RESPIGHI, BRITTEN & VASKS Directed by Richard Tognetti JUNE 2019

Program in Short Your five-minute read before lights down p.6

Guiding Lights Bernard Rofe discusses the art of homage in music p.12

PRINCIPAL PARTNER BUILD YOUR 2019 SEASON Indies & Idols Music by Szymanowski, Sufjan Stevens and Jonny Greenwood 14–29 JUNE

Luminous Our ground-breaking collaboration with artist Bill Henson 10–23 AUGUST

Celebrating Mozart With pianist Dejan Lazic´ 5–17 SEPTEMBER

Intimate Bach With Richard Tognetti, Erin Helyard and Brett Dean 19–30 OCTOBER

Brahms & Dvořák The Double Concerto and Eighth Symphony 9–22 NOVEMBER

*Prices vary according to state, venue, concert and reserve. Booking fees apply. Full terms and conditions at aco.com.au/terms-and-conditions Richard Tognetti – Artistic Director & Lead Violin

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INSIDE:

Welcome Program Program in Short

From the ACO’s Managing Listing and Your five-minute read Director Richard Evans concert timings before lights down p.2 p.5 p.6

Musicians Guiding Lights Acknowledgments

Players on stage for Bernard Rofe discusses the The ACO thanks our this performance art of homage in music generous supporters p.10 p.12 p.28

Printed by Playbill Pty Ltd. Cover photo by Nic Walker. NATIONAL CONCERT SEASON 2019 2 WELCOME

Respighi, Britten ^ Vasks marks our first concert at the Melbourne Recital Centre for 2019. We are delighted to return to this most magnificent of recital venues to present this striking program of string music, directed by Richard Tognetti. Following this performance, the Orchestra will embark on our fourth national tour for the year, Indies ^ Idols. This bold, energising program sees string orchestral music by contemporary indie icons paired alongside breathtaking works from the great Polish classical composers who inspired them. Without you, we wouldn’t be able to tour our orchestra and education programs around Australia each year. The ACO earns 90% of its own revenue, and ticket sales only make up 40% of what it takes to bring our work to stages and classrooms around the country. News Donations from the public are vital to our existence. I encourage you to consider making a tax-deductable donation to the ACO before 30 June. Thank you for your support and for joining us in the concert hall this evening. I hope you enjoy the performance. Play a role in our future DONATE BEFORE 30 JUNE ACO Patrons are our lifeblood. With only 12% of our funding provided from government sources, you play a vital role in helping us to shape the musical landscape through bringing the Orchestra’s artistic Richard Evans vision to life. A tax-deductible Managing Director donation will help us maintain Join the conversation #ACO19 our position as one of the world’s great chamber orchestras.

AUSTRALIAN CHAMBER ORCHESTRA 3

Coming up

Indies & Idols 14–29 JUNE Brisbane, Melbourne, Newcastle, Perth and Sydney SEP Music by Sufjan Stevens and the creative forces behind Celebrating Mozart Radiohead and The National, 5–17 SEPTEMBER presented alongside their shared Wollongong, Canberra, Melbourne, classical musical influences. Adelaide and Sydney Directed by Richard Tognetti. Pianist Dejan Lazic� reunites with Richard Tognetti and the Orchestra for a celebration of Mozart’s symphonies and concertos.

AUG Luminous JUL 10–23 AUGUST Adelaide, Brisbane, Canberra, ACO Academy Melbourne, Perth and Sydney 7–12 JULY Ten years since its last performance, OCT Sydney we bring back our ground-breaking musical and visual collaboration Barbican Residency Our program for talented school with photographer Bill Henson, 3–5 OCTOBER aged string players, led by ACO revived and refreshed, and violinist Aiko Goto. Participants London featuring singer-songwriter Lior. spend an inspirational week in We return to London for the second Bill Henson rehearsal with ACO musicians, Untitled, 2000/2003 of our three seasons in residence as culminating in a public LMO SH177 N2A International Associate Ensemble at Courtesy of the artist, Tolarno Galleries performance at City Recital Hall. and Roslyn Oxley9 Gallery. Milton Court at the Barbican Centre.

