMSPiano Quintet in F minor, Op.34(Composed 1864–65)

I. Allegro non troppoII. Andante, un poco adagioIII. Scherzo: AllegroIV. Finale: Poco sostenuto

BACKGROUNDBrahms rarely wrote to please the masses, but he paid good attention to what musicians and critics said about his work. When he was younger, Brahms perhaps took it too much to heart: the venomous critical response to his fi rst – and deeply personal – piano concerto, Op.15, stunned him. Th e concerto had begun as a symphony, but eventually the raw material was concerted into the more fl exible genre of the concerto, but some of the symphonic heft and tight thematic integration remains in this uncompromising but unconventional concerto. It was the start of a pattern for Brahms, his second thoughts leading to a truer and more apt expression of his ideas. Th e Piano Quintet in F minor went through several transformations, provoked by the opinion of his friend, the violin virtuoso Joseph Joachim, (1831–1907).

In 1862, Brahms relocated to Vienna, the city of Beethoven and Schubert, and was eager to insert himself into the musical life and traditions of the city. He started by composing a string quintet (with two cellos, like Schubert’s magnifi cent example). He sent the work in progress to Clara Schumann, who loved it, and to Joachim, who was not so eff usive in his praise: ‘Th e details of the work show some proof of overpowering strength but what is lacking, to give me pure pleasure, is, in a word, charm.’ Brahms reworked it into a sonata for two pianos which he premiered in 1864, but Clara, while still admiring its content urged him to ‘remodel it once more!’. It assumed its fi nal form later in 1864 as a Piano Quintet, the instrumentation (two violins, viola, cello, piano) suggested by his friend the conductor Hermann Levi. Th e result, in Levi’s word, was a ‘masterpiece of chamber music’.

ABOUT THE MUSICTh e fi rst movement opens with a fairly gentle unison statement of the theme, with tension immediately cranked up with a quasi-Baroque piano solo and a dramatic reiteration of the theme. Th e whole movement thrums with high-strung energy, although its intricate but very organic structure does allow some brief moments of lyrical repose. Th e shifting allegiances of the instruments are especially fascinating, with the piano sometimes pitted against the strings, sometimes colluding with one or more of them. Th e recapitulation roars back with a massive statement of the primary theme before a kaleidoscopic journey through the other thematic material and a suitably dramatic fi nish.

ACO performance historyThe ACO performed Brahms’ Piano Quintet in F minor, Op.34 for the fi rst time in 1998 at Government House, Sydney and most recently in 2000, as part of national subscription tour.


In contrast, the Andante is a relaxed lullaby, reminiscent in its mood of quiet rapture to the Adagio of Schubert’s String Quintet. Th e piano leads with a melody that could have been drawn from a Schubert lieder while the string quartet accompanies. Th e movement’s climax comes with an emotive version of the song with the roles reversed: the strings singing the melody with the piano backing it with strummed chords and little fl ourishes.

A tense pulsation on the cello is the stark introduction to the thrilling Scherzo. Brahms juxtaposes three ideas: a rhythmically off -kilter upward motif, a ‘lighter’ bouncing rhythm, and a full-blooded march, which he combines into an ingenious fugal counterpoint of ever-building drama. Th e trio section is a more relaxed version of the ‘march’, but things never stay calm for long, and soon the cello begins to pulse again.

Th e Finale’s somber chromatic opening demonstrates the harmonic daring that the later Viennese modernists so admired. It acts as a counterbalance to the Scherzo’s fevered energy, and is a self-contained prelude, reaching a natural closure. Th e tragic inwardness of the introduction is never entirely shaken off in the Hungarian folk-infl ected main fast section, as the momentum of the music occasionally winds down into silence before being taken up with renewed force. Th e gathering, nearly symphonic power of the movement is dismissed with a sudden and incredibly eff ective gesture like slamming shut a door on the work.

Musical form, musical content and its instrumental realisation are inextricably linked, but sometimes they don’t always align perfectly at the fi rst or even the second time. With the Piano Quintet, Brahms found the ideal medium to allow the music to come into being, transforming idea into reality.

PROGRAM NOTES © ROBERT WESLEY MURRAY, 2013

Scherzo, from the Italian for ‘joke’, is a lighter, faster movement usually found in symphonic or sonata structures. It often has three beats to a bar and incorporates a contrasting ‘trio’ section.


RICHARD TOGNETTI aoARTISTIC DIRECTOR AUSTRALIAN CHAMBER ORCHESTRA

Select DiscographyAs soloist:

MOZART Violin ConcertosBIS SACD 1754/5

DVORÁK Violin ConcertoBIS CD 1708

BACH Sonatas for Violin and KeyboardABC Classics 476 59422008 ARIA Award Winner

BACH Violin ConcertosABC Classics 476 56912007 ARIA Award Winner

BACH Solo Violin Sonatas and PartitasABC Classics 476 80512006 ARIA Award Winner

(All three Bach releases available as a 5CD Box set: ABC Classics 476 6168)

MUSICA SURFICA (DVD)Best Feature, New York Surf Film Festival

As director:

GRIEG Music for String OrchestraBIS SACD 1877

Pipe DreamsSharon Bezaly, FluteBIS CD 1789

THE REEF (DVD)ABC 763959

All available from aco.com.au/shop

Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.

As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Jonny Greenwood, Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank.

In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: Th e Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf fi lm Horrorscopes and, in 2008, co-created Th e Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary fi lm Musica Surfi ca, which has won best fi lm awards at surf fi lm festivals in the USA, Brazil, France and South Africa.

As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS.

