ACTEWAGL LLEWELLYN SERIES PIANO

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SHA3106__CSO_245x172_V3.indd 1 20/09/2016 2:53 PM ACTEWAGL LLEWELLYN SERIES PIANO

Wednesday 29 March & Thursday 30 March, 2017 Llewellyn Hall, ANU 7.30pm Conductor Jessica Cottis Soloist Daniel de Borah Trumpet Rainer Saville -----

RAUTAVAARA: Cantus Arctucus op. 61 (Concerto for Birds and Orchestra) 1. Suo (The Marsh) 6' 2. Melankolia (Melancholy) 4' 3. Joutsenet muuttavat (Swans Migrating) 6'

SHOSTAKOVICH: Piano concerto No.1 in C minor, op.35 1. Allegro moderato 6' 2. Lento 8' 3. Moderato – Allegro con brio 8'

INTERMISSION

BEETHOVEN: Symphony No. 6 in F major op.68 (Pastoral) 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the countryside): Allegro ma non troppo 9' 2. Szene am Bach (Scene by the brook): Andante molto mosso 12' 3. Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro 5' 4. Gewitter, Sturm (Thunder. Storm): Allegro 4' 5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd's song; cheerful and thankful feelings after the storm): Allegretto 9'

Please note: this program is correct at time of printing, however it is subject to change without notice. Cover photo by Sarah Walker Sarah Cover photo by 17012 SEASON 2017 ActewAGL Llewellyn Series: Piano, Cello, Horn, Violin “Music begins where ----- Recital Series: the possibilities of Daniel de Borah, Umberto Clerici, language end.” Hector SOLDMcDonald, OUT! Harry Bennetts Sibelius ----- Saturday Series: CSO Opera Gala, Canberra Weekly Matinee Magic: VEGAS! ----- Australian Series: Companion Pieces, Musical Portraits, Forgotten Curated by Matthew Hindson AM, performed at the National Portrait Gallery -----

On sale now Single tickets and multi-concert packages available. Call CSO Direct 6262 6772 or visit cso.org.au for more information. cso.org.au Welcome

Thank you for joining As ever, the CSO is very grateful to our us for the Canberra partners and donors, whose generosity Symphony Orchestra’s makes it possible for us to share this first concert in the 2017 music with you tonight. The support ActewAGL Llewellyn we receive from the ACT Government Series. We are delighted through artsACT and the Australian to share this evening of Government through the Australia Council beautiful and evocative for the Arts, allows us to connect with the music with you, and we wider community through over 90 other thank ActewAGL for their activities each year. This includes the generous support which CSO Education series Noteworthy which is brings us together. free to all schoolchildren; CSO Ensemble activities including concerts at the Canberra In addition to this being the orchestra’s Hospital, Aged Care facilities and Special first concert in Llewellyn Hall for the year, Schools; Painting with Parkinsons, and our tonight is also an occasion of other ‘firsts’. Rediscovering Music program for people with Conductor Jessica Cottis makes her debut hearing impairment. I know you join me on the CSO stage, and we are thrilled to in thanking these government agencies for welcome her. Jessica studied music in enabling the benefits of music to reach far Canberra but is now a resident of the and wide into our community. world, conducting on major stages across the globe. This evening also marks our first Why is this important? Tonight’s concert performance of Rautavaara’s Cantus Arcticus is a perfect example. CSO Chief Conductor and we bring you this extraordinary piece and Artistic Director Nicholas Milton in honour of the master Finnish composer, AM has created a unique concert that who passed away late last year. intertwines the beauty of nature and music, and reminds us that both offer us relief from Returning by popular demand, Daniel that harsh discord of the current world. de Borah (piano) will be joined by the Tonight we offer you shelter from the CSO’s own Rainer Saville (trumpet) for storm, as we are reminded that there is great Shostakovitch’s Piano Concerto No 1, before joy and harmony to be shared. We hope you we conclude with one of Beethoven’s most leave feeling refreshed and inspired to pay it beloved works, Symphony No 6 (Pastoral). forward in the coming days. Another recent ‘first’ was the inaugural CSO Australian Series concert which is the result of an innovative collaboration Sarah Kimball between the National Portrait Gallery and Chief Executive Officer the CSO. Curated and compered by eminent Australian composer Dr Matthew Hindson AM, the CSO Australian Series offers cutting edge classical music in the contemporary setting of the NPG. There are two more concerts in 2017 and you can find out more at www.cso.org.au [1]Perfect Imperfect dinner of eggplant, lamb and red wine at Monster kitchen and bar. Shot by U-P.

