NATIONAL TOUR PARTNER TOUR NATIONAL S p. 16 ’ Schubert’s Nightingale he finds meaning in mortalityin meaning finds he through British poet George Szirtes traces how With Tognetti Richard Schubert’s Quintet and the poetry of John Keats, artists who both died tragically young. QUINTET SCHUBERT

2021 SCHUBERT'S QUINTET Tickets from $49* GOVERNMENT PARTNERS GOVERNMENT 19 – 30 JUNE 2021 , SYDNEY, TOUR PARTNER TOUR REVELRY BAROQUE and visceral music of Barbara visceraland of music Strozzi, Francesca and more. In collaboration with Belvoir St Belvoir Theatre. with In more. collaboration and Caccini, Heinrich Biber, Giuseppe Tartini, CPE Bach Tartini, Giuseppe Caccini, Heinrich Biber, A musical romp through Europe featuring the vibrant vibrant the featuring Europe through A musical romp *Prices vary according to venue, concert and reserve. Booking fees apply. fees Booking concert and reserve. to venue, according *Prices vary aco.com.au 1 Inside you’ll find features and interviews that shine a spotlight on our players and the music you are about to hear. Enjoy the read.

INSIDE: BACH AND Welcome Program in Short Musicians on Stage

From the ACO’s Managing Your five-minute read Players on stage for THE BEYOND Director Richard Evans before lights down this performance p.2 p.8 p.12 An evocative and impassioned concert film pitching Bach’s timeless search for redemption alongside compositions by Richard Tognetti, including a special performance of Bach’s The Musical Offering, featuring flautist .

SEVEN-DAY ACCESS $35* ACO STUDIOCASTS SUBSCRIPTION $229* Schubert’s Nightingale Vale Tonia Shand am Acknowledgments

George Szirtes traces how A trailblazer for women in the The ACO thank our he finds meaning in mortality Australian public service generous supporters through Schubert’s Quintet and p.42 p.34 STREAMING NOW the poetry of John Keats ACOSTUDIOCASTS.COM p.16

*Transaction fee of $7.50 applies. Photo: Stephen Ward. Valve. image: Timo-Veikko Cover

PRINTED BY: PLAYBILL PTY LTD LIVE CONCERT SEASON 2021 2 3

WELCOME News

Welcome to Schubert’s Quintet.

We are absolutely delighted to return to national touring for this concert JUNE series, and warmly welcome our Melbourne and audiences back to the concert hall for the first time in over a year. River 29 JUL–10 AUG Newcastle, Sydney, , In this concert series, the ACO ensemble led by Richard Tognetti taps ACO BNP Paribas Melbourne, Canberra into the grandeur and intimacy of Schubert and Beethoven. Our program Pathway Scholarship Working again with the creative includes two monumental gems of the chamber repertoire: Schubert’s LEARNING & ENGAGEMENT team behind our record-breaking beloved String Quintet in C major – a magnificent feast of joy and ACO is proud to introduce the production, Mountain, this musical and cinematic journey melody – and Beethoven’s grand String Quintet in C minor. inaugural ACO BNP Paribas Pathways Scholarship for 2021. Tchaikovsky’s Serenade sees Richard Tognetti performing and directing the Orchestra This annual scholarship provides 7 JULY (PREMIERE) We hope you enjoy these two works performed together as our ensemble takes an accessible pathway that through a sweeping musical Then available on demand. score of his own compositions you on a soulful journey through sadness, fear, contemplation and joy. empowers select, school-aged string musicians to reach their full This magical film celebrates alongside Bach, Vivaldi, Ravel, potential through the provision who write music from Jonny Greenwood, and a new Later this year you can also experience the beauty of this concert series from of financial assistance, specialist the heart. Featuring Tchaikovsky’s collaboration with William Barton. another perspective through our new digital concert film series, ACO StudioCasts. string training, mentorship and beloved Serenade for Strings and From director Jennifer Peedom, other support. 2021 recipients George Walker’s Lyric for Strings, the film tells an extraordinary will be announced soon, so to this is music that gives something tale of nature and humans as Last month on StudioCasts we premiered Bach and the Beyond, featuring a guest find out more head to: truly special back to the world. partners and adversaries. appearance by our great friend and even greater flautist, Emmanuel Pahud. I hope you aco.com.au join us on our new and exciting digital concert film journey. I can personally vouch for JULY AUGUST their filmic quality and an arresting direction unlike any other as we move into a new Coming up era of home concert experiences – you can find them atacostudiocasts.com.au. MAY I thank Johnson Winter & Slattery, our National Tour Partner, for bringing these concerts to platforms in NSW, the ACT and Victoria. Johnson Winter & Slattery share the ACO’s passion for bringing people together through music and we are grateful for their longstanding and ongoing support. Baroque Revelry Music for Healing After this concert series, we’re excited to take our Sydney and Melbourne 19–30 JUNE 26 AUG – 8 SEP audiences on a sordid musical romp through Europe with Baroque Melbourne, Sydney , Sydney, Newcastle, Melbourne, , Revelry. I look forward to seeing you in the concert hall and hope you Richard Tognetti directs an ACO StudioCast: This concert film is a meditation are enjoying our exciting digital season, ACO StudioCasts. orchestra of ACO soloists in a Love & Transfiguration on wellbeing, exploring the depth multi-sensory journey through the 19 MAY (PREMIERE) of human experience through vibrant world of the Baroque. The Pēteris Vasks’ Vox amoris and Then available on demand. madness of Geminiani’s La follia examining emotions and the This heart-lifting cinematic concert meets eccentric works by CPE fragility of mental health. The film takes you on a journey toward Bach and Biber, alongside music program also includes music by the light, with the Orchestra by trailblazers Barbara Strozzi Grandage, Albéniz and Pink Floyd. performing exquisitely beautiful and Francesca Caccini, and of works by Schoenberg and Bach course Tartini’s famous Devil’s Richard Evans alongside a special performance of Trill. Baroque Revelry closes our Managing Director Pēteris Vasks’ Vox amoris, written inaugural ACO StudioCasts season for Richard Tognetti in 2009. premiering on 1 December. Join the conversation #ACO21

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 5 PROGRAM

Richard Tognetti Helena Rathbone Violin Stefanie Farrands Viola Elizabeth Woolnough Viola Timo-Veikko Valve Cello Melissa Barnard Cello

BEETHOVEN String Quintet in C minor, Op.104 30 I. Allegro con brio II. Andante cantabile con Variazioni III. Menuetto: Quasi Allegro IV. Finale: Prestissimo

INTERVAL 20

STAND SCHUBERT String Quintet in C major, D.956 54 I. Allegro ma non troppo II. Adagio WITH US III. Scherzo: Presto IV. Allegretto Last year your donations helped us survive.

Thank you.

Please help us continue to make the music you love by making a tax- deductible donation.

The concert will last approximately one hour and 45 minutes, including a 20-minute interval. Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

ACO concerts are regularly broadcast on ABC Classic. Schubert’s Quintet will be recorded at Melbourne Recital Centre on aco.com.au/donate 17 May and broadcast on ABC Classic on 30 May at 1pm.

LIVE CONCERT SEASON 2021 7 NATIONAL TOUR PARTNER WELCOME

Over the last year we have endured more change and uncertainty than anyone ever expected. While we have been comparatively lucky in , we have all shared a need to hear stories of hope and inspiration; providing moments of Performance at the calm and quiet reflection. highest level is critical We are all here today because the ACO has inspired us for in business and the decades. Through the lockdowns of 2020, the ACO performers continued to give us these precious moments; not in concert concert hall. halls, but online – sharing their music, their talent and a glimpse into their homes. We are dedicated Now that we are fortunate to be back together and enjoying supporters of both. live music, Johnson Winter & Slattery is pleased to be partnering with the ACO to present Schubert’s Quintet. A story www.jws.com.au not only of hope and inspiration, but also of resilience and reaching long-desired goals. Chamber ensembles interact with an intimacy and teamwork that is not always so obvious with larger orchestras. Bringing together the right team to achieve excellence and a seamless performance is something we also pride ourselves on in delivering high quality legal advice. We are delighted to be the National Tour Partner for Schubert’s Quintet. As with every ACO performance, we look forward to an extraordinary experience from which we will, no doubt, come away feeling inspired and full of hope.