Richard Tognetti was appointed an Offi cer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

“Richard Tognetti is one

of the most characterful,

incisive and impassioned

violinists to be heard today.”

THE DAILY TELEGRAPH (UK)

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JEREMY DENKPIANO

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n Jeremy Denk has established himself as one of America’s most thought-provoking, multi-faceted, and compelling artists. He has appeared as soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London. He regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the United States.

Denk is known for his original and insightful writing on music, praised by Alex Ross for its ‘arresting sensitivity and wit.’ Denk’s writing has appeared in the New Yorker, New Republic, and on the front page of the New York Times Book Review. His website ‘think denk’ recounts his experiences of touring, performing, and practicing, was recently selected for inclusion in the Library of Congress Web Archives. Denk looks forward to performing and curating as music director of the 2014 Ojai Music Festival, for which he is also composing the libretto to a semi-satirical opera.

In 2012, Denk made his debut as a Nonesuch Records artist with a pairing of masterpieces old and new: Beethoven’s fi nal piano sonata and selected György Ligeti Études. Th e disc was named one of the best discs of 2012 by the New Yorker, NPR, and the Washington Post. Later this year, Denk will release a recording of Bach’s Goldberg Variations. He has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives’s two Piano Sonatas was selected for many ‘best of the year’ lists.

Last season, Denk was invited by Michael Tilson Th omas to appear as a soloist in the San Francisco Symphony’s American Mavericks Festival, and he recorded Henry Cowell’s piano concerto with the orchestra. He has cultivated relationships with many living composers, and has several commissioning projects currently in progress. Th is season includes a return to Carnegie Hall, as part of a thirteen-city recital tour of the US, as well as a performance of J.S. Bach’s complete set of six keyboard concertos in a single evening.

Denk has toured frequently with violinist Joshua Bell, and their album French Impressions was recently released on the Sony Classical label, winning the 2012 Echo Klassik award. He also regularly collaborates with cellist Steven Isserlis. He has appeared at numerous festivals, including the Italian and American Spoleto Festivals, and the Santa Fe Chamber Music, Verbier, Ravinia, Tanglewood, Aspen, and Mostly Mozart Festivals. He lives in New York City.

jeremydenk.net

RecordingsJeremy Denk Plays IvesThink Denk Media

Jeremy Denk plays Ligeti & BeethovenNonesuch Media

J.S. BACH Partitas 3, 4, 6 Azica Records

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AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN

ACO MUSICIANS

Richard Tognetti Artistic Director and Lead Violin

Helena Rathbone Principal Violin

Satu Vänskä Principal Violin

Rebecca Chan Violin

Aiko Goto Violin

Mark Ingwersen Violin

Ilya Isakovich Violin

Christopher Moore Principal Viola

Nicole Divall Viola

Timo-Veikko Valve Principal Cello

Melissa Barnard Cello

Julian Thompson Cello

Maxime Bibeau Principal Double Bass

Part-time Musicians

Zoë Black Violin

Veronique Serret Violin

Caroline Henbest Viola

Daniel Yeadon Cello

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.

Founded in 1975, this string orchestra comprises leading Australian and international musicians. Th e Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig.

Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised.

Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello on loan from Peter William Weiss ao and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor.

Th e ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Award-winning Bach recordings, multi-award-winning documentary fi lm Musica Surfi ca and the complete set of Mozart Violin Concertos.

Th e ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall.

In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.

aco.com.au

Th e Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Th e Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.


MUSICIANS ON STAGE Photos: Paul Henderson-Kelly

§ Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter William Weiss ao.

Players dressed by AKIRA ISOGAWA

CHRISTOPHER MOOREPrincipal Viola

Chair sponsored by peckvonhartel architects

TIMOVEIKKO VALVE❖

Principal Cello

Chair sponsored by Peter William Weiss ao

RICHARD TOGNETTI ao§

Director & Lead Violin

Chair sponsored by Michael Ball am & Daria Ball, Wendy Edwards, & Prudence MacLeod

SATU VÄNSKÄ≈Principal Violin

Chair sponsored by Kay Bryan

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ACO BEHIND THE SCENES

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Offi ce: 1800 444 444 Email: [email protected] Website: aco.com.au

EXECUTIVE OFFICETimothy CalninGeneral ManagerJessica BlockDeputy General Manager & Development ManagerJoseph NizetiExecutive Assistant to Mr Calnin and Mr Tognetti ao

ARTISTIC & OPERATIONSLuke ShawHead of Operations & Artistic Planning Alan J. BensonArtistic AdministratorMegan RussellTour ManagerLisa MullineuxAssistant Tour ManagerElissa SeedTravel CoordinatorJennifer PowellLibrarian/Music TechnologyAssistantBernard RofeAssistant Librarian

EDUCATIONPhillippa MartinActing Education & Emerging Artists ManagerSarah ConolanEducation Assistant

FINANCECathy Davey Chief Financial Offi cerSteve Davidson Corporate Services ManagerRachel O’BrienAccountantShyleja PaulAssistant Accountant

DEVELOPMENTJill ColvinActing Development ManagerRebecca NoonanActing Corporate Relations &Public Aff airs ManagerTom TanseyEvents ManagerTom CarrigSenior Development ExecutiveRetha HowardPatrons and Foundations ManagerAli BrosnanPatrons and FoundationsExecutiveLillian ArmitagePhilanthropy ConsultantStephanie IngsInvestor Relations ManagerSally CrawfordDevelopment Coordinator

MARKETINGRosie RotheryMarketing ManagerAmy GoodhewMarketing CoordinatorClare MorganNational PublicistChris Griffi thBox Offi ce ManagerDean WatsonCustomer Relations ManagerPoppy BurnettBox Offi ce & CRM DatabaseAssistantChristina HollandOffi ce Administrator