Great things are done by a series of small things brought together. Vincent Van Gogh

[3]Ken Neale drinking his coffee in the Monster kitchen and bar Salon. Shot by Lee Grant.

[2]Re-enactment of Le Corbusier’s daily ritual of calisthenics in Creative room number 105. Shot by Lee Grant.

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NewActon Nishi +612 6287 6287 — T 25 Edinburgh Ave [email protected] Canberra hotel-hotel.com.au Jessica Cottis Conductor

Hailed in the UK music Born in Australia and a dual British- press as “one to watch”, Australian citizen, Jessica Cottis was awarded Jessica Cottis possesses a first class honours degree in organ, piano intellectual rigour, and musicology from the Australian National innate musicality and University and continued her studies as an easy authority; she is an organist with Marie-Claire Alain in a charismatic figure on Paris, winning awards from the Royal the podium who brings Philharmonic Society and Royal College dynamism, intensity and of Organists. A wrist injury subsequently clarity of vision to all her halted her playing career and after reading performances. Law, she began conducting studies in 2006, studying with Colin Metters and Sir Colin Frequently in demand as Davis on the postgraduate conducting course guest conductor, highlights at the Royal Academy of Music. Cottis was [1]Perfect Imperfect dinner of eggplant, lamb and red wine at of recent seasons include performances Monster kitchen and bar. Shot by U-P. awarded the Academy’s top conducting with the Sydney Symphony Orchestra, prizes upon graduation in July 2009, the London Philharmonic Orchestra, BBC same month she was appointed to her Symphony Orchestra, Orchestra of the Royal positions at the BBC SSO and RCS, and also Opera House, BBC National Orchestra of Manson Fellow in Composition at the Royal Wales, BBC Concert Orchestra, l’Orchestre Great things are done by a series Academy of Music. of small things brought together. Philharmonique de Monte-Carlo, RTV Vincent Van Gogh Slovenia Symphony Orchestra, Bit20 In recent years, Jessica Cottis has become Ensemble Bergen, the Queensland and a frequent contributor to BBC radio Adelaide Symphony Orchestras, New programmes. In 2013 she taught Dame Jenni Zealand Symphony Orchestra, the National Murray the basics of conducting for a BBC Youth Orchestra of Great Britain, and Woman's Hour special, and has returned