NATIONAL TOUR PARTNER

Jeremy Davis Managing Partner Elect Photo © Julian Kingman Johnson Winter & Slattery

LIVE CONCERT SEASON 2021 9 8

Ludwig van Beethoven (1770 –1827)

String Quintet in C minor, Op.104 arranged by the from the Piano Trio in C minor, Op.1, No.3

In 1817, Beethoven was shown an of his very popular Piano Trio in C minor, Op.1, No.3 of 1795 by a certain “Herr Kaufmann”. To say Beethoven was unimpressed is an understatement, and Beethoven, believing he could do better, proceeded to create his own PROGRAM string quintet arrangement of the work. Beethoven’s expert treatment of the trio is thoroughly idiomatic, with his original pianistic passages recast IN SHORT throughout as rich string textures. The audacious spirit of the original trio is only amplified by the larger ensemble. The Your five-minute read first movement abounds with abrupt changes and violent sforzandos, so typical of the young Beethoven. Following before lights down. the drama of the first movement is a set of variations on a simple, hymn-like theme. The third movement lies somewhere between a minuet and a scherzo, with the trio featuring a lilting ländler melody in the cello. In the prestissimo finale, Beethoven juxtaposes extremes of violence and lyrical tenderness.

On completing his own arrangement, Beethoven remarked that he had “brought it to the light of day in five real voices, thereby elevating it from abject wretchedness to moderate respectability.” As for Kaufmann’s version, Beethoven sacrificed it to his fireplace “as a solemn burnt offering to the gods of the underworld.”

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 10 11 (1797–1828)

String Quintet in C major, D.956

Schubert, for most of his career, strived to emulate The substantial first movement is spun out of relatively Beethoven’s achievements in genres that Beethoven had simple material – a lyrical theme that develops alongside practically redefined, particularly in his , triplets and pizzicati. The mood is often reminiscent of piano sonatas and symphonies. Only in the final years of opera, and the influence of Rossini (whose music Schubert his short life did Schubert finally live up to the expectations had listened to and admired for years) seems very likely. In he had set for himself, composing such works as the the famous second movement, Schubert creates a feeling “Great” Symphony in C major, the “Death and the Maiden” of suspended time with a simple dotted-rhythm theme in String Quartet, the song cycle Winterreise, and the three the violin, accompanied by a floating accompaniment and last piano sonatas. gentle pizzicati in the other instruments.

The String Quintet in C major, Schubert’s final chamber In the Scherzo that follows, Schubert evokes a stomping work before his death in 1828, is the culmination of these country dance, interrupted by a restrained Trio that can’t efforts – a work that rivals Beethoven’s symphonies and help but return to the boisterousness of the Scherzo. If late quartets for length, thematic and harmonic richness, that wasn’t enough dancing already, Schubert’s Finale is and emotional impact. At the time of its writing, Schubert Above an uninhibited Hungarian dance, drawing his experience had been a pallbearer at Beethoven’s funeral, and it W. A. Rieder: Franz Schubert. of similar finales by Haydn, Mozart and Beethoven. The Oil painting, 1875, has been suggested that Schubert intended to fulfil a after Rieder’s watercolour Gypsy-like opening theme is countered by a graceful commission for a string quintet in C major that Beethoven painting of 1825. second theme that is very Viennese, before racing at never completed before his death. Schubert was also breakneck speed to a frenzied conclusion. acutely aware that his own years were numbered, having contracted syphilis. Schubert’s Quintet is his longest and probably his greatest chamber work. It had a lasting influence on later It’s easy to think of the Quintet as Schubert’s final dying composers, particularly Brahms, who modelled his first statement but, in reality, it was written with no particular attempt at a quintet on Schubert’s. sense of foreboding. Instead, Schubert gives us four movements of his most lyrical, buoyant music, with allusions to opera and dance, and touching on ethereal. To achieve this, Schubert employed two cellos, rather than the usual double violas, and thus the work is sometimes referred to as the “Cello Quintet”. This frees up the higher cello to soar lyrically throughout, and allows the viola, Schubert’s own favourite instrument when performing chamber music, to anchor and colour the whole ensemble.

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 12 13

Richard Tognetti Violin

Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. His Chair is sponsored by Wendy Edwards, Peter & Ruth McMullin, Louise Myer & Martyn Myer Ao, Andrew & Andrea Roberts. Helena Rathbone Principal Violin

Richard Tognetti is Artistic Director Helena plays a 1759 Giovanni MUSICIANS of the Australian Chamber Battista Guadagnini violin kindly on Orchestra and Lead Violin. He loan from the Commonwealth Bank The musicians on stage has established an international Group. Her Chair is sponsored by Margaret Gibbs & Rodney Cameron. for this performance. reputation for his compelling performances and artistic Discover more individualism. Helena started playing the violin Learn more about our musicians, watch Richard began his studies in at the age of five with the us Live in the Studio, go behind-the his home town of Wollongong Suzuki group. She then went on to scenes and listen to playlists at: with , then study at the Royal Conservatory of aco.com.au with Alice Waten at the Sydney Music Junior department with Dona Conservatorium, and at Lee Croft, and subsequently at the Bern Conservatory, where he the Guildhall School of Music and was awarded the Tschumi Prize as Drama with David Takeno. Before the top graduate soloist in 1989. joining the ACO in 1994, she was Principal Second Violin with the Later that year he led several European Community Chamber performances of the Australian Orchestra and played regularly with Chamber Orchestra, and that ensembles such as the Academy November was appointed as of St Martin in the Fields. the Orchestra’s Lead Violin and, subsequently, Artistic Director. In her role as Principal Violin of the ACO, Helena performs regularly with the Orchestra as a soloist and guest leader. In addition, Helena is the Orchestra Representative and Mentor for the ACO Emerging Artist program.

AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI. PHOTO NIC WALKER PHOTOS. BEN SULLIVAN, DANIEL BOUD LIVE CONCERT SEASON 2021 14 15

Stefanie Farrands Timo-Veikko Valve Principal Viola Principal Cello

Stefanie plays a 2016 viola made by Tipi plays a 1616 Brothers Amati cello Ragnar Hayn in Berlin. Her Chair is kindly on loan from the ACO Instrument sponsored by peckvonhartel architects. Fund. His Chair is sponsored by Medici.