INFORMATION SYSTEMSKen McSwainSystems & Technology ManagerEmmanuel EspinasNetwork Infrastructure Engineer

ARCHIVESJohn HarperArchivist

ADMINISTRATION STAFF

Bill BestJohn BorghettiLiz CacciottoloChris Froggatt

Janet Holmes à Court acJohn GrillHeather Ridout ao

Andrew StevensJohn TabernerPeter Yates am

BOARDGuido Belgiorno-Nettis am Chairman Angus James Deputy Chairman

Richard Tognetti aoArtistic Director


ACKNOWLEDGEMENTS

VENUE SUPPORT

We are also indebted to the following organisations for their support:

PO Box 7585St Kilda Road Melbourne Victoria 8004Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMr Tom Harley (President)Ms Deborah Beale, Mr Sandy Clark,Mr Julian Clarke, Ms Catherine McClements,Mr Graham Smorgon am, Mr David Vigo

ARTS CENTRE MELBOURNE FOUNDATIONBOARD OF GOVERNORSMr Sandy Clark ChairmanMr John Haddad ao Emeritus ChairmanMiss Betty Amsden oam, Mrs Debbie Dadon, Mr John Denton, Mr Carrillo Gantner ao,Mr Tom Harley, Ms Dana Hlavacek,Mrs Mem Kirby oam, Mrs Jennifer Prescott

EXECUTIVE GROUPMs Judith Isherwood Chief ExecutiveMs Jodie Bennett Executive Corporate Services (CFO)Mr Tim Brinkman Executive Performing ArtsMs Louise Georgeson General Manager – Development,Corporate Communications & Special EventsMs Sarah Hunt General Manager, Marketing &Audience DevelopmentMr Kyle Johnston Executive Customer Enterprises

Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

FOR YOUR INFORMATIONTh e management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. Th e Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

LLEWELLYN HALLSchool of MusicAustralian National UniversityWilliam Herbert Place (off Childers Street)Acton, Canberra

VENUE HIRE INFORMATIONPhone: +61 2 6125 2527 Fax: +61 2 6248 5288Email: [email protected]

AEG OGDEN (PERTH) PTY LTD

PERTH CONCERT HALLGeneral Manager Andrew BoltDeputy General Manager Helen StewartTechnical Manager Peter RobinsEvent Coordinator Penelope Briff a

Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Th eatre Trust Venues.

AEG OGDEN (PERTH) PTY LTDChief Executive Rodney M Phillips

THE PERTH THEATRE TRUSTChairman Dr Saliba Sassine

St George’s Terrace, PerthPO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

GOVERNMENT SUPPORT


All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—136 — 17119 — 1/120813

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWINOVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2—E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au

Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl

Editorial Director Jocelyn Nebenzahl

Manager—Production—Classical Music Alan Ziegler

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This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

ACKNOWLEDGEMENTS

PO Box 3567,South Bank, Queensland 4101Tel: (07) 3840 7444

Chair: Henry Smerdon amDeputy Chair: Rachel Hunter

TRUSTEESSimon Gallaher, Helene George, Bill Grant oam, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White

EXECUTIVE STAFFChief Executive: John KotzasDirector – Marketing: Leisa BaconDirector – Presenter Services: Ross CunninghamDirector – Corporate Services: Kieron RoostDirector – Patron Services: Tony Smith

ACKNOWLEDGMENT

Th e Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland GovernmentTh e Honourable Ian Walker mpMinister for Science, Information Technology, Innovation and the ArtsDirector-General, Department of Science, Information Technology, Innovation and the Arts: Andrew Garner

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUSTMr Kim Williams am (Chair)Mr Wayne Blair, Ms Catherine Brenner, Th e Hon Helen Coonan, Ms Renata Kaldor ao, Mr Robert Leece am rfd, Mr Peter Mason am, Mr Leo Schofi eld am, Mr John Symond am, Mr Robert Wannan

SYDNEY OPERA HOUSE EXECUTIVEChief Executive Offi cer Louise Herron amChief Operating Offi cer Claire Spencer Director, Programming Jonathan Bielski Director, Th eatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, External Aff airs Brook Turner Director, Commercial David Watson

SYDNEY OPERA HOUSEBennelong PointGPO Box 4274, Sydney NSW 2001Administration: 02 9250 7111 Box Offi ce: 02 9250 7777Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

A City of Sydney VenueClover Moore Lord MayorManaged byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix FounderAnne-Marie Heath General ManagerCITY RECITAL HALL ANGEL PLACE

2 –12 Angel Place, Sydney, AustraliaGPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000Box Offi ce 02 8256 2222 or 1300 797 118Facsimile 02 9233 6652Website www.cityrecitalhall.com

PRIME RESTAURANT - $592 courses + a glass of wine

SUBTERRANEAN BAR & GRILL - $19.50Your choice of selected dishes + a glass of wine

INTERMEZZO RISTORANTE - $592 courses + a glass of wine

GPO PIZZA BY WOOD - $19.50Any small pizza + a glass of wine

POSTALES RESTAURANTE - $472 courses + a glass of wine

GPO OYSTER BAR - $19.50Your choice of selected dishes + a glass of wine

POSTALES TAPAS BAR - $19.50Your choice of one tapa + a glass of wine

CRYSTAL BAR - $19.50Your choice of burger, chips, salad + a glass of wine

THEATRE DINING

Bookings: 9229 7700 | Web: www.gposydney.com


ACO MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti aoLead ViolinMichael Ball am & Daria BallWendy EdwardsPrudence MacLeod