[3]Ken Neale drinking his coffee in the Monster recording with the BBC Scottish Symphony to the programme to speak about Verdi's kitchen and bar Salon. Shot by Lee Grant. Orchestra. This season, she will make a heroines. She has commented on issues welcome return visit to many of the above faced by women in music for the World orchestras and makes her Royal Albert Hall Service and Woman's Hour, and most debut for the 2016 BBC Proms. recently contributed to Trevor Cox's BBC radio 4 special on concert hall acoustics, to Her international career was launched the Today programme, discussing Brahms, through close working relationships with [2]Re-enactment of Le Corbusier’s daily ritual of calisthenics in Creative and on Proms Extra for the 2016 Proms, room number 105. Shot by Lee Grant. mentors including Vladimir Ashkenazy, for BBC2 television. In 2012 Jessica Cottis Charles Dutoit, and Donald Runnicles. appeared on the BBC2 series ‘Maestro at From 2009 to 2011 she was the first Fellow the Opera’ as conducting mentor to DJ in Conducting at the Royal Conservatoire Trevor Nelson. In the same year she was of Scotland and Assistant Conductor at the a jury member for the finals of the BBC BBC Scottish Symphony Orchestra, and Young Musician Competition; in 2014 she from 2012 to 2014 Assistant Conductor of continued her association as a juror for the the Sydney Symphony Orchestra where she semi-finals. conducted over thirty concerts per year with the orchestra, being lauded in the Australian In 2015 she was appointed Associate Member Hotel Hotel press as “one of the big hopes for change”. of the Royal Academy of Music (ARAM), an honorary award for former students who In 2014 Jessica Cottis was appointed NewActon Nishi +612 6287 6287 — T have made a significant contribution to the 25 Edinburgh Ave [email protected] Principal Conductor of the Glasgow music profession. Canberra hotel-hotel.com.au New Music Expedition. Jessica Cottis makes her home in Glasgow and London. awakenCanberra Weekly is proudyour to support love Canberra Symphonyof music Orchestra

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Daniel de Borah has and Australian String Quartets. His festival emerged in recent years as appearances include Musica Viva’s Sydney one of Australia’s foremost and Huntington Estate Music Festivals musicians, consistently and the Australian Festival of Chamber praised for the grace, finesse Music in Townsville. In 2015 Daniel joined and imaginative intelligence the Australia Piano Quartet, ensemble-in- of his performances. His residence at the University of Technology, busy performance schedule Sydney. finds him equally at home as During his studies Daniel won numerous concerto soloist, recitalist and awards including 3rd Prizes at the 2004 chamber musician. Sydney International Piano Competition, Since his prize-winning the 2001 Tbilisi International Piano appearances at the 2004 Competition and the 2000 Arthur Sydney International Piano Competition, Rubinstein in Memoriam Competition Daniel has given recitals on four continents in Poland. In 2005 he was selected for and toured extensively throughout the representation by the Young Classical United Kingdom and Australia including Artists Trust, London. Daniel is also a past return visits to London’s Wigmore Hall winner of the Australian National Piano and Southbank Centre, the Sydney Opera Award and the Royal Overseas League House and the Melbourne Recital Centre. Competition Piano Award in London. As a concerto soloist he has appeared with Born in Melbourne in 1981, Daniel studied the Royal Philharmonic Orchestra, English at the Liszt Academy of Music in Budapest, Chamber Orchestra, the London Mozart the St. Petersburg State Conservatoire and Players, Australian Chamber Orchestra and the Royal Academy of Music, London. His the Sydney, Melbourne, Adelaide, Canberra teachers have included Zsuzsa Eszto, Mira and Auckland Symphony Orchestras. Jevtic, Nina Seryogina, Tatyana Sarkissova Daniel has partnered many leading soloists and Alexander Satz. Daniel currently and ensembles including Baiba Skride, serves on the faculty of the Queensland Li-Wei Qin, Nicolas Altstaedt, the Navarra Conservatorium, Griffith University. “This being the first concert I wasn’t sure what to expect, but it was most enjoyable and there was a special atmosphere due, in part, to our close proximity to the players. What are people saying about the CSO’s

Beacon Australian Series?

“As relative “novices” to TOMMY BALOGH TOMMY 2015 photo-luminescent media on plexiglass, Walker Sarah 125 x 245cm (detail). Photo by Ollman Martin Photos by CSO activities, we weren’t really sure what to expect. In short, it was magnificent!”

“I didn’t know what to expect, but was pleasantly surprised by the concert. It’s not the style I would normally like but found it quite exhilarating.”

