MOORE BEETHOVEN BRAHMS TOUR TWO 21 MAY – 11 JUNE

AUSTRALIAN STRING QUARTETNational Season 2019

This is a special concert for us.

We are thrilled to welcome Sharon Grigoryan back to the stage, who returns from parental leave. We’ve been honoured to play with some fine musicians over the past year and we thank all of them for being a part of our journey. We are very excited to be reunited as a quartet and to bring the family of Guadagninis back together again.

We open tonight’s program with a piece close to our hearts. Through the generosity of our donors who contributed to the Australian String Quartet Richard Divall Australian Music Fund, we were delighted to commission Australian composer Kate Moore to write her third string quartet, Cicadidae. In this piece, Moore sets out to evoke a sound synonymous with the

Australian landscape - a sound that is familiar to all of us, but not generally heard coming from the stage. It is most fitting that this piece is dedicated to our esteemed ASQ Patron, Maria Myers AC, whose commitment to preserving Australian culture is an inspiration to us all. Also, a special thanks to sound artist Brendan Woithe, whose concert prelude will transport you into Kate Moore’s sound-world.

This year has already seen us undertake some exciting projects in addition to our first National Season Tour - a recording with iconic Australian singer songwriter Katie Noonan, our beloved ASQ festivals at Dunkeld and Margaret River, a brand new concert experience at the Adelaide Fringe Festival and an appearance at the Four Winds Easter Music Festival in Bermagui, NSW.

WELCOME TO TOUR ONENATIONAL SEASON 2019Looking ahead, we will be spending more time in residence across various parts of Australia, building our ever-growing anthology of Australian music recordings, presenting several more of our popular Close Quarters concerts in groovy spaces (check our website for details) and taking part in concerts to celebrate NAIDOC week.

We believe that no matter who you are, where you live or how you spend your days, music makes life richer. As we near the end of the financial year, we ask that you consider making a tax deductible donation to support our extensive nation-wide concert and workshop program.

We are so grateful that you could join us tonight and hope that you enjoy the concert.

Dale, Francesca, Stephen and Sharon

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Brendan Woithe Prelude

Kate Moore String Quartet no 3, Cicadidae* (Premiere Season)

Beethoven String Quartet in C minor, op 18 no 4

INTERVAL

Brahms String Quartet in C minor, op 51 no 1

* Commissioned by the Australian String Quartet through the Australian String Quartet Richard Divall Australian Music Fund, in honour of ASQ Patron Maria Myers AC.

PROGRAM DETAILSMOORE BEETHOVEN BRAHMS

Brisbane** Tue 21 May 7pm Conservatorium Theatre

Sydney Thu 23 May 7pm City Recital Hall

Canberra Sun 26 May 2pm Gandel Hall, National Gallery of Australia

** Recorded by ABC Classic for broadcast on 11 June at 7.30pm.

Melbourne Mon 27 May 7pm Melbourne Recital Centre

Perth Tue 28 May 7pm Government House Ballroom

Adelaide Tue 11 June 7pm Adelaide Town Hall

Our next concert IVES WESTLAKE DEBUSSY 4 – 20 September 2019 asq.com.au

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Dedicated to musical excellence with a distinctly Australian flavour, the Australian String Quartet (ASQ) creates unforgettable experiences for audiences worldwide.

From our home base at the University of Adelaide, Elder Conservatorium of Music, we reach out across Australia and the world to engage people with an outstanding program of performances, workshops, commissions and education programs.

We are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743 - 1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of

Ulrike Klein AO. The instruments are on loan to the ASQ for their exclusive use through the generosity of UKARIA.

The centrepiece of 2019, our National Season, is filled with masterful renditions of the classic repertoire juxtaposed with new works that speak to our Australian identity.

Looking beyond, we are collaborating with acclaimed singer-songwriter Katie Noonan, to record and perform a program of works by ten Australian composers, based on the distinctive poetry of Oodgeroo Noonuccal. Our annual ASQ Festivals, Margaret River Weekend of Music and Dunkeld Festival of Music will feature the artistry of special guest musicians, Li-Wei Qin (cello) and Konstantin Shamray (piano) and the

AUSTRALIAN STRING QUARTETlaunch of ASQ’s first international weekend of music will extend our reach to New Zealand’s breathtaking Central Otago region. We are also excited to be extending our education programs and Close Quarters series to more metropolitan and regional areas across Australia.