Helena RathbonePrincipal ViolinKate & Daryl Dixon

Satu VänskäPrincipal ViolinKay Bryan

Christopher MoorePrincipal Violapeckvonhartel architects

Timo-Veikko ValvePrincipal CelloPeter William Weiss ao

Maxime BibeauPrincipal Double BassJohn Taberner & Grant Lang

CORE CHAIRS

Aiko Goto ViolinAnthony & Sharon Lee

Mark Ingwersen Violin

Ilya Isakovich ViolinAustralian Communities Foundation – Connie & Craig Kimberley Fund

Violin ChairTerry Campbell ao & Christine Campbell

Rebecca Chan ViolinIan Wallace & Kay Freedman

Nicole Divall ViolaIan Lansdown

Viola ChairPhilip Bacon am

Melissa Barnard CelloTh e Bruce & Joy Reid Foundation

Julian Th ompson CelloTh e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICIBrian Nixon Mr R. Bruce Corlett am & Mrs Ann CorlettPrincipal Timpani Mr Robert Albert ao & Mrs Libby Albert


ACO INSTRUMENT FUNDTh e ACO has established its Instrument Fund to off er patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. Th e Fund’s fi rst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. Th e ACO pays tribute to its Founding Patrons of the Fund.

VISIONARY $1m+Peter William Weiss ao

LEADER $500,000–$999,999

CONCERTO $200,000–$499,999Amina Belgiorno-NettisNaomi Milgrom ao

OCTET $100,000–$199,999

QUARTET $50,000–$99,999John Leece am & Anne Leece

SONATA $25,000–$49,999

ENSEMBLE $10,000 $24,999Leslie & Ginny Green

SOLO $5,000 $9,999Amanda Staff ord

PATRONS $500 $4,999June & Jim ArmitageJohn Landers & Linda SweenyPamela McGawPatricia McGregorAlison ReeveAngela RobertsAnonymous (1)

PETER WILLIAM WEISS ao, PATRON

FOUNDING PATRONS

Guido & Michelle Belgiorno-NettisBill BestBenjamin BradySteven DuchenBrendan HopkinsJohn TabernerIan Wallace & Kay Freedman

FOUNDING INVESTORS

Bill Best (Chairman)Jessica BlockJanet Holmes à Court acJohn Leece amJohn Taberner

BOARD MEMBERS


ACO SPECIAL COMMISSIONSTh e ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2012 and 2013.

Jane AlbertSteven Alward & Mark WakelyIan Andrews & Jane HallJanie & Michael AustinT Cavanagh & J GardnerAnne Coombs & Susan VargaAmy DenmeadeToni FreckerJohn Gaden amCathy GraySusan Johnston & Pauline Garde

Brian KelleherAndrew LeeceScott Marinchek & David WynneKate Mills & Sally Breen Nicola PennMartin PortusJanne RyanBarbara Schmidt & Peter CudlippRichard SteeleStephen Wells & Mischa WayAnonymous (1)

THE REEFLEAD PATRONSTony & Michelle Grist

PATRONSGraham & Treffi na DowlandWendy EdwardsEuroz Charitable FoundationDon & Marie ForrestTony & Rose PackerNick & Claire PollGavin & Kate RyanJon & Caro StewartSimon & Jenny YeoAnonymous (1)

ELECTRIC PRELUDES by Brett DeanCommissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the 2013 ACO National Concert Season.

NEVER TRULY LOST by Brenton BroadstockCommissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.

SPECIAL COMMISSIONS PATRONSDr Jane Cook & Ms Sara PoguetMirek GenerowiczPeter & Valerie GerrandV GrahamAndrew & Fiona JohnstonDr Suzanne TristMargot Woods & Arn SprogisAnonymous (1)


Th e ACO would like to pay tribute to the following donors who support our international touring activities in 2013.

INTERNATIONAL TOUR PATRONS

International Tour PatronsCatherine Holmes à Court-Mather

International Tour SupportersJan BowenJenny & Stephen CharlesSuellen & Ron EnestromDelysia LawsonJulia Ross

NISEKO SUPPORTERS

NISEKO SUPPORTERSA J AbercrombieWarwick AndersonBreeze FamilyTim BurkeSimone CarsonSuzy CrittendenCathryn Darbyshire & Andrew Darbyshire amKerry Gardner & Andrew Myer Phil & Rosie HarknessRyota HayashiLouise Hearman & Bill HensonSimon & Katrina Holmes à Court Family Trust

Howard & Launa InmanRobert Johanson & Anne SwannRichard & Lizzie LederNaomi MilgromClarke & Leanne MorganRichard & Amanda O’BrienJill Reichstein SchiavelloPeter ScottJohn & Nicky StokesDr Mark & Mrs Anna YatesOliver YatesAnonymous (2)

Th e ACO would like to pay tribute to the following donors who have supported our involvement with the Niseko Winter Music Festival.