You don’t need to have expectations to have them blown away. Join us for the Australian Series at the National Portrait Gallery, and let us expand your arts experience.

cso.org.au /canberrasymphonyorchestra /canberrasymphonyorchestra The CSO is assisted by the Commonwealth Government @cbr_symphony through the Australia Council, its arts funding and advisory body Rainer Saville Trumpet

Rainer Saville was born and raised instruments. In 2014, he participated and in Sydney, Australia. He is a was a semi-finalist in the International graduate of the Sydney Trumpet Competition Cittá Di Porcia Conservatorium of Music, where in Pordenone, Italy. Rainer has toured he studied with Leanne Sullivan. internationally with the Mahler Chamber He also studied at the Australian Orchestra and the Australian Chamber National Academy of Music in Orchestra. In 2016, he was a participant Melbourne with Dave Elton and of the Pacific Music Festival, working Tristram Williams. Mr. Saville alongside members of the Berlin performs regularly as a musician Philharmonic and San-Francisco with the Sydney Symphony Symphony. This year, he was a Orchestra and Melbourne Symphony, and is Global Academy fellow—performing a member of the Australian Brandenburg with the New York Philharmonic Orchestra, where he performs on period throughout January.

You don’t need to have expectations to have them blown away. Join us for the Australian Series at the National Portrait Gallery, and let us expand your arts experience. HAYDN Overture to L'isola disabitata

SCHUMANN Cello Concerto in A minor

SCULTHORPE String Sonata No.3 (Jabiru Dreaming)

BRAHMS Symphony No.3 in F major

WEDNESDAY 17 & THURSDAY 18 MAY LLEWELLYN HALL, ANU, 7.30PM

Conductor Stanley Dodds Cello Umberto Clerici Pre-concert talk 6.45pm

ACTEWAGL LLEWELLYN SERIES

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/canberrasymphonyorchestra The CSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body @cbr_symphony MUSIC NOTES

Einojuhani Rautavaara (1928–2016) Cantus arcticus (Concerto for Birds and Orchestra) op.61

Suo (The Marsh) The composer himself had the following to say: Melankolia (Melancholy) The first movement, Suo (The Marsh), opens Joutsenet muuttavat (Swans Migrating) with two solo flutes. They are gradually Cantus Arcticus was commissioned by joined by other wind instruments and the the ‘Arctic’ University of Oulu (Finland) sounds of bog birds in spring. Finally, the for a graduation ceremony (following a strings enter with a broad melody that tradition of which Brahms’ Academic might be interpreted as the voice and mood Festival Overture is the best-known of a person walking in the wilds. example). Rather than produce the kind of In Melankolia, the featured bird is the shore- stirring anthem often associated with these lark; its twitter has been [electronically] events, the composer sought something brought down by two octaves to make it a more personal. He went bird-watching ‘ghost bird’. in the bogs of Liminka, inside the Arctic Circle, and taped what he heard. Using Joutsenet muuttavat (Swans Migrating) is an these sounds as both a core element (the aleatory [chance, or random] texture with ‘soloists’, if you like) and as inspiration, four independent instrumental groups. The Rautavaara produced a strikingly original texture constantly increases in complexity, concerto for birds and orchestra. Since its and the sounds of the migrating swans are premiere in Oulu on 18 October 1972 (with multiplied too, until finally the sound is lost the Oulu Symphony Orchestra, conducted in the distance. by Stephen Portman), it has become one of © Symphony Australia Rautavaara’s most-performed works. Reprinted by permission of Symphony Services International Love the Canberra Symphony Orchestra on stage? ‘Like’ us online! Follow the CSO on Facebook, Twitter and Instagram for up to date news and information, special offers and competitions, and to instantly share your thoughts and experiences with the orchestra.