Timo or ‘Tipi’ as he’s affectionately Prior to her appointment with the Elizabeth Woolnough Melissa Barnard Viola known, grew up in Helsinki, Cello ACO, Stefanie was Principal Viola surrounded by family who were Elizabeth plays her own 1968 Parisian Melissa plays a cello by Jean-Baptiste with the Tasmanian Symphony “musical, but not musicians”, and Orchestra from 2015. She has viola by Pierre M. Audinot. Her Chair Vuillaume made in 1846. Her Chair is is sponsored by Philip Bacon aM. wanted music lessons to be a part sponsored by Dr & Mrs J Wenderoth. performed extensively throughout of their children’s lives. Tipi was Europe, America, Asia and encouraged to pick up the cello Australia with orchestras including Elizabeth is one of the ACO’s because one of the teachers at the Born in to Australian the Berlin Philharmonic, the newest members, and its local music school, upon seeing parents, Melissa holds degrees Chamber Orchestra of Europe youngest, joining the Orchestra in him as a toddler, declared that he with Distinction from the Sydney and Camerata Salzburg and has 2019. She grew up on the Central “looks like a cellist.” Tipi is still not Conservatorium, The New England performed as Guest Principal Viola Coast and started playing the sure what this actually means. Conservatory in Boston and Mannes with the Strasbourg Philharmonic, viola almost accidentally because College in New York, where she Tipi describes the ACO as his “first Sinfonietta, Australian her music school had too many studied with renowned teachers and and only job to date”. His audition World Orchestra, Melbourne and cellos, and her teacher performers such as Yo-Yo Ma, Ralph for the Orchestra was also his first Symphony Orchestra and Sydney thought her “long arms” would suit Kirshbaum, Colin Carr, Timothy Eddy and only professional audition, Symphony Orchestra. the bigger instrument. and Laurence Lesser. done while he was nearing the Stefanie has won numerous Prior to joining the ACO, she end of his studies at the Edsberg Melissa also studied chamber awards and chamber music was a member of the Melbourne Music Institute in Stockholm. He music with such luminaries as prizes including the Asia Pacific Symphony Orchestra from 2017– has been the Principal Cello of the the Guarneri Quartet, the Juilliard Chamber Music Competition (as 2018, but she prefers playing in ACO for 14 years. Quartet, Louis Krasner, Eugene a member of the Hamer Quartet) the smaller ensemble because Lehner and members of the and has been recipient of the it allows for more spontaneity Beaux Arts Trio. Freedman Classic Fellowship. in performance and means that She grew up in Melbourne every player has to be on their and studied at the Australian game at all times – Elizabeth National Academy of Music thrives on this kind of pressure. before continuing her studies with the renowned violist Tabea Zimmermann at the Hochschule für Musik in Berlin.

AUSTRALIAN CHAMBER ORCHESTRA PHOTOS. BEN SULLIVAN, DANIEL BOUD LIVE CONCERT SEASON 2021 16 17

British poet George Szirtes traces how he finds meaning in mortality through Schubert’s Quintet in C major and the poetry of John Keats, both works by artists who died tragically young.

Image ‘Ode to a Nightingale’ from a collection of poems by John Keats.

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 18 19

Schubert’s Nightingale It is Schubert night in the universe which squats right down to listen “My immediate answer would lie in the its ear pressed against 2nd movement, the Adagio, which took the window. It thinks it might have to break the glass my breath away the first time I heard it.” to possess the sound. And the glass gives a little but it will not break. Music does not break.

I was recently asked to choose six or seven mainly classical The parallel between Schubert and Keats has often been pieces of music for an interview program on radio. Any restricted discussed. Keats’s Ode to a Nightingale offers a particular choice is hard and my first instinct, like most people’s I imagine, experience of rapture in the company of words that lend it was to make a preliminary list. Franz Schubert’s String Quintet some context, words such as: darkling, love, ease, soft, quiet, in C major was at the heart of it. But when I sent the list to the rich then cease, as here: producer she asked me – if I could bear it – to leave it out, Darkling I listen; and, for many a time because too many other people had chosen it in the past. I have been half in love with easeful Death, I wasn’t altogether surprised and had secretly prepared an Call’d him soft names in many a mused rhyme, alternative. But why, I wondered. The classical repertoire is vast To take into the air my quiet breath; and various and even if you chose only chamber music – and I Now more than ever seems it rich to die, generally would choose chamber music – there is no shortage To cease upon the midnight with no pain of great works. So I put that question to myself. I have been half in love with easeful Death, says Keats. Now Why would I choose it? more than ever seems it rich to die. Rapture in Keats is rich My immediate answer would lie in the 2nd movement, the Adagio, and voluptuous, almost joyful. It is mortality having the time of which took my breath away the first time I heard it. When it is its life. Is that morbid? To put death before pleasure does seem excerpted, inevitably people play the beginning of the Adagio. a deliberate romantic gesture. Thou wast not born for death, immortal bird, cries Keats. That’s not true. The nightingale was I think of the Adagio, perhaps a little morbidly, as the antechamber born for death, and so was Keats. of death. It’s a preparation for and apprehension of death, the point at which the heart begins to move more slowly, perhaps just Keats died at the age of 25 in 1821, Franz Schubert at the age a micro-beat more slowly than the universe itself while – and of 31 in 1828. Though both died of diseases of one sort or this is vitally important – remaining fully absorbed in the sheer another – tuberculosis in Keats’s case, typhoid or syphilis in splendour, sinuousness and rapture of life at its most energetic. Schubert’s – and their deaths are early enough to be described as tragic. That’s a crude answer. I tend to be suspicious of abstractions and I see I have listed at least three. “Rapture” is a rather Cordelia’s death is tragic: Lear’s is not. Tragedy is interruption antiquated word we rarely use for fear of being accused of given meaning. Schubert died two months after he finished the grand romantic gestures or hyperbole. Rapture appears to us composition. He was interrupted. Keats was interrupted. Tragedy now between the faintest of inverted commas: we imagine the is a literary form that renders meaning to fatal interruptions. gesture in the air. Rapture is elsewhere. So is music.

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 20 21

“A poignant melody was rising high We too know that our lives are finite and that all we do is above it, and there was an agitation conducted in that awareness. We are aware that we are under threat and make the best of life while we can, because who in the middle range, just under the knows when life will be taken from us, or when it might take those we most treasure. melody, that was disturbing” I write this at a time of pandemic when Britain has lost well over 100,000 people. We have spent most of the last year within the confines of our rooms. So does chamber music. The term “chamber music” implies a room, a strictly limited room, with a The Adagio is not the whole Quintet, it is just a phase of it. The limited number of, mainly, string instruments. First Movement is labelled as Allegretto ma non troppo – fast but not too fast – but it actually starts with a single quiet note that String instruments work through tension and vibration. In says, “Hush” as it establishes itself. Having done so, it immediately confirmation of that tension, the performers form an almost swells in volume before returning to pianissimo and holds it closed circle, facing each other around the focal point of the there, swelling and subsiding again before, slowly and tentatively, music. The music too proceeds inward. It will not open on rolling preparing itself for the storm about to develop. landscapes or great plains. It draws the world in and dives into them at tension. High and low are the polarities between which we are to move, the bass notes sounding the necessary depths through the quintet’s Chamber music’s limitation is also its strength: it offers us a two cellos while the violins dance and fret at the top. The unusual force field, an inner space we may inhabit in ourselves. Keats’s doubling up of cellos emphasises the need for extra power. nightingale inhabits the same tension. As Gerard Manley Hopkins’s cliffs of fall point to a resonant depth. Hopkins puts it: Soon we are in a world of rapid change, of nervous ecstasy and O the mind, mind has mountains; cliffs of fall foreboding, constantly carried forward, tune by tune. From the Frightful, sheer, no-man-fathomed. Hold them cheap first few bars we learn that the musical terrain we are about to May who ne’er hung there cross is unlikely to be stable or composed of long stretches of We hang in music’s force field, in that inner, often uninterrupted calm. But even while it remains susceptible to surges precipitous, space. of weather and fortune, it’s steadied by the harmony that binds the changes together and prevents the moods from disintegrating into a succession of crises. Wonderfully seductive melodies continue to rise, even as the pizzicato pulse continues with echoes higher up the register. Those melodies will not desert us. “It will not open on rolling landscapes or great plains. It draws the world The first time I really heard the quintet was at home while listening to the radio. I had not set out to listen to it. I turned it on when in and dives into them at tension.” the performance had already started. The bass pizzicato of the First Movement was already conjuring a beating heart. A poignant melody was rising high above it, and there was an agitation in the middle range, just under the melody, that was disturbing. The Adagio followed and the antechamber opened. I hadn’t experienced anything like it in music.