NATIONAL CONCERT SEASON 2019 ACO Foundations participants performing with Artistic Director Richard Tognetti and the Australian Chamber Orchestra. Photo by Fiora Sacco.

Play a role in our future Help us to bring music education to communities around Australia by making a tax-deductible donation before 30 June.

DONATE GOVERNMENT PARTNERS PRINCIPAL PARTNER aco.com.au/donate 5 PROGRAM

Richard Tognetti Director and Violin Australian Chamber Orchestra

PRE-CONCERT TALK From 6.45pm by Pat Miller mins

HANDEL Alcina, HWV34: Overture and Dances 11 Ouverture Musette Menuet Gavotte Sarabande Menuet Gavotte Tamburino MEALE Cantilena Pacifica 8 RESPIGHI Ancient Airs and Dances: Suite III 17 I. Italiana II. Arie di corte III. Siciliana IV. Passacaglia

INTERVAL 20

PE�TERIS VASKS Viatore for 11 solo strings Australian premiere 15 BRITTEN Variations on a Theme of Frank Bridge, Op.10 25 I. Introduction and Theme ACO Foundations participants II. Adagio performing with Artistic Director III. March Richard Tognetti and the IV. Romance Australian Chamber Orchestra. Photo by Fiora Sacco. V. Aria Italiana VI. Bourrée Classique VII. Wiener Waltzer VIII. Moto Perpetuo IX. Funeral March Play a role in our future X. Chant XI. Fugue and Finale Help us to bring music education to communities around Australia by making a tax-deductible donation before 30 June. The concert will last approximately one hour and 40 minutes, including a 20-minute interval. The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

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aco.com.au/donate NATIONAL CONCERT SEASON 2019 6

PROGRAM IN SHORT Your five-minute read before lights down.

AUSTRALIAN CHAMBER ORCHESTRA 7

George Frideric Handel’s Alcina, which premiered at Covent Garden in Handel 1735, was described as “an opera with which Handel (1685–1759) seems to have vanquished his opponents”. A deeply ironic tale of chivalry and heroism based on Ludovico Ariosto’s Alcina, HWV34: epic poem Orlando Furioso, a group of heroes sets out to Overture and Dances vanquish a mighty sorceress who lures knights onto her island and turns them into plants, animals and rocks when she tires of them.

One admirer of Handel’s new opera wrote: “I think it is the best he has ever made … ’tis so fine I have not words to describe it.” The opera opens with an instrumental overture and a suite of dances composed especially for the French dancer Marie Sallé, and closes with an ebullient tamburino, which the full company joins in jubilant chorus.

Richard Meale Cantilena Pacifica, which is frequently performed today as (1932–2009) a standalone work for violin and strings, originated as the final movement of Richard Meale’s second string quartet. Cantilena Pacifica The quartet emerged out of a dilemma for the composer – that his devotion to hard-edged modernism had begun to overshadow honest artistic expression. “The problem that I was encountering was brought to a head in 1979 … Sadly, my best friend, Stephen Wilson, died after a sudden onset of cancer. It now became a matter of necessity to write a piece that would be a memorial to him. So it became clear that the work could not be based on any artifice; its existence had to lie in its emotional truth.”

Cantilena Pacifica became that memorial. It is an extended outpouring of elegiac melody that seems, at times, to meander aimlessly in its grief as the solo violin sings in heartbreak above the gentle undulations of the strings.

NATIONAL CONCERT SEASON 2019 8

Ottorino Respighi It may seem surprising, but for much of the 19th and (1879–1936) 20th centuries, the music of pre-Classical composers was largely unknown to the general concert-going public. Ancient Airs and As a student, Ottorino Respighi became exposed to a Dances: Suite III significant amount of this music – works that had long been forgotten or dismissed as old fashioned. His three suites of Ancient Airs and Dances are based on pieces he re-discovered in Italian libraries and wanted to bring to life once again.