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Dmitri Shostakovich (1906–1975) Piano Concerto No.1 in C minor, op.35

Allegro moderato to imply that whatever was taking place around him was totally devoid of any Lento – serious meaning’. A form of self-defence or Moderato – Allegro con brio youthful naivety? His behaviour will sustain debate into the future. Among Shostakovich’s works from this The early 1930s were a momentous time. period are a Suite for Jazz Band in the In Europe, the collapse of entire economies decadent style of Berlin cabaret, the opera facilitated the rise of Fascism. In Germany, Lady Macbeth of Mtsensk about a triple- Hitler came to power. In the Soviet Union murderess, and the outrageously parodic in 1933, the situation was scarcely less First Piano Concerto. These undeniably gloomy. The much-vaunted Five Year Plan ‘clever’ compositions were hardly the had all but disintegrated under the weight of kind of thing to endear the internationally its unrealistic production targets, and day- successful young composer to a regime bent to-day life was taking on an increasingly on maintaining order at home—at whatever surreal aspect as influential people started cost. But the reaction wasn’t to come just to disappear without trace. Soviet life yet. It would build over the next year or became a particularly grim affair, with two, awaiting its moment. everybody watching everybody else, and with the ever-present threat of the ultimate In the meantime, the First Piano Concerto punishment for those suspected of counter- proved a riotous success. In its deliberate revolutionary behaviour. parody of multiple musical styles and conventions, it resembled the First Piano Within the arts, Stalin himself took a Concerto by Prokofiev—while in its ‘hands-on’ approach. He personally rewrote superficially ‘light’, almost divertissement Afinogenov’s hit play The Lie to remove its style, it was surprisingly (and presumably deeply ironic but blatant condemnation of coincidentally) similar to its contemporary: contemporary Soviet life. Artists deemed Ravel’s Piano Concerto in G. Unlike those to be lacking in commitment to the works, Shostakovich’s First Piano Concerto Soviet cause were persecuted, punished, employs a solo trumpet as a collaborator and forced to toe the party line. In the with, and sometimes rival to, the piano midst of the paranoia stood the 27-year- soloist. It’s a striking device and the old Dmitri Shostakovich, whose high brilliance of the trumpet adds a real sense of profile, compositional genius and parodic urgency, not to mention flash of colour, to inclinations had been firmly established the instrumental textures of the piece as a with the premiere of his First Symphony whole (the orchestra is limited to strings). eight years earlier. Shostakovich himself played the piano One can only speculate about the extent solo at the premiere with the Leningrad to which Shostakovich understood Philharmonic on 15 October 1933. The the vulnerability of his position. A trumpet solo was conceived for Alexander contemporary reported that at this time Schmidt, who was a member of the Shostakovich’s ‘entire manner seemed Leningrad orchestra.

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MUSIC NOTES

Because of the deliberately sardonic central slow movement, with its self-pitying character of the piece, it can be fun to shades of Mahler and continually sardonic listen to the concerto as a ‘spot-the- turns. cliché’ exercise. Chunks of Tchaikovskian The third movement is essentially a Romantic lushness are juxtaposed with Baroque pastiche pivoting around two Rachmaninov-style piano rhapsodies, piano cadenzas and leading without pause while the can-can and even Broadway into the final Allegro con brio. It is almost musical gestures creep in from time to time. as if we are off to the races, with the But as one would expect from a composer trumpet sounding the fanfare at the start of Shostakovich’s abilities, things are never of the various events and everyone else that simple, and the piece is anything but skittering around to take their places by a joke. the rails. It sounds like a rondo of a kind, a Its opening is downright magnificent. Keystone-Cops one, with the music driving After a brief flourish, a big walking figure on so frenetically that it can only come in the left hand of the piano introduces to an abrupt and crashing halt. Perhaps the principal theme, which is then worked it was a strangely prescient conclusion to over in a relentless, dashing development the Concerto, for just two years after its section. The second theme starts out as premiere, an eerily similar thing happened lush Rachmaninov, but Shostakovich to Shostakovich’s career itself, with his quickly ushers in some Parisian nightclub. emphatic denunciation in Pravda. No party The trumpet becomes a flashy Master of can last forever. Ceremonies and when the main ‘walking’ Martin Buzacott theme returns moderato, it’s as if the © Symphony Australia revellers have staggered back out onto the street, a little bewildered perhaps, but Reprinted by permission of Symphony entirely satisfied. Services International It is typical of Shostakovich that the Lento which follows is both sentimental and at the same time angry. In any case, the frivolity of the opening movement vanishes in this By bringing world class music to the region season after season, the Canberra Symphony Orchestra is central to the ACT’s vibrant arts community. Supporting such an inspiring organisation continues to be our privilege after 20 years.