NISEKO PATRONSAnn Gamble MyerAlf MoufarrigeLouise & Martyn Myer FoundationPeter Yates AM & Susan Yates


ACO COMMITTEES

Bill Best (Chairman)Guido Belgiorno-Nettis amChairman ACO & Executive Director Transfield HoldingsLeigh BirtlesExecutive DirectorUBS Wealth ManagementAnna Bligh

SYDNEY DEVELOPMENT COMMITTEELiz Cacciottolo Senior Advisor UBS AustraliaIan Davis Managing Director Telstra TelevisionChris Froggatt Tony Gill Jennie Orchard

Tony O’Sullivan Head of Investment Banking Lazard AustraliaHeather Ridout ao DirectorReserve Bank of AustraliaMargie Seale

Peter ShorthouseClient AdvisorUBS Wealth Management John Taberner Consultant Herbert SmithFreehills

Peter Yates am (Chairman)Chairman Royal Institution of Australia Director AIAA Ltd

MELBOURNE DEVELOPMENT COUNCILDebbie BradyBen BradyStephen CharlesChristopher Menz

Paul Cochrane Investment AdvisorBell Potter SecuritiesColin Golvan SC

EVENT COMMITTEESBowral Elsa AtkinMichael Ball am (Chairman) Daria Ball Cam CarterLinda Hopkins Judy LynchKaren Mewes Keith Mewes Tony O’SullivanMarianna O’SullivanTh e Hon Michael Yabsley

Sydney Lillian ArmitageMargie BlokAlison BradfordLiz Cacciottolo (Chair)Dee de BruynJudy Anne EdwardsJoAnna FisherChris FroggattElizabeth HarbisonBee HopkinsSarah JenkinsVanessa Jenkins

Somna KumarPrue MacLeodJulianne MaxwellJulie McCourtElizabeth McDonaldJulia PincusSandra RoyleNicola SinclairJohn TabernerJennifer TejadaJudi Wolf

Brisbane Ross ClarkeSteffi Harbert Elaine Millar Deborah Quinn

DISABILITY ADVISORY COMMITTEEAmanda TinkTraining CoordinatorArts Activated National Conference ConvenorAccessible Arts

Morwenna CollettProgram Manager Arts Funding (Music)Australia Council for the Arts


ACO DONATIONS PROGRAM

EMERGING ARTISTS & EDUCATION PATRONS $10,000+Mr Robert Albert ao & Mrs Libby AlbertAustralian Communities Foundation – Ballandry FundDaria & Michael BallSteven Bardy & Andrew Patterson Th e Belalberi FoundationGuido & Michelle Belgiorno-NettisLiz Cacciottolo & Walter LewinJohn & Janet Calvert-JonesCarapiet FoundationMark CarnegieStephen & Jenny CharlesDarin Cooper FamilyGeoff & Dawn DixonChris & Tony FroggattDaniel & Helen GauchatJohn Grill & Rosie WilliamsBelinda Hutchinson amAngus & Sarah JamesPJ Jopling qcMiss Nancy KimptonBruce & Jenny LanePrudence MacLeodAlf MoufarrigeJennie & Ivor OrchardAlex & Pam Reisner

Mr Mark Robertson oam & Mrs Anne RobertsonMargie Seale & David HardyTony Shepherd aoMr John Singleton amBeverley SmithJohn Taberner & Grant LangAlden Toevs & Judi WolfTh e Hon Malcolm Turnbull mp & Ms Lucy Turnbull aoJohn & Myriam WylieE XipellAnonymous (1)

DIRETTORE $5,000 $9,999Th e Abercrombie Family FoundationGeoff AlderBrad BanducciPatricia BlauMarjorie BullJoseph & Veronika ButtaJenny & Stephen CharlesTh e Clayton FamilyVictor & Chrissy CominoLeith & Darrel ConybearePeter & Tracey CooperMr R. Bruce Corlett am & Mrs Ann CorlettSuellen & Ron EnestromBridget Faye am

Ian & Caroline FrazerMaurice Green am & Christina GreenAnnie HawkerRosemary HoldenBee HopkinsWarwick & Ann JohnsonJulie KantorKeith & Maureen KerridgeLorraine LoganPeter LovellDavid Maloney & Erin FlahertyTh e Alexandra & Lloyd Martin Family FoundationJulianne MaxwellP J MillerMarianna & Tony O’SullivanJohn RickardTh e Roberts FamilyTh e SandgropersPaul Salteri amPaul Schoff & Stephanie SmeeSeleco Foundation LtdKerry Stokes ac & Christine SimpsonIan Wallace & Kay FreedmanIan Wilcox & Mary KostakidisCameron WilliamsEvan Williams amKaren & Geoff WilsonCarla Zampatti FoundationAnonymous (2)

PATRONS NATIONAL EDUCATION PROGRAMJanet Holmes à Court ac Marc Besen ao & Eva Besen ao

Th e ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. Th ese initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST

THE NEILSON FOUNDATION

TRUSTS AND FOUNDATIONS


ACO DONATIONS PROGRAMMAESTRO $2,500 $4,999Mrs Jane AllenTiff any AndrewsWill & Dorothy Bailey BequestDoug & Alison BattersbyTh e Beeren FoundationBerg Family FoundationBill & Marissa BestMr Leigh BirtlesRosemary & Julian BlockDr David & Mrs Anne BolzonelloCam & Helen CarterDr Peter CliftonAndrew CloustonRobert & Jeanette CorneyJudy CrawfordJohn & Gloria DarrochKate DixonLeigh EmmettMichael FitzpatrickR FreemantleAnn Gamble MyerRhyll GardnerLiangrove FoundationWarren GreenNereda Hanlon & Michael Hanlon amLiz HarbisonMrs Yvonne Harvey & Dr John Harvey aoWendy HughesGraeme HuntGlen Hunter & Anthony NiardoneVanessa JenkinsMacquarie Group FoundationTh e Marshall FamilyTh e Michael FamilyLouise & Martyn Myer FoundationSandra & Michael Paul EndowmentPatricia H Reid Endowment Pty LtdRalph & Ruth RenardRuth RitchieD N SandersCheryl SavageBrian SchwartzGreg Shalit & Miriam Faine