At home in South Australia, we continue our work as Quartet-in-Residence at the University of Adelaide’s Elder Conservatorium of Music with various projects, and performances as part of the Elder Hall Lunchtime Concert series. Mornings at UKARIA will continue to bring the sounds of the string quartet to the beautiful landscape of the Adelaide Hills and a collaboration with didgeridoo master William Barton will celebrate NAIDOC Week at the Adelaide Festival Centre.

Dale Barltrop plays a 1784 Guadagnini Violin, Turin

Francesca Hiew plays a 1748–49 Guadagnini Violin, Piacenza

Stephen King plays a 1783 Guadagnini Viola, Turin

Sharon Grigoryan plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’

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Guadagnini Quartet Project

Diana Ramsay Foundation, Didy McLaurin, Joan Lyons, David McKee AO and Pam McKee, and many other donors, UKARIA completed the project on 18 December 2017, raising the funds to acquire all four instruments at a total cost of $6,183,188.

This project has brought together a group of visionary patrons who understand the significant cultural value in a collection of this calibre.

Philanthropic Champions Ulrike Klein AO Klein Family Foundation Allan J Myers AC Maria J Myers AC James and Diana Ramsay Foundation Didy McLaurin Joan Lyons Mrs F.T. MacLachlan OAM David McKee AO and Pam McKee Pauline Menz Dr Rabin Bhandari Lang Foundation Hartley Higgins

The Board of UKARIA also recognises and thanks the following donors who have each made a significant contribution to this project:

In 2010, UKARIA embarked on one of the most significant philanthropic projects in Australia’s musical history - the acquisition of a unique quartet of rare stringed instruments (c.1743-1784) crafted by Giovanni Battista Guadagnini.

Guadagnini is one of history’s foremost luthiers, in company with Stradivarius and Guarneri del Gesu. This matched set of instruments, held in trust by UKARIA and made available as a set in perpetuity to Australia’s most outstanding string quartet, is unprecedented anywhere in the world. The current recipients are the Australian String Quartet.

The instruments included in the collection are:

1784 Guadagnini Violin (Turin)

1748-49 Guadagnini Violin (Piacenza)

1783 Guadagnini Viola (Turin)

c.1743 Guadagnini Cello ‘Ngeringa’ (Piacenza)

Through the generosity of Ulrike Klein AO, The Klein Family Foundation, Maria Myers AC, Allan Myers AC, The James and

Major Gifts Don and Veronica Aldridge Elizabeth Clayton John Clayton Colin and Robyn Cowan Katherine Fennell Frances Gerard Julian and Stephanie Grose Andrew and Hiroko Gwinnett Richard Harvey AM Lyndsey and Peter Hawkins Janet and Michael Hayes Jari and Bobbie Hryckow Thora Klein Tupra Pastoral Company Macquarie Foundation Mr H.G. MacLachlan Mrs S.T. McGregor Peter and Pamela McKee Janet McLachlan Robert O’Callaghan and Pam O’Donnell John Phillips Margaret Piper Jill Russell Nigel Steele Scott Sidney Myer Fund Mary Louise Simpson Gary and Janet Tilsley Ian and Pamela Wall Janet Worth

To every patron who contributed to this project we thank you for your support. To learn more visit UKARIA.com

Soundscape Artist/Composer Brendan Woithe is a Sydney based composer and soundscape artist working in film, dance, theatre, installations and experiential. He works at the intersection of creativity and technology, exploring stories and ideas exposed interrogating that space. He has recently composed scores for Reincarnation, with the West Australian Ballet, the upcoming feature film Go!, Eyes, an experiential theatre work, and Do Not Disturb, a 10 part series premiered at this year’s Cannes Series Festival. Brendan collaborates regularly with Australian Dance Theatre, where his most recent works are The Beginning of Nature, Habitus, and North/South, premiering later this year. He has worked with the Zephyr Quartet on commissions and new technologies for the last decade. Some of his recent installations include Circadian Cycle, a dance film and installation for Adelaide Festival Theatre & Adelaide Airport, The Australian Music Vault, a permanent installation at the Arts Centre Melbourne, and Road to Zero, a permanent multi-channel generative installation at the Museum of Melbourne.

Prelude (2019) Prelude is a short sound work commissioned by the Australian String Quartet as an auditory transition to Kate Moore’s new piece, Cicadidae. Brendan explores the ideas of metamorphosis and emergence, mirroring the period in a cicada’s life cycle when they transform from a soil dwelling nymph to the short-lived cicada we know so well here in Australia through its evocative song. Brendan has drawn on both personal field recordings and samples of instructed improvisations from members of the ASQ, changing their form into an abstract soundscape using technological interventions and algorithmic manipulations. The soundscape will welcome the audience as they enter the auditorium, and then continue on as a prelude to Cicadidae.