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Ludwig van Beethoven (1770–1827) Symphony No.6 in F, op.68 (Pastoral)

Awakening of pleasant feelings upon arriving in Perhaps, in a different way, the Sixth the country (Allegro ma non troppo) Symphony was another positive attempt on Beethoven’s part to come to terms with the Scene at the brook (Andante molto mosso) dissatisfactions of his life in urban Vienna. Peasants’ merrymaking (Allegro) – What better panacea than an escape to the country? The idea of a symphony depicting The storm (Allegro) – country life had been forming in his mind Shepherds’ hymn of joy and thanksgiving after since as early as 1803, while working on the storm (Allegretto) the Third Symphony, when he sketched a version of the quirky dance at the centre In October 1808, Beethoven was offered of the Peasants’ Merrymaking, and a short 3,400 florins a year to leave Vienna and passage ultimately for the second movement move to Kassel, in Germany, to become that he marked ‘the murmuring of the musical director to Napoleon’s brother, brook’ (‘the larger the stream the deeper Jerome, newly created ‘King of Westphalia’. the note’). His only full-scale ‘program’ Though he had no intention of going, symphony, he subtitled it ‘Recollections he let it be known that he was seriously of country life’, and also devised descriptive considering the offer. Then he set out to titles for each movement, though he demonstrate how indispensable he was to warned that these were more indications Vienna and its musical life by arranging a of feeling than scene-painting. pre-Christmas concert, on 22 December, that included two yet unperformed The composer’s Awakening of pleasant symphonies, the Fifth and the recently feelings upon arriving in the country is completely Sixth. As a bargaining tool, the immediately audible in the refreshingly concert—his last at the financially troubled simple opening tune with its rustic Theater an der Wien—perhaps fell short bagpipe-like drone (on violas and of making the perfect impression. It was cellos) as accompaniment. But apart very long, also including the Fourth Piano from being more relaxed and expansive Concerto, bits of the Mass in C, and, to than the openings of the Third or Fifth give the chorus something else to do, the symphonies, the movement follows the purpose-composed Choral Fantasy as a last- traditional symphonic pattern, as well as minute addition. As usual, the orchestra fulfilling Beethoven’s pictorial intentions. was under-rehearsed, and Beethoven’s Likewise, the Scene at the brook is a formally own piano playing was, by this time, conventional slow movement—at least until often erratic, due to his failing hearing. the coda, with its unaccompanied bird calls Nevertheless, his ploy seems to have (marked as such in the score): a flute as worked. Three of his most long-suffering nightingale, oboe as quail, and clarinet as supporters, Archduke Rudolph and Princes cuckoo. For the rest of the work, Beethoven Kinsky and Lobkowitz, clubbed together does modify conventional symphonic to pay him an annuity of 4,000 florins on layout, with three more movements condition he stay in Vienna. (instead of two), but run together without a break. Peasants’ merrymaking is the FLAWLESSLY CONDUCTING YOUR IT SOLUTIONS

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obvious pretext for a scherzo. The dancing because of the genial titles—and the is brought to a stop, literally, by The storm simple story they plot­—that this accessible for which Beethoven introduces a piccolo symphony remained his most generally and a pair of trombones, instruments popular well into the recording era, and then still more usually used for opera until as late as the Second World War, when and other staged spectacles than in it was finally overtaken by the Fifth. concert symphonies. They add a suitably Graeme Skinner © 2014 portentous colouring. Finally, the storm passes as the shepherds sing their Hymn of Reprinted by permission of Symphony thanksgiving. Services International Beethoven himself also said: ‘Anyone who has an idea of life in the country can divine for himself the composer’s intentions without a lot of titles.’ But it was precisely