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 22 23

It wasn’t that I had not grown up with music. Classical music was part of the wallpaper at home in our Central European refugee house, but I hadn’t paid it much attention. My mind then was a crude version of what it is now, a kind of drunken butterfly no sooner alighting somewhere than taking off again. I had no long-term concentration. I had, I think, the gift of a kind of flight instead, but it wasn’t a flight that was going to be of any use. It was only when I began writing poems, at the age of 17, that I learned the intense, short-term, concentration that tends to characterise poets. It was about then I started to become an adult. Poetry was a part of that process. As a child and adolescent, there was nothing I could really land on. Everything workshop floor of a shoe factory. His deportation to Auschwitz was a haze. Now there was something. Above George Szirtes and interrupted him for ever. His wife, my grandmother, helped by Through much of my schooling in London I was labouring through his family in England taking in sewing. My mother’s family were lower middle-class grades on the piano while my younger brother, Andrew, was with their first car. Transylvanian Hungarians who were murdered in the war along already far ahead of me on the violin. He had a proper gift. Music with my mother’s brother, both children too young to have had was going to be his professional life ever since he was offered a a chance of third-tier education. Tragedy ran in the family. future place at the Liszt Academy in Hungary at the tender age of Neither my father nor mother played a musical instrument, but two. Music was in his nervous system. It was his body. It was also they did build a small record library that they rarely had time to my parents’ hope for him. For me it was wallpaper. listen to. They loved Beethoven’s symphonies and overtures for But what was it to my parents? We arrived in England after their energy and defiance and Tchaikovsky’s ballet music for the failed Hungarian Uprising in 1956 without money or the sheer gorgeousness of his tunes. Chamber music tended to possessions, knowing no one except the refugees we had lie beyond their taste. They joined a record club that sent them, met en route. The change, while of long term significance for among other things, a two-box set of Beethoven’s Quartets, us as children, must have been much harder for my parents, but I don’t remember them ever playing it. They loved powerful survivors of labour camps, concentration camps, as well as and sweet emotions, rapture and pathos, and they liked them war and its aftermath in dictator-led Stalinist Hungary. Neither bold. War and suffering might have given them a thirst for such of them had received a full education, though both had things. They liked gypsy violins, popular operatic arias, operetta aspirations to a decent social and cultural life. My father’s father and songs of the Hungarian cabaret. Chamber music, with its wrote unpublished and unread plays while labouring on the closely woven intimacy and what they might have perceived as cerebral intensity, belonged to other people, of another class. My father did possess a mouth-organ, as did my brother and I. We would take them on picnics, settle down on a piece of “My mind then was a crude version grass and play together. He had played his at the International Scout Jamboree in Hungary before the war and later at the of what it is now, a kind of drunken labour camps in which he served in Russia and the Ukraine. His butterfly no sooner alighting repertoire included “My bonnie lies over the ocean” “It’s a long way to Tipperary”, tunes from rhapsodies, operas and popular somewhere than taking off again.” songs. The last time I heard him play was round the campfire at a reunion of surviving Hungarian scouts when he was in his nineties and so was everyone else.

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 Schubert at the Piano by Gustav Klimt 1899 26 27

“Purity tends to be unforgiving. Isn’t Schubert himself a lyrically susceptible young man? And wasn’t I much the same? Did that make me more self-regarding Too much purity claims too and self-pitying than anyone else? Wasn’t that condition simply a token of the inner world where art happened? And isn’t that much soul on the one hand inner world shared as we, as an audience, share Schubert’s? Everyone has to be somewhere, as Milligan’s soldier remarked, and too much self-pity and but somewhere, like anywhere, is provisional. One of the self-regard on the other.” wonderful things about Schubert is that, much as he clearly loves his musical location – hence the Nazi love of him – he is continually aware of its provisionality. It is the provisionality that prevents him sliding into saccharine sweetness, a sweetness that is, after all, simply another name for sentimentality and cliché. In an old Spike Milligan anecdote, the sergeant major asks a The truth of Schubert’s great C Major Quintet is that it constantly private: What are you doing here, you horrible little man? To acknowledges its provisionality through disruption. Disruption which the private replies, Everyone’s got to be somewhere. is the truth of any proper work of art but, in Schubert, the During the UK Brexit campaign, the then Prime Minister, Theresa stakes are so much higher: the sweet is sweeter, the mood May, argued that anyone who claimed to be a citizen of the keener and more dramatic, the range of the imagination wider world was, in effect, a citizen of nowhere. It was an effective and more complex, the exploration deeper, and the control of sleight-of-hand equating world with nowhere. It appealed to rapidly developing and constantly contrasting emotions more people’s sense of continuity. Continuity was rooted in place, in miraculous. The miracle is that while we ourselves are aware substantial depth of soil. Somewhere people were people of of Schubert’s powerful and, at bottom, troubling feelings, we deep soil and had substance and obligations, whereas nowhere never feel we are intruding on a purely private experience. We people lacked both substance and obligation. The former were never feel obliged to pathologise the music. We are never at to be trusted more than the latter. The latter, the distinction the bedside. We are somewhere and nowhere, both inside the implied, were unstable, fleeting, untrustworthy and potentially music and a million miles from it, moving on our personal orbits treacherous. This distinction was familiar to refugee migrants. with all the distractions of the world to accompany us. The soil of somewhere was undeniably shallower for us. Being somewhere is, after all, a set of associations: symbols, images and practices involving history and memory as received. I, as a nowhere person, was as susceptible to such associations as the somewheres, only in reverse. I associated Schubert’s Winterreise and Die schöne Müllerin not with the notion of heimat, or belonging, but with the image of cultured Nazis “The truth of Schubert’s great C drooling over the music’s purity, or with an image of lyrically susceptible young men surrendering themselves to their souls. major Quintet is that it constantly Purity tends to be unforgiving. Too much purity claims too much acknowledges its provisionality soul on the one hand and too much self-pity and self-regard on the other. Even now, I find it difficult to rid myself completely through disruption.” of some wariness of either. But I can ignore them by telling myself that both the cultured Nazi and the self-dramatising, self- absorbed young man are received images. The music, in itself, is elsewhere, on its own terrain.

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 28 29

“It is a defiant dance with a That is a description: but what do descriptions achieve? Mine is just a sketch, a crude attempt to keep track, to follow the determined thrust. We are going to process through to the end and to seek in it something that might add up to meaning. But it’s only a meaning of sorts go on. We are not to be stopped. because music, like poetry, like any art, is not for paraphrasing and defining. The old fashioned pedantic school-teacher’s We will dance our way through.” question regarding what the poet meant by this or that line can’t be answered in any useful way because any answer is a reduction, and a sum of reductions is not a poem. Meaning is a sum of possibilities, but each time we do the sum it works out differently, because we never know all the terms. That Art is neither control nor disruption: it is the necessary doesn’t make the uncomprehending student dimmer than the tension between the two. The melodic sweep of the quintet poet, because the poet doesn’t know either, nor can he or is continually reaching beyond itself, striking at us at various she know, because meaning is that which is being explored. It points while reassuring us that something sacred – a kind of flows between the fingers: it has sensible but fluid qualities that central fire – remains in place. Individual instruments combine continue to be fluid. to establish a common harmonic landscape through which they Meaning is like music. It inhabits you as a poem might. How lead us, without once moving from the tight room that is our does it do that in this case? With Keats I can talk about death, mutual chamber. since Keats keeps referring to it; but how does Schubert “refer”? The third movement brings us the joyful declarations of the How does the music – this music – come to enter me? Through Scherzo. After that comes the inevitable descent in the Trio with the ears in the first place, you dolt, cries the inner schoolmaster. its new Andante which offers a correction, a coming down to But where does it go from there? How does it spread? Perhaps earth with the awareness of a sadder reality, before returning to a neuroscientist can offer an answer to that question. But there a now partly sobered up Scherzo (how could it not be sobered are ever more questions: such as, where has it been, and where up after that Andante?) is it now? More importantly, how does it manage to leave me both resolved yet entirely unresolved, and why is that in itself a Where are we being taken? The last movement starts jauntily kind of resolution? Frankly, I don’t know. enough with a dance. The dancing persists in the violins, though solemnity keeps re-emerging only for the jauntiness to reassert Fled is that music – do I wake or sleep? asks Keats. itself with greater force. It is a defiant dance with a determined And I am exhausted and alive. thrust. We are going to go on. We are not to be stopped. We will dance our way through. But the defiance is essentially gestural, George Szirtes right up to the triple forte at the end. The all-but-penultimate chord has a razor edge before it drops at the very end to the major. “Meaning is a sum of possibilities, but each time we do the sum it works out differently, because we never know all the terms.”