Petrina SlaytorPhilippa StoneTom Th awleyDr & Mrs R TinningRalph Ward-Ambler am & Barbara Ward-AmblerAnonymous (3)

VIRTUOSO $1,000 $2,499Annette AdairMr L H & Mrs M C AinsworthPeter & Cathy AirdAntoinette AlbertDavid & Rae AllenAndrew AndersonsDavid ArnottSibilla BaerVirginia BergerLinda & Graeme BeveridgeJessica BlockIn memory of Peter BorosKathy BorrudVicki BrookeSally BuféRowan BunningNeil Burley & Jane MunroMassel Australia Pty LtdMichael CameronTerry Campbell ao & Christine CampbellCannings CommunicationBella CarnegieSandra CassellJulia Champtaloup & Andrew RotheryElizabeth CheesemanElizabeth ChernovCaroline & Robert ClementeAngela & John ComptonBernadette CooperLaurence G Cox ao & Julie Ann CoxAnne & David CraigJudy CrollLindee & Hamish DalziellMrs June DanksMichael & Wendy DavisMartin DolanAnne & Th omas DowlingJennifer DowlingDr W Downey

Professor Dexter Dunphy amBronwyn EslickPeter EvansJulie EwingtonHelen Elizabeth FairfaxElizabeth FinneganStephen FitzgeraldLynne FlynnNancy & Graham FoxJane & Richard FreudensteinJustin & Anne GardenerJaye GardnerPaul Gibson & Gabrielle CurtinColin Golvan SCRichard & Jay Griffi nGriffi ths ArchitectsLyndsey HawkinsPeter HearlReg Hobbs & Louise CarbinesMichael Horsburgh am & Beverley HorsburghCarrie & Stanley HowardPenelope HughesStephanie & Michael HutchinsonBrian JonesBronwen L JonesD & I KallinikosCarolyn Kay & Simon SwaneyLen La FlammeMrs Judy LeeMr Michael LeeMr John Leece amSydney & Airdrie LloydJudy LynchCharlotte & Adrian MackenzieMr and Mrs Greg & Jan MarshDavid MathlinKevin & Deidre McCannPaul & Elizabeth McClintockBrian & Helen McFadyenJ A McKernanJillian & Robert MeyersJohn MorganSuzanne MorganJane MorleyNola NettheimBrendan OstwaldSelwyn M OwenAnne & Christopher PageRowland Paterson


peckvonhartel architectsDavid Penington acAyesha PenmanTom PizzeyMark RenehanDr S M Richards am & Mrs M R RichardsWarwick & Jeanette Richmond In Memory of Andrew RichmondDavid & Gillian RitchieEm. Prof. A. W. Roberts amPeter J RyanJennifer SandersonIn Memory of H. St. P. ScarlettJeff SchwartzIn memory of Elizabeth C SchweigPeter & Ofelia ScottJennifer SeniorPaul SkamvougerasDiana & Brian Snape amMaria Sola & Malcolm DouglasEzekiel Solomon amKeith SpenceCisca SpencerRobert StephensProfessor Fiona StewartMr Tom StoryDr Douglas Sturkey cvo amDr Charles Su & Dr Emily LoKyrenia & Rob Th omasPaul TobinPeter TonaghAnne TonkinNgaire TurnerLoretta van MerwykKay VernonDavid WalshJanie Wanless & Nev WitteyBill WatsonMrs M W WellsRachel Wiseman & Simon MooreSir Robert WoodsNick & Jo WormaldDon & Mary Ann YeatsWilliam YuilleAnonymous (21)

CONCERTINO $500 $999A AckermannMrs Lenore Adamson In memory of Mr Ross AdamsonElsa AtkinGeoff rey BamfordRuth BellMax BenyonTamara BestBrian & Helen BlytheElizabeth BoltonBrian BothwellDr Sue BoydBen & Debbie BradyDenise BraggettDiana BrookesMrs Kay BryanArnaldo BuchJulie CarriolKirsten CarriolFred & Jody ChaneyColleen & Michael ChestermanRichard & Elizabeth ChisholmStephen ChiversElizabeth ClaytonJohn ClaytonClearFresh WaterJilli CobcroftGeoff Cousins & Darleen BungeyCarol & Andrew CrawfordProfessor John DaleyMarie DalzielMari DavisDefi ance GalleryDr Christopher DibdenMike & Pamela DowneyMichael DrewIn Memory of Raymond DudleyAnna DunphyM T & R L ElfordIan FenwickeJanet FitzwaterMichael FogartyPatricia GavaghanBrian GoddardProf Ian & Dr Ruth Gough

Philip GrahamSteven GreggKatrina Groshinski & John LyonsAnnette GrossMatthew HandburyLesley HarlandDr Penny Herbert In memory of Dunstan HerbertJennifer HershonMarian HillGeoff HogbinPeter & Ann HollingworthJulie HopsonPam & Bill HughesDr & Mrs Michael HunterDiane IpkendanzMargaret & Vernon IrelandPhilip & Sheila JacobsonOwen JamesBarry Johnson & Davina Johnson oamMrs Caroline JonesMrs Angela KarpinBruce & Natalie KellettProfessor Anne Kelso aoDanièle KempJosephine Key & Ian BredenTFW See & Lee Chartered AccountantsRobert Leece amGreg Lindsay ao & Jenny LindsayMegan LoweJohn LuiRobin & Peter LumleyBronwyn & Andrew LumsdenJames MacKeanJanet MattonDr & Mrs Donald MaxwellPhilip Maxwell & Jane Th amIan & Pam McGawH E McGlashanColin McKeithJoanna McNivenI MerrickJan MinchinJulie MosesHelen & Gerald MoylanHon Dr Kemeri Murray aoSusan Negrau

ACO DONATIONS PROGRAM


Patrons list is current as of 19 June.