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In the lead up to the Shell Prom Picnic If you must make a donation RIGHT NOW, concert I was in contact with many you can do that through our website at organisations that provide services to those www.cso.org.au/private-giving but we in need—all manner of need—through our urge you not to distract yourself or your HeartStrings program. So touched were they neighbour while listening to to receive donated tickets, they thanked Daniel de Borah, and do it during us. I pointed out that it is the CSO family the interval. who donate concerts tickets who should If you’re not inclined to donate be thanked. It is through their generosity electronically, we’ll be in touch in April that the CSO can help the many local and about our annual Tax Appeal and you can national organisations dedicated to making fill out forms the old fashioned way. difficult lives a little easier. --- So, while it’s enormously gratifying to receive thanks and praise, I pass it on to all Tim Langord—Philanthropy who’ve donated to the HeartStrings program. [email protected] Ta, muchly! 6247 9191 cso.org.au And yes, you can donate to the HeartStrings program now.

YOWIE MAN Poll position KLAUS MOJE A passion for colour HANNAH KENT Folklore and order OCTOBER 1,2016

JULY 30, 2016

JIMMY BARNES Confronting his demons ROBERT FOSTER panorama A brilliant legacy MALCOLM 30 years on KRISTEN TORTURED SOUL STEWART The genius of Nijinsky Behind the TIM THE YOWIE MAN headlines Trek back in time

SEPTEMBER 17, 2016 Shining bright Stars align to markShine the 20th anniversary of Keith Urban AUGUST 6, 2016 On tour with country music’s Mr Nice Guy CHARLES BEAN The man behind the legend GHOST STORIES Theatre to make you scream BAZ LUHRMANN

Art and alchemy Photo: Edward Mulvihill Edward Photo: Lord of the dance Canberra’s Luke Currie-Richardson comes from a family of athletes but, bound for Paris as a member of Bangarra, he has no regrets about choosing dance over basketball.

Shock and awe He is one of Australia’s most provocative and influential artists, but Mike Parr’s work remains divisive.

Panorama lift-out every Saturday Proudly supporting the Canberra Symphony Orchestra for over 15 years

RM2692960 CSO private giving We thank all supporters for their commitment and generosity.