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 30 31 THE ACO

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

– The Australian

The Australian Chamber Orchestra lives and breathes music, making waves around the world for its explosive performances and brave interpretations. Steeped in history but always looking to the future, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations. Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts each year. Whether performing in Manhattan, New York, or Wollongong, NSW, the ACO is unwavering in its commitment to creating transformative musical experiences. The Orchestra regularly collaborates with artists and musicians who share its ideology, from instrumentalists, to vocalists, to cabaret performers, to visual artists and film makers. In addition to its national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Recent releases include Water | Night Music, the first Australian-produced classical vinyl for two decades, Brahms Symphonies 3 & 4, and the soundtrack to the acclaimed cinematic collaboration, Mountain. In 2020 the ACO launched their inaugural digital subscription ‘ACO StudioCasts’ – a year-long season of cinematic and immersive concert films. aco.com.au

AUSTRALIAN CHAMBER ORCHESTRA PHOTO. LUKAS BECK LIVE CONCERT SEASON 2021 33 BEHIND THE SCENES

Board Finance Australian Chamber Orchestra

Guido Belgiorno-Nettis am Fiona McLeod ABN 45 001 335 182 Chairman Chief Financial Officer Australian Chamber Orchestra Liz Lewin Bonnie Ikeda Pty Ltd is a not-for-profit company Deputy Finance Manager registered in NSW. Bill Best Yeehwan Yeoh In Person Opera Quays, 2 East Circular Quay, Judy Crawford Investor Relations Manager BUILD Sydney NSW 2000 Erin Flaherty Via Margarita Bangoy John Kench Financial Accountant By Mail PO Box R21, Royal Exchange Anthony Lee NSW 1225 Australia Martyn Myer ao Market Development Telephone Heather Ridout ao Antonia Farrugia Peter Shorthouse (02) 8274 3800 YOUR Director of Market Development Box Office 1800 444 444 Julie Steiner aM Claire Joachim Email John Taberner Digital Marketing Manager Simon Yeo [email protected] Luke Woods Web Marketing Manager Artistic Director aco.com.au Lisa Carrington 2021 Richard Tognetti ao Senior Graphic Designer Ondine Purinton-Miller Administrative Staff Content Producer Executive Office Alec McLeod Richard Evans Box Office Manager Managing Director Stella Hannock Alexandra Cameron-Fraser Ticketing Sales Representative SEASON. Chief Operating Officer Toby Chadd Philanthropy & Partnerships Join us for a radiant season of live Director of Artistic Planning Jill Colvin Zac Chodos music and save with a flexi-subscription Director, Philanthropy & Partnerships Executive Assistant Lillian Armitage of three or more concerts. Claire Diment Capital Campaign & Bequests Manager Human Resources Manager Tom Tansey Artistic Operations Manager, Philanthropy & Partnerships Luke Shaw Katie Henebery Director of Artistic Operations Manager, Philanthropy & Partnerships Jessica Lightfoot Julia Donnelly Tour Manager Philanthropy & Database Administrator Tom Farmer Persephone Hitzke-Dean Production Manager Events Coordinator Bernard Rofe Malcolm Moir Artistic Administration Manager Commercial Partnerships Consultant Robin Hall Archival Administrator

Learning & Engagement Casey Green Talent Development Program Manager Meg Collis Learning & Engagement Coordinator Tara Smith Three-concert packs start from $147* Strategic Advisor & Creative Producer ACO.COM.AU/2021 GOVERNMENT PARTNERS *Flexi-subscription rate based off D Reserve Adult Flexi Subscription.

LIVE CONCERT SEASON 2021 34 35 ACKNOWLEDGEMENTS ESTATE GIFTS Judith Crompton River Producers’ Syndicate The ACO thanks the following people The late Charles Ross Adamson Chief Executive Officer – Asia Pacific The late Kerstin Lillemor Anderson Cover-More Group Major Producers for supporting the Orchestra. The late Mrs Sibilla Baer Karine Delvallée Warwick & Ann Johnson The late Prof Janet Carr Chief Executive Officer Producers The late Margaret Anne Brien Australia & New Zealand Joanna Baevski The late Mrs Moya Crane BNP Paribas David & Sandy Libling The late Gaynor Dean Doug Elix ao & Robin Elix Martyn Myer AO & Louise Myer The late Colin Enderby Daniel & Helen Gauchat Rob & Nancy Pallin The late Neil Patrick Gillies Peter & Victoria Shorthouse The late Lachie Hill Leslie & Ginny Green Peter Yates AM & Susan Yates The late John Nigel Holman John Grill ao & Rosie Williams The late Dr S W Jeffrey am Janet Holmes à Court ac ACO Medici Program Viola ACO Bequest Patrons The late Pauline Marie Johnston ACO Next The late Mr Geoff Lee am oam Simon & Katrina Holmes à Court Elizabeth Woolnough This philanthropic program for We would like to thank the following The late Shirley Miller Philip Bacon am Andrew Low young supporters engages with MEDICI PATRON people who have remembered the The late Julie Moses David Mathlin Australia’s next generation of great The late Amina Belgiorno-Nettis Orchestra in their wills. Please consider The late Geraldine Nicoll Cello musicians while offering unique supporting the future of the ACO by The late Eva Nissen Julianne Maxwell Melissa Barnard musical and networking experiences. PRINCIPAL CHAIRS leaving a gift. For more information about The late Josephine Paech Michael Maxwell Dr & Mrs J Wenderoth For more information please call leaving a gift in your will, or to join our The late Richard Ponder Richard Tognetti ao Sam Meers ao Katie Henebery, Philanthropy Julian Thompson Continuo Circle by notifying the ACO The late Elizabeth Pamela Roberts Artistic Director & Lead Violin Manager, on (02) 8274 3803. Wendy Edwards The Grist & Stewart Families that you have left a gift, please contact The late Geoffrey Francis Scharer Naomi Milgrom ao Peter & Ruth McMullin Lillian Armitage, Capital Campaign & The late Tonia Shand am Jan Minchin Adrian Barrett Louise Myer & Martyn Myer ao Bequests Manager, on (02) 8274 3827. The late Scott Spencer Director, Tolarno Galleries Jennifer Brittain Andrew & Andrea Roberts The late Ernest Spinner Stephen Byrne Jim & Averill Minto Justine Clarke GUEST CHAIRS CONTINUO CIRCLE The late Genelle Thomson Helena Rathbone Alf Moufarrige ao Sally Crawford Brian Nixon Keith J Baker The late Barbara Wright Principal Violin Chief Executive Officer, Servcorp Este Darin-Cooper & Chris Burgess Principal Timpani Steven Bardy Margaret Gibbs & Rodney Cameron Shevi de Soysa Mr Robert Albert ao & Mrs Libby Albert Greg Bates Martyn Myer ao Satu Vänskä Jenni Deslandes & Hugh Morrow Ruth Bell ACO Special Initiatives Principal Violin Gretel Packer Dr Anita George Dave Beswick David Thomas am The ACO thanks Dame Margaret Robert Peck am & Joelle Goudsmit & Rob Caslick Dr Catherine Brown-Watt psm Scott ac dbe for establishing the Yvonne von Hartel am Ruth Kelly Stefanie Farrands & Mr Derek Watt Dame ac dbe Fund for peckvonhartel architects Evan Lawson Principal Viola Jen Butler International Guests and Composition Royston Lim peckvonhartel architects – Sandra Cassell Andrew Price Dr Nathan Lo Robert Peck am Rowena Danziger am & Managing Partner, NSW Pennie Loane Yvonne von Hartel am Kenneth Coles am EY Chairman’s Council Paddy McCrudden Rachel Peck & Marten Peck Sandra Dent Greg Schneider The Chairman’s Council is a limited Pat Miller Dr William F Downey Executive Director Maxime Bibeau ACO Life Patrons membership association which Bede Moore Peter Evans Quantium Principal Double Bass supports the ACO’s international Lucy Myer & Justin Martin IBM Carol Farlow Darin Cooper Foundation touring program and enjoys private Carol Schwartz am Rob Clark & Daniel Richardson Mr Robert Albert ao & Mrs Libby Albert Suzanne Gleeson events in the company of Richard Xavier Rizos Mr Guido Belgiorno-Nettis am Stan Harvey Tony Shepherd ao Tognetti and the Orchestra. For more Marianna Schneider Mrs Barbara Blackman ao David & Sue Hobbs Peter Shorthouse information please call Tom Tansey, Andrew & Louise Sharpe Mrs Roxane Clayton The late Arthur Hollis & Patricia Hollis Senior Partner CORE CHAIRS Philanthropy and Partnerships Emile & Caroline Sherman Mr David Constable am Penelope Hughes Crestone Wealth Management Manager, on (02) 8274 3828. Nicholas Smith Violin Mr Martin Dickson am & Toni Kilsby & Mark McDonald The Hon. Malcolm Turnbull AC & Tom Smyth Mrs Susie Dickson Mrs Judy Lee Guido Belgiorno-Nettis am Aiko Goto Lucy Turnbull ao Michael Southwell Mrs Alexandra Martin Daniel Lemesle Chairman, ACO Anthony & Sharon Lee Foundation Vanessa Wallace & Alan Liddle Helen Telfer Mrs Faye Parker John Mitchell Brad Banducci & Anna Dudek Sophie Thomas Mark Ingwersen Mr John Taberner & Mr Grant Lang Selwyn M Owen Hiromasa Yamamoto Anonymous (3) Prof Judyth Sachs & Julie Steiner am The late Mr Peter Weiss ao Michael Ryan & Wendy Mead Grant Barling Managing Director & CEO Ilya Isakovich Max & Nizza Siano General Manager Mitsubishi Australia Ltd Maserati Australia & New Zealand Meg Meldrum Michael Soo Peter Yates am Cheri Stevenson Marc Besen ac & Eva Besen ao Deputy Chairman Liisa Pallandi Jeanne-Claude Strong Myer Family Investments Ltd & The Melbourne Medical Syndicate Craig & Nerida Caesar Leslie C Thiess Director AIA Ltd Michael & Helen Carapiet Maja Savnik Dr Lesley Treleaven Peter Young am & Susan Young Alenka Tindale Ngaire Turner Michel-Henri Carriol am & Julie Carriol oam Ike See G C & R Weir Michael Chaney ao Ian Lansdown & Tricia Bell Margaret & Ron Wright Chairman, Wesfarmers Peter Yates am Ripieno chair Hartley & Sharon Cook Mark Young Terry Campbell ao & Christine Campbell Anonymous (35) Mark Coppleson Judy Crawford