BRENDAN WOITHEPROGRAM NOTES

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Kate Moore is an Australian-Dutch musician and composer of new music. In 2001 she was awarded B.Mus Cum Laude with the University Medal from The Australian National University majoring in composition and electroacoustic music. Having obtained a masters degree from The Royal Conservatory of The Hague, she has been based in the Netherlands since 2002 and in 2013 she was awarded a Ph.D. from The University of Sydney.

In 2017 she was the recipient of the Matthijs Vermeulen Prize, the most prestigious Dutch prize for composers, for her work The Dam commissioned for The Canberra International Festival. Her major work Sacred Environment was premiered by The Netherlands Radio Philharmonic Orchestra and choir with soloists Alex Oomens and Lies Beijerinck, taking place at The Holland Festival Proms in The Concertgebouw followed by a commission to write the 2018 Bosch Requiem Lux Aeterna for choir and large Ensemble.

In 2018 she was the Zielsverwanten artist in residence at The Muziekgebouw aan ‘t Ij in Amsterdam featuring her own group Herz Ensemble and she was composer in focus at November Music festival in ‘s-Hertogenbosch. Her works have been released on major labels including Grammy and Edison nominated album Dances and Canons, released on ECM New Series as well as Cantaloupe release Stories for Ocean Shells. Active

KATE MOORE KATE MOOREGUEST COMPOSER PROGRAM NOTES

on the international scene, Moore has had works performed by acclaimed ensembles including ASKO|Schönberg, Alarm Will Sound, The Bang On A Can All-Stars and Icebreaker. Her works have been performed in venues including The Concertgebouw, Carnegie Hall and The Sydney Opera House and at major festivals including The Holland Festival, ISCM World Music Days and MATA.

KATE MOORE (1979 – ) String Quartet no 3, Cicadidae (2019)

‘What happens next?’ Most classical music plays on our desire to predict the future. But rather than chasing after a story or drama, sometimes it’s best to hear music as a space to inhabit, a present moment to savour. After all, this is how we best enjoy nature’s music – the dawn chorus, the wind in the trees. Why not a string quartet?

Kate Moore’s Cicadidae is a product of the Australian-Dutch composer’s interest in sound installations, visual arts and nature. There is no beginning, middle or end. Just an unrelenting, mesmerising hum created by the quartet; a dreamscape to enter.

The composer writes: When remembering the Australian landscape, the sound of cicadas fills the mind. Their presence is felt through their song. They are invisible to the eye. However, the music they make overwhelmingly floods the air on a summer afternoon.

Thousands of creatures are seemingly hidden, lying in shadows of trees and bark, under leaves, rocks, twigs and earthen cavities, singing out loud with all their might. Sitting in the bush listening to the cicadas it is possible to hear the landscape by listening to their subtle orchestration, a sonic map of a vast land. You can hear near and far, the shape of ridges, valleys, cliffs and plains. By closing your eyes, you can hear where a waterhole lies even if it is

out of sight. Where creatures congregate near water, the climactic intensity in which the dynamics of their song grows, attests to its miraculous gift of life.

Thousands of tiny creatures sing in harmony as the sun sinks below the horizon, their voices in revolution with the Earth as she lumbers on her journey from night to day, turning and turning and turning. The creatures are musicians. Their bodies are tiny resonating chambers, with silken wings stretched across an exoskeleton beating between the ghostly world of soundwaves and the emanating pulse of sympathetic resonance reflecting the concave and convex of material and matter. They are tiny violin players whose pulse fluctuates with the temperature of change. Allegro in the heat of day, adagio in the depths of night. They play together in perfect harmony, with hyper sensitivity to the minuscule intervals of just intonation perceived within the Earth’s nervous system. They play together in an orchestra of emotion and feeling, crying out for mercy that their creator will protect them because they don’t know what the future will be.

David John Lang © 2019

Commissioned by the Australian String Quartet through the Australian String Quartet Richard Divall Australian Music Fund, in honour of ASQ Patron Maria Myers AC.