CONTRIBUTIONSIf 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 Retha Howard on 02 8274 3835 or at [email protected].

ACO DONATIONS PROGRAMDr G NelsonJenny NicholJ NormanGraham NorthRobin Offl erJosephine PaechLeslie ParsonageLisa PaulsenDeborah PearsonRobin & Guy PeaseKevin PhillipsMiss F V Pidgeon amTh e Hon C W Pincus qcMichael PowerRuth RedpathLarry & Mickey RobertsonManfred & Linda SalamonGreg & Elizabeth SandersonGarry E ScarfTeam SchmoopyLucille SealeMr Berek Segan obe am & Mrs Marysia SeganAnne ShiptonJohn Sydney SmithRoger & Ann Smith-JohnstoneAlida Stanley & Harley WrightMrs Judy Ann StewartGeoff rey Stirton & Patricia LoweIn memory of Dr Aubrey SweetLeslie C Th iessMatthew TooheySarah Jane & David VauxG C & R WeirSue Wooller & Ron WoollerLee WrightRebecca Zoppetti LaubiBrian ZulaikhaAnonymous (21)

CONTINUO CIRCLE BEQUEST PROGRAMTh e late Charles Ross AdamsonTh e late Kerstin Lillemor AndersenSteven BardyDave BeswickRuth BellSandra CassellTh e late Mrs Moya CraneMrs Sandra DentLeigh EmmettTh e late Colin EnderbyPeter EvansCarol FarlowMs Charlene FranceSuzanne GleesonLachie HillTh e late John Nigel HolmanPenelope HughesEstate of Pauline Marie JohnstonTh e late Mr Geoff Lee am oamMrs Judy LeeTh e late Shirley MillerTh e late Richard PonderIan & Joan ScottG.C. & R WeirMargaret & Ron WrightMark YoungAnonymous (11)

LIFE PATRONS IBMMr Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson Dr John Harvey ao Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter William Weiss ao


ACO PARTNERS

Mr Guido Belgiorno-Nettis amChairmanAustralian Chamber Orchestra &Executive DirectorTransfi eld Holdings

Aurizon Holdings Limited

Mr Philip Bacon amDirectorPhilip Bacon Galleries

Mr David Baff sky ao

Mr Brad BanducciDirector Woolworths Liquor Group

Mr Jeff BondChief Executive Offi cerPeter Lehmann Wines

Mr John BorghettiChief Executive Offi cerVirgin Australia

Mr Hall CannonRegional Delegate, Australia, New Zealand & South Pacifi cRelais & Châteaux

Mr Michael & Mrs Helen Carapiet

Mr Stephen & Mrs Jenny Charles

Mr Georg ChmielChief Executive Offi cerLJ Hooker

Mr & Mrs Robin Crawford

Rowena Danziger am &Kenneth G. Coles am

Mr Greg EllisChief Executive Offi cerREA Group

Dr Bob EveryChairmanWesfarmers

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr Richard FreudensteinChief Executive Offi cerFOXTEL

Mr Colin Golvan SC & Dr Deborah Golvan

Mr John GrillChairmanWorleyParsons

Mr Andrew & Mrs Hiroko Gwinnett

Mrs Janet Holmes à Court ac

Mr & Mrs Simon & Katrina Holmes à CourtObservant Pty Limited

Ms Catherine Livingstone aoChairmanTelstra

Mr Andrew LowChief Executive Offi cerRedBridge Grant Samuel

Mr Steven Lowy amLowy Family Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr David MathlinSenior PrincipalSinclair Knight Merz

Ms Julianne Maxwell

Mr Michael Maxwell

Mr Geoff McClellanPartnerHerbert Smith Freehills

Mr Donald McGauchie aoChairmanNufarm Limited

Ms Naomi Milgrom ao

Ms Jan MinchinDirectorTolarno Galleries

Mr Jim MintoManaging DirectorTAL

Mr Alf MoufarrigeChief Executive Offi cerServcorp

Mr Robert Peck am &Ms Yvonne von Hartel ampeckvonhartel architects

Mr Scott PerkinsHead of Corporate FinanceDeutsche Bank Australia/New Zealand

Mr Neil PerryRockpool

Mr Mike Sangster Managing DirectorTotal E&P Australia

Ms Margie Seale & Mr David Hardy

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Tony Shepherd aoPresidentBusiness Council of Australia

Mr Ray ShorrocksHead of Corporate Finance, SydneyPatersons Securities

Mr Andrew StevensManaging DirectorIBM Australia & New Zealand

Mr Paul SumnerDirectorMossgreen Pty Ltd

Mr Mitsuyuki (Mike) TakadaManaging Director & CEOMitsubishi Australia Ltd

Mr Michael Triguboff Managing DirectorMIR Investment Management Ltd

Th e Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Vanessa WallaceDirectorMr Malcolm GarrowDirectorBooz & Company

Mr Kim Williams amChief Executive Offi cerNews Limited

Mr Gary WingroveChief Executive Offi cerKPMG Australia

Mr Peter Yates amChairman, Royal Institution of AustraliaDirector, AIAA Ltd

2013 CHAIRMAN’S COUNCIL MEMBERSTh e Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.


ACO CORPORATE PARTNERS Th e ACO would like to thank its corporate partners for their generous support.