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 37 CRICOS: 00116K CRICOS: National Patrons’ Program Michelle Belgiorno-Nettis Doug Hooley Rod Cameron & Margaret Gibbs Ian Kavanagh & Clive Magowan Thank you to all the generous donors Richard Cobden SC The Key Foundation who contribute to our Learning & Michael & Barbara Coombes Airdrie Lloyd Engagement, Excellence, Instruments, Mark Coppleson The Alexandra & Lloyd Martin International and Regional Touring Glenn & Caroline Crane Family Foundation and Commissioning programs. JoAnna Fisher & Geoff Weir Prof. Duncan Maskell We are extremely grateful for the Dr Ian Frazer ac & Dr Sarah Maskell support we receive to maintain & Mrs Caroline Frazer Robin McGuinness these annual programs. Liz Harbison Jessica Miller Anthony & Conny Harris The Myer Family Foundation To discuss making a donation to GB & MK Ilett Jennie & Ivor Orchard the ACO, or if you would like to I Kallinikos In memory of Stephanie Quinlan direct your support in other ways, Miss Nancy Kimpton Bruce & Joy Reid Trust please contact Jill Colvin, Director of Wayne Kratzmann John Rickard Philanthropy, on (02) 8274 3835. Kerry Landman Greg Shalit & Miriam Faine Anthony & Sharon Lee Foundation Vivienne Sharp Program names as at 1 April 2021 Lorraine Logan John C Sheahan Janet Matton am & Robin Rowe Petrina Slaytor PATRONS Sandra Plowman Brian & Chre Smith Mark Besen ac & Eva Besen ao Peter Root & Hazel Schollar Jeanne-Claude Strong Janet Holmes à Court ac Susan & Garry Rothwell Dr Charles Su & Dr Emily Lo Anthony & Suzanne Maple-Brown Margie Seale & David Hardy Wheen Family Foundation Edwina & Paul Skamvougeras Simon & Amanda Whiston J Skinner Rosemary White $50,000+ Anthony Strachan Rob & Jane Woods Andrew & Jane Clifford Turnbull Foundation Carla Zampatti ac THE In memory of Wilma Collie Allan Vidor am Anonymous (6) The late Barbara Robinson in memory Shemara Wikramanayake of Gerald Robinson & Ed Gilmartin $2,500–$4,999 E Xipell Libby & Nick Wright Annette Adair Anonymous Anonymous (3) Peter & Cathy Aird BRAVERY Marshall & Michelle Baillieu $5,000–$9,999 Doug & Alison Battersby $20,000–$49,999 Jennifer Aaron Robin Beech Australian Communities Foundation – Steve & Sophie Allen The Beeren Foundation Ballandry (Peter Griffin Family Fund) Warwick Anderson Fiona Beevor TO BE Rosemary Block Lyn Baker & John Bevan Brian Bothwell Stephen & Jenny Charles Brad Banducci & Anna Dudek Vicki Brooke Judy Crawford Berg Family Foundation Beverley & John Burke The Charles & Cornelia Bill & Marissa Best Gerard Byrne & Donna O’Sullivan Goode Foundation Drew & Alison Bradford Alex & Elizabeth Chernov YOU Helen Breekveldt Angela & John Compton Rowena Danziger am & Ken Coles am Chris & Tony Froggatt Neil & Jane Burley Leith & Darrel Conybeare Leslie & Ginny Green Caroline & Robert Clemente Laurie Cox ao & Julie Ann Cox am Professor Doug Jones ao & Andrew Clouston Ann Crook We teach students to Professor Janet Walker Annie Corlett am & Bruce Corlett am Kathy Deutsch & George Deutsch Oam Phillip & Sairung Jones Carol & Andrew Crawford Anne & Thomas Dowling think, feel and create Liz and Walter Lewin Andrew & Christobel Cuthbertson Jennifer Dowling Patricia Mason & Paul Walker Darin Cooper Foundation Ari & Lisa Droga in a way only they can. Louise & Martyn Myer Foundation Detached Penelope & Susan Field Rosy Seaton & Seumas Dawes Suellen Enestrom Dr Joanna Flynn am Servcorp Paul R Espie ao Anne & Justin Gardener The is the proud Susan Thacore Eureka Benevolent Foundation – Bunny Gardiner-Hill official university partner of the ACO. Lang Walker ao & Sue Walker Belinda Hutchinson am Gilbert George Ian Wilcox & Mary Kostakidis & Roger Massy-Green Kay Giorgetta Peter Yates am & Susan Yates The Finkel Foundation Suzanne Gray Anonymous (2) Erin Flaherty & David Maloney am Warren Green finearts-music.unimelb.edu.au Cass George Paul Greenfield & Kerin Brown Tom & Julie Goudkamp John Griffiths & Beth Jackson $10,000–$19,999 Bridget Grant Pirrie & Peter & Helen Hearl Michael Ahrens Stephen Grant Jennifer Hershon Robert Albert ao & Libby Albert Kathryn Greiner AO Dale & Greg Higham Geoff Alder John Grill AO & Rosie Williams Dr Christopher Holmes Joanna Baevski Annie Hawker Michael Horsburgh am & Fine Arts Walter Barda & Thomas O’Neill Linda Herd Beverley Horsburgh Home of the VCA and Conservatorium and Music Steven Bardy & Andrew Patterson The Herschell Family Carrie Howard Peter & Edwina Holbeach Professor Anne Kelso ao