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LUDWIG VAN BEETHOVEN (1770–1827) String Quartet in C minor, op 18 no 4 (1798-1800) 1. Allegro ma non tanto 2. Andante scherzoso quasi allegretto 3. Menuetto: Allegretto 4. Allegro – Prestissimo

Beethoven had initially been reluctant to write a string quartet when first requested in 1795, perhaps not yet feeling up to the task of tackling a genre so thoroughly mastered by Haydn and Mozart. But in 1798 a generous commission from the enthusiastic Prince Lobkowitz (two years his junior) persuaded him to begin work on a set of six quartets. This is the only one of them in a minor key – and it is in C minor, Beethoven’s favourite key for drama and pathos.

After moving to Vienna in his early twenties, Beethoven had developed a reputation for impetuosity in his music as well as his manner. His scores are often filled with sforzandos (hard accents) and sudden dynamic contrasts. His short temper and impudence made him seem like a man on a mission, unsatisfied with the present, and always reaching forward.

The beginning of this quartet yanks us into an adventure, the first violin climbing into a long, dramatic opening melody while the accompaniment chugs away like a motor. At times the players seem to be fencing each other with loud, jabbing chords. Even in its gentler passages, this movement is powerfully forward-driven, maintaining a kind of excited impatience to get to its destination.

LUDWIG VAN BEETHOVENPROGRAM NOTES

Instead of a typical slow movement, Beethoven follows this with a curiously light-hearted Andante (marked ‘scherzoso’). Like the first movement, it is filled with fidgety rhythmic figures – long, interweaving threads of staccato notes pulling us restlessly onwards. And there’s something slightly absurd about all those fugues and canons, as though Beethoven is showing off his contrapuntal skills so earnestly that you begin to suspect some dry humour.

With the second movement having taken the role of light relief, Beethoven ramps up the tempo and intensity of the third movement Minuet. We’re back in moody C minor, and this time the forward-looking impatience is expressed by sinuous ascending lines and lithe chromaticism (the harmonic equivalent of squeezing round some tight corners). The central section is full of gracious melodic dialogue; and then, unusually, Beethoven marks the return of the Minuet theme to be played faster than before.

The music breaks into a run in the finale, yet each varied return of the rondo theme keeps pulling up and hesitating (teasingly) at the same cadence. In all the excitement, the grim, severe mood we might have expected from a Beethoven work in C minor gets forgotten, and the composer finishes the quartet with a smile.

David John Lang © 2019

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1 0 % O F F A C C O M M O D AT I O N

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* T & C ’ s A p p l y

2 0 % O F F AT T H E F A X B A R

U p o n p r e s e n t a t i o n o f t h i s c o u p o n

2 7 O ’ C o n n e l l S t r e e t , S y d n e y N S W 2 0 0 0 , A u s t r a l i a + 6 1 2 8 2 1 4 0 0 0 0 r e s . s y d p l a z a @ r a d i s s o n . c o m

r a d i s s o n b l u . c o m / e n / p l a z a h o t e l - s y d n e y

E X C L U S I V E A S Q M E M B E R O F F E R

P R O U D S P O N S O R & P R E F E R R E D S Y D N E Y H O T E L

JOHANNES BRAHMS (1833–1897) String Quartet in C minor, op 51 no 1 (1873)

1. Allegro 2. Romanze: Poco adagio 3. Allegretto molto moderato e comodo 4. Allegro

For Brahms, no musical experience could be an isolated event; everything was connected to something else. He was acutely aware of the vast musical tradition into which he was writing. And within any given piece, he was fastidious in ensuring that every theme, every phrase, every chord, had a clear purpose beyond itself.

Little wonder, then, that some compositions took him so long to write. He had been trying to write string quartets for twenty years (and claimed to have destroyed about twenty different attempts) before finally breaking through with this work in C minor. It had a private read-through in 1869, but not until after he had thoroughly revised it in the summer of 1873 did he allow its performance and publication. He was forty years old.

As he explained to a friend: ‘It is not difficult to compose; but it is incredibly difficult to let the superfluous notes drop under the table.’ This music rewards intense engagement by listeners, a determination to follow every step of the musical discourse (almost as though you are playing it yourself), because Brahms is so careful to ensure that every phrase, every gesture, relates to something before it and advances the musical plot.

JOHANNES BRAHMSPROGRAM NOTES

The main themes of each movement – indeed, every bar of the piece – can be traced back to what we hear within the first 30 seconds: the rising melody of the violins, interrupted by downward leaps, and impelled by the restless energy of the viola and cello.

The two outer movements are characterised by bold gestures and an irresistible momentum. At times the drama and intensity of it all sounds almost symphonic, as though we are being swept up in a larger world, something too big for a string quartet to contain.