The Kingsland Fellowship Maestro Membership Beatrice Guppy Program $4000-$9999 Allan Hall AM Founding Donors Betty Beaver AM Barbara Hall OAM The late Sir Richard & RA David Campbell Donald Harris AM & Lady Kingsland & Family Sue Daw OAM Glenys M Harris Marjorie Lindenmayer Ross & Sue Kingsland Anthony Hedley AM Anonymous 1 Marjorie Lindenmayer Colin & Enid Holmes Noela McDonald Stephanie & Gifts and Bequests David McDonald Mike Hutchinson Betty Beaver AM Muriel Wilkinson Paul & Jan Kriedemann Dr Pamela Rothwell Anonymous 4 Jim & Heather Leedman Anonymous 2 Paul Lindwall In Memoriam Education Giving Circle Raymond Macourt OAM Don Beazley Virginia Berger Garth Mansfield OAM Janice Beveridge Joan Boston Margaret Mansfield OAM Heather Eastwood Mandy Westende & David & Sheila Middleton Ann & Liam Kearns Lou Westende OAM Margaret Oates Anonymous 1 Paris '99 Instrument Fund Carolyn Philpot Prof Brian Anderson AC Principal Member Katharine Pierce & Dianne Anderson $1000-$3999 Margaret Reid AO Shane Baker & Prof Brian Anderson AC & Robyn Robertson Linda Pearson Mrs Dianne Anderson Penelope Layland Boronia Gift Halina Barrett Muriel Wilkinson Joan Boston Joanne Blackburn Anonymous 10 Prof Robert Crompton Max & Lynne Booth & Helen Crompton Dr Chris Bourke Associate Member The Flynn Family Miles & Ann Burgess $500-$999 Anthony Hedley AM Peter Carrigy-Ryan Miles & Ann Burgess Geoffrey White OAM Christopher & Rieteke Anne Burhop Sally White OAM Chenoweth Mr Brian Cant In Memoriam Peter & Asha Clarke AK & JE Cooper Leonie Voorhoeve Dianne Constable Dr Catherine Drummond Virtuosi Member Dudley & Helen Creagh Christine Dwyer Above $10000 Prof Robert Crompton & John Fitzgerald Mandy Westende & Helen Crompton Anthony Hayward Lou Westende OAM Fay Cull Helen White & Bob Anonymous 1 Helen Douglas Richardson Sue Dyer Dr Marian Hill Elizabeth Morrison & John Louise Hodgman Mulvaney Mary Elspeth Humphries Raydon & Alison Gates John & Ros Jackson Fair Go Australia Foundation Patricia Jones J P Gordon Dr Gerard Joseph James Grieve John Kalokerinos N Landau Henry & Dianna Laska Dr Miriam Fischer Diana Mildern J. Norman T & W Fitzgerald Louise Muir John & Elizabeth Oliver Colleen Flynn Bruce Neindorf Margaret Payne Margaret Frey Kate Nockels Mary Porter AM MLA Greg George Ann Northcote Ann & Liam Kearns Kate Gilbert Marie Oakes David Shelmerdine Geoff & Lynette Gorrie Pamela O'Keeffe Haddon Spurgeon Goyne Family John & Elizabeth Oliver Michael & Emily Reed Mark Goyne Helen Pampling Ursula Reid Gillian & Ian Graham Susan Pidgeon Kerry Truelove Elizabeth Grant AM Paul & Mary Pollard Dr Margot Woods & Helen & John Grant Anna Prosser Arn Sprogis Rosemary Greaves Sandra Purser Anonymous 7 Marlene Hall Bill Rhemrev Isobel Hamilton Helen White & Bob Supporting Member B Hammond Richardson $100-$499 Colin Harmer Wayne & Linda Roberts Michael Allam Malcolm & Rhondda Hazell Jennifer Rowland Beverley Allen Peter & Heather Henderson Valerie Russell Judith Andrews Louise Hodgman Adrian Burton & Margaret Aston Catherine Hook & Paul Divya Sharma Dr John Azoury Carmen Beryl Stewart Pamela Weiss & June Howard John Sutton Trevor Bainbridge Douglas Hurditch Andrea Szabo Allan Baxter Rod Hurley Pamela & Graham Thomas Tim Beckett Ian Ingle Dr Susan Thomson NC & JE Bedloe Margaret & Peter Janssens Leonard Tuohy Daryl & Hermina Blaxland Frank Kelly Stewart & Sheila Turner Robyn Boyd David & Rosemary Suzanne Vaisutis-White Mary Boyle Kennemore Gary Watson Mary Brennan Helga Klippan Mike & Ros Welch Bern Brent Melanie Kontze Don Whitbread OAM C & R Brock Susanne Koerber Rosslyn Wiley Dr Peter Brown AM Bjarne Kragh Ernst & Mary Louise Pauline & Kevin Bryant Denise Kraus Willheim Louise Butler N Landau Dr Anthony Willis Helen Catchatoorian Judith Lindgren Capt W Graham Wright Elizabeth Anne Coupland Richard & Penny Lloyd Jones Anonymous 49 Don Coutts & Julie Campbell John & Jinnie Lovett Merrilyn Crawford Sue Ludwig Vicky Cullen Patricia Makeham Yole & Bill Daniels AM Slawomir Makula Margaret Duncan Dr Heloisa Mariath Vicki Dunne MLA Kathleen Marshall M N Falk Paul & Betty Meyer WE’LL ALWAYS WORK IN HARMONY WITH OUR ORCHESTRA.

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