The ‘Italiana’ that opens Suite III combines an anonymous late-16th-century galliard (a lively dance) with another, La Cesarina, by Santino Garsi da Parma. The ‘Arie di corte’ is based on Airs de Cour – six court airs published in 1603. The ‘Siciliana’ is based on a tune better known in the 17th century as Spagnoletta. And the ‘Passacaglia’ (variations on a ground bass) is based on a 1692 guitar publication called Capricci armonici.

These suites have since become extremely popular with modern audiences, and while the original composers would never have imagined hearing their music in Respighi’s modern settings, they surely would have been delighted to know their music was being enjoyed once again.

Above. The pier with the library and the column of San Theodoro, Venice. Oil on canvas, c1735.

AUSTRALIAN CHAMBER ORCHESTRA Photo. Granger Historical Picture Archive / Alamy Stock Photo 9

“Viatore tells the story of a wanderer who arrives in this world, grows up in it, develops, falls in love, fills himself up and then departs. The journey is illuminated by the endless and starry universe.”

Peˉteris Vasks Latvian composer Peˉteris Vasks’ music pursues themes (1946–) such as the complex interaction between humans and nature, and the beauty of life pitted against the ecological Viatore and moral destruction of the world. Vasks writes that Arranged for 11 solo strings by Viatore “tells the story of a wanderer who arrives in this Stefan Vanselow world, grows up in it, develops, falls in love, fills himself up and then departs. The journey is illuminated by the endless and starry universe.”

Viatore unfolds as a single movement and comprises two musical images: the theme of the traveller grows and develops throughout the composition; the theme of eternity, however, remains ageless and unchanging. Viatore is dedicated to Estonian composer Arvo Pärt, who Vasks describes as his “guiding light for many decades.”

Benjamin Britten Benjamin Britten, the major British composer of the 20th (1913–1976) century, was Frank Bridge’s only composition student, having been taught by Bridge from his teenage years. Variations on a Theme Today, Bridge is known almost solely through this set of of Frank Bridge, Op.10 variations on the theme from the second of his Three Idylls. Britten decided that each of the ten variations should reflect an aspect of his teacher’s personality, namely his integrity, energy, charm, humour, tradition, enthusiasm, vitality, sympathy, reverence and skill, each rendered using a different musical style. History often forgets great teachers, but Britten’s tribute ensures that his own composition teacher will always be remembered.

NATIONAL CONCERT SEASON 2019 10 MUSICIANS The musicians on stage for this performance.

Discover more

Learn more about our musicians, watch us Live in the Studio, go behind-the-scenes and listen to playlists at: aco.com.au Mark Ingwersen Violin

Satu Vänskä Mark plays a contemporary Principal Violin violin made by the American Satu plays the 1726 violin maker David Gusset ‘Belgiorno’ Stradivarius in 1989. His Chair is violin kindly on loan from sponsored by Prof Judyth Guido Belgiorno-Nettis am & Sachs & Julie Steiner. Michelle Belgiorno-Nettis. Her Chair is sponsored Richard Tognetti by Kay Bryan. Director and Violin

Richard plays the 1743 ‘Carrodus’ Giuseppe Guarneri del Gesù violin kindly on loan from an Maja Savnik anonymous Australian Violin private benefactor. His Chair Maja plays the 1714 is sponsored by Wendy Glenn Christensen ‘ex-Isolde Menges’ Giuseppe Edwards, Peter & Ruth Violin Guarneri filius Andreæ McMullin, Louise Myer & violin kindly on loan from Martyn Myer ao, Andrew Glenn plays a 1728/29 the ACO Instrument Fund. & Andrea Roberts. Stradivarius violin kindly on loan from the ACO Her Chair is sponsored Instrument Fund. His by Alenka Tindale. Chair is sponsored by Terry Campbell ao & Christine Campbell.