But Brahms is careful to keep everything in balance; in the two central movements he gives us chamber music at its most intimate. The peaceful Romanze turns the rising motif from the first movement into a gentle caress, richly harmonised. The third movement is a pensive, introverted intermezzo, framing a delightfully elegant Austrian Ländler that peeks in like a ray of sunshine.

Brahms dedicated the quartet to his friend Theodor Billroth – a renowned surgeon, and also an accomplished amateur musician who regularly hosted chamber music soirées in his home. You can talk about connections in music all you like (‘thematic unity’ and ‘structural cohesiveness’), but it is the connections between people that really make music possible.

David John Lang © 2019

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DONORS

The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contributions either remain anonymous or are less than $1000.

The following donations reflect cumulative donations made from 2014 onwards and the Australian String Quartet is extremely grateful for all the support received from its donors.

Principals ($50,001+)Mr Philip BaconNicholas Callinan AO & Libby CallinanClitheroe FoundationKay Freedman & the late Ian WallaceRichard Harvey AM & the late Tess HarveyLyndsey & Peter HawkinsAndrew JohnstonKlein Family FoundationThe Stuart Leslie FoundationJoan LyonsMacquarie Group FoundationMrs Diana McLaurinPauline MenzAllan J Myers AC & Maria J Myers ACAndrew SissonThyne Reid FoundationWright Burt Foundation

Champions ($25,001 - $50,000)Don & Veronica AldridgeJanet & Michael HayesLang FoundationDavid McKee AO & Pam McKeeThe Ian Potter FoundationBrenda Shanahan Charitable FoundationAnonymous (1)

Guardians ($10,001 - $25,000)John & Libby ClaytonTC & MR CooneyNeil JensGlenda & Greg Lewin AMPeter & Pamela McKeeJanet McLachlanRobert MenzMG Prichard & BE PanizzaLady Potter ACSusan M RenoufAnonymous (3)

Classic Partners ($5,001 - $10,000)John & Mary BarlowBerg Family FoundationBrand Family FoundationMaurice & Tess CrottiPerri Cutten & Jo DaniellMr James Darling AM & Ms Lesley ForwoodAngela FlanneryMargaret FlatmanNonie HallMr Hartley HigginsKimberley & Angus HoldenKeith Holt & Anne FullerMr Robert KenrickRoderick & Elizabeth KingSonia LaidlawAnnette MaluishMrs Skye McGregorMarshall-Hall TrustTony & Margaret PagonePatricia H ReidRobert Salzer FoundationNigel Steele ScottGary & Janet TilsleyCarl WoodAnonymous (2)

Friends ($1,001 - $5,000)Peter AllanAndrew Andersons AOMichael & Susan ArmitageDr Margaret ArstallCharles & Catherine BagotBernard & Jackie BarnwellPhilip BarronDavid & Caroline BartoloBernard & Sharon BoothTim & Lyndie CarracherJohn & Christine ChamberlainRic Chaney & Chris HairJohn & Libby ClappGeoffrey ClarkePeter Clemenger AO & Joan ClemengerCaroline & Robert ClementeDr Peter CliftonIan & Rosana Cochrane

The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444 or online at asq.com.au/support

Bruce and Bronwyn CooperColin & Robyn CowanDr Rodney G CrewtherMarie DalzielGeoff & Anne DayRoss & Sue DillonAlan R Dodge AMMr Peter DorrianJane DoyleMichael J DrewJosephine DundonBarry Jones AC & Rachel FaggetterVivien & Jack FajgenbaumPamela Fiala in memory of JiriLyndis & Roger FlynnRichard FrolichJohn Funder & Val DiamondRoss & Jen GalleryHelen & Michael GannonFleur GibbsColin Golvan AM QC & Dr Deborah GolvanGreat Southern Grammar SchoolMrs Helen GreensladeNoel & Janet GrieveJean HadgesSusan & Daniel HainsGerard & Gabby HardistyAnnette HarrisJ Holden Family FoundationJim & Freda IrenicBeth Jackson & John GriffithsBarbara JarryLynette & Gregory JaunayPeter Jopling AM QCKevin & Barbara KaneAndy & Jim KatsarosM & F Katz Family FoundationStephen & Kylie KingHon Diana Laidlaw AMDr David Leece PSM RFD EDThe Hon Christopher Legoe QC & Jenny LegoePeter LovellMegan LoweGrant LuxtonThe late Simon Marks-IsaacsRobyn Martin-Weber