LIVE CONCERT SEASON 2021 38

Mrs Judy Lee Roxane Clayton Caroline Jones Ashley Lucas Kaye Cleary Gillian Jones Mrs Diana & Dr Peter Southwell-Keely Fred & Angela Chaney Kate McDonald Joan Lyons Dr Peter Clifton Angela Karpin Brendan Sowry Colleen & Michael Chesterman Sue Mcdonald Julia MacGibbon Robert Clifton Kate & Ken Ross Steele am Richard & Elizabeth Chisholm Shirley McEwin Julianne Maxwell Mrs Janet Cooke Bruce & Natalie Kellett The Stirling Family Susan Clements H E McGlashan Kevin & Deidre McCann Colin Cornish Will & Karin Kemp Nigel Stoke Alison Clugston-Cornes Lesley McKay In memory of Helen McFadyen Cowell Family Josephine Key & Ian Breden Caroline Storch Nola Cooke Margaret A McNaughton Marie Morton Gavin Crittenden Lionel & Judy King In memory of Dr Aubrey Sweet Robert Coppola & Michelle Falstein Susan Melick Sarah & Baillieu Myer Julie Crozier In memory of Francis William King Team Schmoopy Esther Cossman Tony & Elizabeth Minchin Nola Nettheim Paul Cummins & Kevin Gummer Jane Kunstler Jane Tham & Philip Maxwell Louise Costanzo Pierette Mizzi Robyn Owens Marie Dalziel Delysia Lawson Rob & Kyrenia Thomas Nicholas Chreed & Christine Moore Catherine Parr & Paul Hattaway In memory of Claire David Professor Gustav Lehrer faa am Sophie Thomas Jessamine Soderstrom Roberta Murphy Erika Pidcock Michael & Wendy Davis & Mrs Nanna Lehrer Mike Thompson Donald Crombie am J Norman Tiffany Rensen Michael Dawe Alison Leslie Christopher & Ann Thorpe John & Patricia Curotta Robin Offler Dr S M Richards am & Joanna De Burgh Diana Lungren Joanne Tompkins & Alan Lawson Lyndall & Terence Dawson Brenda & Masaya Okada Mrs M R Richards Caroline de Costa Carmel Macdonald Anne Tonkin Sandra Dent Mr Selwyn Owen Lesley Rosenberg Dr Michelle Deaker Prof Roy & Dr Kimberley MacLeod Juliet Tootell Kath & Geoff Donohue Ann Packman Fe Ross Martin Dolan Garth Mansfield oam Ngaire Turner Jennifer Douglas Rona Parker Irene Ryan & Dean Letcher qc Jim and Sue Dominguez & Margaret Mansfield oam Karen Venard In Memory of Raymond Dudley Ian Penboss Elfriede Sangkuhl Dr William F Downey Vicky Marquis Denise Wadley Nita Durham Beverley & Ian Pryer Tom Smyth Pamela Duncan Greg & Jan Marsh Robert & Rosemary Walsh Emeritus Professor Anne Edwards Jenny Rankin Maria Sola Emeritus Professor Dexter Dunphy Marshall & Margie John & Susan Wardle Judith Einstein Stuart Read Kim & Keith Spence Adam Elder Jennifer Marshall Garry & Elaine Warne Ann Field Roger & Helen Reddel Christine Thomson Chris & Bob Ernst Massel Australia Joy Wearne Barbara Fisher Joanna Renkin Kay Vernon Julie Ewington Susan Maxwell-Stewart GC & R Weir Janet Fletcher Angela Roberts Yvonne von Hartel am & Robert Peck John Firth J A McKernan Moira Westmore Michael Fogarty Jonathan Rourke Ian Wallace Family Bequest Wendy Fraser Annie McPherson Kathy White David C Franks Mrs J Royle Ralph Ward-Ambler am Helen Garner Phil & Helen Meddings Peter & Judi Wilkins Penny Fraser Pam Russell & Barbara Ward-Ambler M Generowicz P J Miller Liz Williamson & Tony Stirton Helen Frost Jane Schlensky Rebecca Zoppetti Laubi L C Gerrish Felicia Mitchell Richard Williamson Paul Gibson & Gabrielle Curtin Johannes Schönborn Anonymous (8) Donna Gibbs Dr Robert Mitchell Peter Willis sc & Eleneth Woolley Penny Gibson Margaret Seares Camilla Graves Joan Montgomery Sally Willis Don & Mary Glue Tony Seymour Emeritus Professor William Patsy Montgomery Margot Woods Marilyn Gosling David & Daniela Shannon $1,000–$2,499 Nick & Jo Wormald Professor Ian Gough am David Shelmerdine Priscilla Adey & Mrs Ruth Green Helen Moylan Mark & Jackie Worrall & Dr Ruth Gough Margaret Sheridan Dr Judy Alford Jennifer Gross Juliet Munro John Wyndham Louise Gourlay oam Agnes Sinclair Jane Allen Grussgott Trust David Mushin The Yulgibar Foundation Carole A P Grace Eva Somogyi Karen Allen & Dr Rich Allen Brian & Romola Haggerty Andrew Naylor Brian Zulaikha & Janet Laurence Klaudia Greenaway Michael Southwell Rae & David Allen Peter Halas Nevarc Inc Anonymous (59) Dr Eve Gu Cisca Spencer Gillian Appleton Shona Hall Dr G Nelson Victor Guy Cheri Stevenson John Augustus & Kim Ryrie Lesley Harland Neta & Julian Rohan Haslam Dr Douglas Sturkey cvo am Adrienne Basser Paul & Gail Harris James & Suzanne Nuske $500–$999 Lyndsey Hawkins Christopher Sullivan Shona Beatty Yvonne Harvey Annette Olle Beverley Allen Gaye Headlam Susan & Yasuo Takao Ruth Bell Di Haskell & Ken Robinson Geraldine Ormonde Libby Anderson Rose Hiscock & Virginia Lovett Robyn Tamke Philomena Billington Elizabeth Hatton Sue Packer Ben Andrews Gerard Hogan Mary Tapissier Jane Bitcon & Geoff McClellan Michael & Pamela Hely Leslie Parsonage Allyson Anthonisz Mary Hoy TFW See & at the APS Foundation Kingsley Herbert In memory of Robin Pease Elsa Atkin am Sheila Hughes Lee Chartered Accountants Chris Blaxland Dr Penny Herbert in memory Prof David Penington AC Ms Rita Avdiev E & M Hyman Mick Toller Stephen Booth of Dunstan Herbert Helen Perlen Zelinda Bafile Robert & Margaret Jackson Vicki Toovey Youle Bottomley Sue & David Hobbs Renaissance Tours John Baird in memory Camille Jago Tim & Vincey Trahair Simon Bowering John Hoey James Philips & Julie Claridge of Annette McClure Dr Anne James & Dr Cary James Diane Villani Meg Breidahl Louise Holgate Kevin Phillips Qualitrium Pty Ltd Greg & Karen Joffe Janice White Max & Ionie Brennan Vanessa & Christian Holle Mark Powell In memory of Dr Hatto Beck Jacqueline Johnson Peter White Dr Catherine Brown-Watt psm Brian & Gillian Horwood In memory of Roy & Kay Piper Kathrine Becker Peter Jopling am qc Margaret Whitstock & Mr Derek Watt Brian Howe Greeba Pritchard Siobhan Beilin Pamela Jordan Moyna Wilson Elizabeth Brown Merilyn & David Howorth Jennifer Quartermaine Sue Berners-Price Elyse Jory Agnes Wong Sally Bufé Sarah Hue-Williams John & Virginia Richardson Mrs L Bertoldo Hyne Stephen Jovanovich Robynanne Woolf Catherin Bull Penelope Hughes Prof. Graham & Felicity Rigby Anne Bird James Kelly Don & Mary Ann Yeats am Henry & Jenny Burger Professor Emeritus Andrea Hull ao Em Prof A W Roberts am Salvia Black Peter Krinks Anonymous (82) Pat Burke Dr & Mrs Michael Hunter Gerry & Maurice Rousset oam Milly Blakeley Jane Lake Glen & Cathy Butler Stephanie & Mike Hutchinson Larraine Rubinstein Lynne & Max Booth Ian Lawrence L Byleveld Geoff & Denise Illing Trish & Richard Ryan ao K J Boucher Gamila MacRury Pamela Caldwell Duncan Ivison J Sanderson Sue Boyd Margot Matthews Dr Margaret Cameron C Jackson & L Reid Susan Sawyer Denise Braggett Dr Donald & Mrs Jan Maxwell Ray Carless & Jill Keyte Owen James Dr Nora Scheinkestel Alice Bray Kate Mazoudier Michael & Kate Chambers Donald & Sylvia Johnson Robyn Scott Jennifer Brown & Timothy Hart John McCarty Christopher & Rieteke Chenoweth Barry Jones AC Glenice Shephard Christine Burson Jan McDonald Stephen Chivers Bronwen L Jones Ezekiel Solomon am Ian & Brenda Campbell