PRINCIPAL PARTNER

FOUNDING PARTNER NATIONAL TOUR PARTNERS FOUNDING PARTNER:

ACO VIRTUAL

OFFICIAL PARTNERS

PERTH SERIES PARTNER

REGIONAL TOURING PARTNER

CONCERT AND SERIES PARTNERS

Daryl DixonPeter William Weiss AO Warwick & Ann Johnson

EVENT PARTNERS

on georgeGPO SydneyNo. 1 Martin Place


newsACO NEWS • AUGUST 2013

ACO violinist and former ACO Emerging Artist,

Rebecca Chan joins some of our current

Emerging Artists in a chamber music concert

at Carole Nash Recital Hall, Manchester, on

24 August. The program features quartets and

quintets by Webern, Beethoven and Schubert.

Following the recent success of ACO2’s main

stage Australian tour, we’re delighted that our

precocious little sister orchestra continues to

develop on such an exponential trajectory.

Sydney audiences have the opportunity to

hear the Manchester concert for free at

Sydney Conservatorium of Music, Recital

Hall West on Fri 27 Sep at 7pm featuring

ACO cellist Julian Thompson. Bookings not

required.

ACO2’s next regional tour visits Mackay, Cairns,

Rockhampton, Cleveland, Bangalow, Armidale

and Bellingen.

AcO2’S EUROPEAN DEBUT24 August, Manchester, England

AcO2 performing at Llewellyn Hall, Canberra


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2014 SEASON LAUNCHDetails to be announced end of AugustSign up to receive our monthly enewsletter and receive all the details, as soon as we launch! Sign up at aco.com.au/enews

SYDNEY MEDICI PATRONS &CHAIRMAN’S COUNCIL DINNEROn Wednesday 3 July we thanked our most

valued patrons and supporters at our annual

Sydney Medici Patrons and Chairman’s Council

Dinner.

Held at the Sofi tel Sydney Wentworth this

special evening was a wonderful opportunity

to thank patrons for their continued support.

Of course the best way we know how to say

“thank you” is through our music, and we

performed a special program including works

by Vivaldi, Paganini, Haydn and Weill.

We would also like to thank Sofi tel Luxury

Hotels, Peter Lehmann Wines, Langton’s and

Poho Flowers for their support of this event.

Above: Bill Best, Yvonne von Hartel AM, Mary Lou Ryan, Marten Peck & Robert Peck AM

Below: Alf Moufarrige & Guido Belgiorno-Nettis AM Below: Michael Ball AM, Anne Leece & John Leece AM


YOUR SAY…Project Rameau – Brisbane“I’m a better person for having been there, such a joy. I think I could watch it twenty times or more and still not drink it all in…thank you so much.” — R. Connah

“Beautiful artistry, great extensions, unique shapes & sublime musicality. 10/10.” — K. Kelly

“Dance isn’t my art form of choice but Project Rameau by Sydney Dance Company

and the Australian Chamber Orchestra was just brilliant. Loved it.” — S. Hetherington

ACO VIRTUAL“Thank you so much for the launch of your virtual tour in Swan Hill at the weekend. I was the one that had to be kicked out at the end!!! Just a fabulous way to experience the ACO, thank you to all involved thank you, thank you!!!” — T. Griffi ths

Let us know what you thought about today’s concert at [email protected].

Violinist Aiko Goto guided 23 talented young

musicians aged 9—17 through our annual

ACO Academy week last month, with talented

young string players from around the country

joining us in the ACO Studio for intensive group

rehearsals and mentoring. The week

culminated in a free concert at City Recital

Hall Angel Place.

Remarkable young classical guitarist Andre

Lebedev featured in a Vivaldi concerto, with his

deft, lightning-fast fi nger work complemented

by the excellent string section behind.

“…they were brilliant. I really enjoyed the

concert, thank you to the ACO, the Academy,

the students and especially Aiko.” — K. Mewes

ACO ACADEMY

Soloist Andrey Lebedev in rehearsal Students rehearsing in the ACO Studio

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Anna Pokorny and Julian Thompson

Building a smarter planet:

Today, customers are deciding when and where the buying process begins, when it ends, who will be part of that process, what order it will follow, and how all elements in the chain – market, buy, sell and service – will be linked.

Each individual’s data is the key to connecting the value chain to the customer – helping businesses to understand and predict customer needs and to orchestrate partners and suppliers in greater responsiveness to changes in buying behaviour.

The opportunity is enormous. According to a recent IBM® Institute for Business Value survey, more than US$15 trillion in ineffi ciencies comes from waste throughout the global commerce system, such as inventory backlogs and failed product launches*.

Given the rise of new generations of empowered and digitally literate customers, it’s clear that the world’s commercial systems have to become as smart as the individuals who are now driving them. Fortunately, they can – and in the process, will redefi ne how we buy, market and sell on a smarter planet.

Let’s build a smarter planet. Join us and see what others are doing at ibm.com/smarterplanet/au

TRADEMARKS: IBM, the IBM logos, ibm.com, Smarter Planet, Let’s build a smarter planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services of IBM or others. A current list of IBM trademarks is available on the Web at “Copyright and trademarks information” at www.ibm.com/legal/copytrade.shtml. © Copyright IBM Australia Limited 2012 ABN 79 000 024 733 © Copyright IBM corporation 2012 All Rights Reserved. These customer stories are based on information provided by the customers and illustrate how certain organisations use IBM products. Many factors have contributed to the results and benefi ts described. IBM does not guarantee comparable results elsewhere.* The IBM Business Value survey is available at: http://www.ibm.com/ibm/fi les/Y067208R89372O94/11The_worlds_4_trillion_dollar_challenge-Executive_Report_1_3MB.pdf. IBMNCA0626/SCOMMERCE/ACO

Smarter customers demand smarter commerce.

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