Diane McCuskerElisabeth McDonaldH & R McGlashanHelen & Phil MeddingsHugo & Brooke MichellMrs Frances MorrellKerrell & David MorrisJock & Jo MuirVictor & Barbara MulderMaria O'DonnellPaul O'DonnellMr Robert Peck AM & Ms Yvonne von Hartel AMRosalind-Ruth M PhelpsJohn PhillipsAdam & Michele PlumridgeRobert Pontifex AMEllen & Marietta ResekMs Eda Ritchie AMChris & Fran RobertsJill RussellBernard Ryan & Michael RoweTrish & Richard Ryan AOJeanette Sandford-Morgan OAMVahe SarmazianDrs Paul Schneider & Margarita SilvaDavid ScownSegue Financial ServicesDiana Sher OAM & Jeffrey Sher QCSimply for Strings - BrisbaneAntony & Mary Louise SimpsonMary & Ian SteeleElizabeth SymeJames & Anne SymeHugh Taylor AC & Elizabeth Dax AMMr Eng Seng TohJenny & Mark TummelSue TweddellJohn & Catherine WalterNicholas WardenLyn Williams AMJanet WorthAnnie & Philip YoungPamela YuleFay Zaikos Anonymous (20)

Australian String Quartet Richard Divall Australian Music FundDon & Veronica Aldridge Roslyn AllenBernard & Jackie BarnwellBrand Family FoundationNicholas Callinan AO & Libby CallinanJohn & Christine ChamberlainJohn & Libby ClaytonCaroline & Robert ClementePerri Cutten & Jo DaniellFleur GibbsRoz Greenwood & Marg PhillipsAlan GuntherTim & Irena HarringtonDr Penny Herbert in memory of Dunstan HerbertKeith Holt & Anne Fuller Kevin & Barbara KaneRod & Elizabeth KingAngus LeitchGlenda & Greg Lewin AMPauline MenzJo & Jock MuirAllan J Myers AC & Maria J Myers ACTony & Margaret PagoneMG Prichard & BE PanizzaKarin PenttilaLady Potter ACSusan M RenoufDrs Paul Schneider & Margarita SilvaDiana Sher OAM & Jeffrey Sher QCRob & Jane SoutheyMary & Ian SteeleGary & Janet TilsleyAnnie & Philip YoungAnonymous (3)

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NATIONAL SEASON PARTNERS

OTHER PARTNERS

OFFICIAL PARTNERS

PATRON

INSTRUMENT PARTNER

Major Partner

Government Supporters

Major Supporters

Leader Sponsor Violist Sponsors

National Season 2019 creative – Photography by Jacqui Way. Design & art direction by Cul-de-sac Creative. Printed by Print Solutions SA.

Adelaide Flower Sponsor

MRS JOAN LYONS &MRS DIDY McLAURIN

MARIA MYERS AC

ALLAN J MYERS AC & MARIA J MYERS AC

NICHOLAS CALLINAN AO& LIBBY CALLINAN

THE UNIVERSITY OF ADELAIDE

PHILIPBAcON

Sydney Accommodation Sponsor

Canberra Accommodation Sponsor

National Wine Sponsor

Queensland Co-presenting Partner

New South Wales & Victoria Tour Partner

Board Nicholas Callinan AO (Chair) Bruce Cooper (Deputy Chair) Alexandra Burt John Evans Janet Hayes Marisa Mandile Paul Murnane Susan Renouf Jeanette Sandford-Morgan OAM Suzanne Stark Angelina Zucco (Chief Executive)

Artistic Directors Dale Barltrop – Artistic Director | Violin 1 Sharon Grigoryan – Artistic Director | Cello Francesca Hiew – Artistic Director | Violin 2 Stephen King – Artistic Director | Viola

Management

Angelina Zucco – Chief Executive

Sophie Emery – Operations Manager

Samuel Jozeps – Marketing & Communications Manager

Helen Kearney – CRM & Marketing Administrator

Leigh Milne – Accounts

Michelle Richards – Development Manager

Quartet–in–Residence The University of Adelaide SA 5005 Australia

T 1800 040 444 (Freecall) F +61 8 8313 4389 E asq@asq.com.au W asq.com.au

AustralianStringQuartet @ASQuartet @australianstringquartet

Australian String Quartet

MOORE BEETHOVEN BRAHMS TOUR TWO 21 MAY – 11 JUNE

asq.com.au