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 40

ACO Instrument Fund Knights Family ACO Committees Jabula Foundation The Instrument Fund offers investors Mangala SF the opportunity to participate in Media Super THE MELBOURNE COMMITTEE the ownership of a bank of historic Nelson Meers Foundation Martyn Myer ao (Chair) stringed instruments. The Fund’s Daniel & Jackie Phillips Chairman, Cogstate Ltd assets are the 1728/29 Stradivarius Jo Phillips President, The Myer Foundation violin, the 1714 ‘ex Isolde Menges’ Sam Reuben & Lilia Makhlina Peter McMullin (Deputy Chair) Joseph Guarnerius filius Andreæ violin, Ryan Cooper Family Foundation Chairman, McMullin Group the 1616 ‘ex-Fleming’ Brothers Amati John Taberner & Grant Lang David Abela Cello and the 1590 Brothers Amati Dr Lesley Treleaven Managing Director 3 Degrees Marketing Violin. For more information please Carla Zampatti Foundation call Yeehwan Yeoh, Investor Relations Ed Caser Manager on (02) 8274 3878. Rachel Peck ACO Instrument Fund Principal peckvonhartel architects FOUNDING PATRON Directors Clare Quail The late Peter Weiss ao Bill Best – Chair Ken Smith FOUNDING PATRONS Jessica Block CEO & Dean ANZSOG Edward Gilmartin Susan Thacore Visionary $1m+ John Leece am The late Peter Weiss ao Julie Steiner am Peter Yates am Concerto $200,000–$999,999 John Taberner am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd The late Amina Belgiorno-Nettis Naomi Milgrom ao ACO US Directors Octet $100,000–$199,999 John Taberner Patrick Loftus-Hills – Co-Chair Sally Phillips Paridis – Co-Chair Quartet $50,000 – $99,999 Camilla Bates John Leece am & Anne Leece Jessica Block E Xipell Judy Crawford Carolyn Fletcher INVESTORS Camilla Marr Stephen & Sophie Allen David McCann Guido Belgiorno-Nettis am & Steve Paridis Michelle Belgiorno-Nettis John Taberner Bill Best Lucy Turnbull ao Benjamin Brady Alastair Walton Sam Burshtein & Galina Kaseko Sally Collier Michael Cowen & Sharon Nathani Marco D’Orsogna ACO UK Directors Dr William Downey Damian Walsh – Chair Garry & Susan Farrell Professor Edward Byrne ac The late Ian Wallace & Kay Freedman Richard Evans Gammell Family Alison Harbert Adriana & Robert Gardos Rebecca Hossack Edward Gilmartin Sonya Leydecker Lindy & Danny Gorog The Rt Hon. the Baroness Family Foundation Liddell of Coatdyke Tom & Julie Goudkamp John Taberner Laura Hartley & Stuart Moffat Philip Hartog Peter & Helen Hearl Angus & Sarah James Paul & Felicity Jensen Jos Luck Gabrielle Kennard

AUSTRALIAN CHAMBER ORCHESTRA 42 43

Tonia Shand was an politicians at the highest levels to effect change, Tonia extraordinary woman. went on to achieve a rewarding career as a diplomat with a number of postings in Asia including as the first female High She has given the ACO Commissioner to Sri Lanka (1988-1991) which she considered an extraordinary gift. the high point of her career. Tonia earned herself a place in the history of women’s advancement in the Department, a place which was recognised in March this year with the awarding of the inaugural annual Tonia Shand am Memorial 1938–2020 VALE Award in her honour for substantial contributions towards women’s empowerment and gender diversity within DFAT.

TONIA SHAND am A supporter of the arts generally, Tonia particularly loved Late last year, we learned of an unexpected gift from classical music – a passion she shared with her late the late Tonia Shand am, one of our Canberra concert- husband, Ric (the security code for their house was 1812!). goers, who passed away last July. We have since learned Although we were thrilled to receive it, we are sorry we that Tonia led an amazing life as a member of the didn’t know about the gift Tonia left the ACO in her will Department of Foreign Affairs and Trade, having been a before she died, so that we may have been able to thank trailblazer for women in the Australian public service. her personally and involve her more closely in the life of the Orchestra she clearly loved, during her lifetime. Following her studies at the University of Melbourne and Bonn University, Tonia joined the Department of External Affairs Our thoughts are with Tonia’s family and friends for their in 1961 – one of only two women in the intake of 13 that year. loss. Tonia once said “I’d like to be remembered as a gutsy, It was a difficult time for women in the public service. The noisy, sensitive and lively person”. Others have described “marriage bar” (preventing the permanent employment of her as a person of “warmth, charm and generous spirit”. married women) was in place and equal pay and other benefits We are enormously honoured to be the beneficiaries available today were many years away in the future. Women of Tonia’s generous spirit through her most special gift. were largely relegated to policy backwaters of the Department. This gift will help to ensure that the ACO plays on for Tonia experienced many of the challenges for women directly, future generations and will leave an enduring legacy. having had to resign from the Department twice (when she got married and subsequently after having a child), returning after both occasions as a ‘temp’ and at the base level. Despite the obstacles in place, Tonia actively strove to break down If you are considering leaving the ACO a gift in your will or if you have already done so, please do let us know as we would love to welcome you as a member of our Continuo Circle. the barriers facing women. Having directly engaged with Please feel free to contact Lillian Armitage on 02 8274 3827 or at [email protected]

AUSTRALIAN CHAMBER ORCHESTRA LIVE CONCERT SEASON 2021 44 ACO PARTNERS We thank our Partners for their generous support.

PRINCIPAL PARTNER: ACO COLLECTIVE UNIVERSITY PARTNER

NATIONAL TOUR PARTNERS GOVERNMENT PARTNERS

MAJOR PARTNERS

SUPPORTING PARTNERS

MEDIA PARTNERS

LEARNING & ENGAGEMENT PARTNERS

Holmes à Court Family Foundation The Ross Trust Patricia H Reid Endowment Pty Ltd

VENUE SUPPORT

Proudly Carbon Neutral

@pohoflowers | pohoflowers.com.au AUSTRALIAN CHAMBER ORCHESTRA