AUSTRALIAN CHAMBER ORCHESTRA ACO players dressed by SABA 11

Julian Thompson Cello

Julian plays a 1729 Ike See Giuseppe Guarneri filius Violin Andreæ cello with elements Ike plays a 1590 Brothers of the instrument crafted by Amati violin kindly on loan his son, Giuseppe Guarneri from the ACO Instrument del Gesú, kindly donated to Fund. His Chair is the ACO by Peter Weiss ao. sponsored by Di Jameson. Nathan Greentree His Chair is sponsored by Viola The Grist & Stewart Families. Nathan plays a viola by Štefan Valc�uha made in 2008 in New York.

Elizabeth Woolnough Maxime Bibeau Viola Principal Bass Elizabeth appears courtesy Max plays a late-16th- of Melbourne Symphony Timo-Veikko Valve century Gasparo da Salò Orchestra. Elizabeth plays Principal Cello bass kindly on loan from a her own 1968 Parisian viola Tipi plays a 1616 Brothers private Australian benefactor. by Pierre M. Audinot. The Amati cello kindly on loan His Chair is sponsored by Viola Chair is sponsored by from the ACO Instrument Darin Cooper Foundation. Philip Bacon am. Fund. His Chair is sponsored by Peter Weiss ao.

Photos. Andrew Quilty, Ben Sullivan, Daniel Boud NATIONAL CONCERT SEASON 2019 12

GUIDING LIGHTS

AUSTRALIAN CHAMBER ORCHESTRA 13 Bernard Rofe discusses the art of homage in music.

Words. Bernard Rofe Bernard Rofe is the ACO’s librarian as well as a composer and arranger. Most recently his arrangement of Piazzolla’s Libertango was performed by Branford Marsalis and the ACO.

GUIDING LIGHTS

Photo. Joe Dunckley / Alamy Stock Photo NATIONAL CONCERT SEASON 2019 14 “For all their old Renaissance charm, Respighi’s arrangements have a romantic lyricism that makes them sound anything but ancient.”

n the evening of 29 May 1913, audiences packed into OParis’s newly opened Théâtre des Champs-Élysées to witness an event that would have lasting effects on the future of classical music. That event, of course, was the first performance of Igor Stravinsky’s Rite of Spring, a work that seems as modern and futuristic today as it must have been to its first audience, which included such creative minds as Pablo Picasso, Claude Debussy and Marcel Proust.

Much is said of how “prophetic” and “influential” Stravinsky’s Rite is, but perhaps more than anything, The Rite is an homage to Stravinsky’s native roots and influences. Traditional Russian folk melodies dominate Stravinsky’s earliest major works, and are rendered using richly colourful yet innovative orchestrations. None of this was anything new: Stravinsky inherited these traits from his teacher Nikolai Rimsky-Korsakov, but he would take them to new, groundbreaking places.

Paying homage to one’s teachers and roots is a theme that permeates music history. We would not have the perfection of Mozart’s late quartets and symphonies if he wasn’t intently following in the footsteps of his friend Joseph Haydn, to whom he dedicated six of his late Left. Italian composer quartets. We would not have the turbulence of Beethoven’s Ottorino Respighi. Drawing, c1935, by Fifth Symphony if it wasn’t modelled on Mozart’s tragic Hilda Wiener.

AUSTRALIAN CHAMBER ORCHESTRA 15

Illustration. Granger Historical Picture Archive / Alamy Stock Photo NATIONAL CONCERT SEASON 2019 16

40th Symphony, and although Beethoven never fulfilled his wish to study with Mozart, he paid homage to the composer by writing several sets of variations on themes from Mozart’s operas. Without Gabriel Fauré’s influence, we would not have the distinctively French colour and sensuality of Ravel’s String Quartet, which is dedicated to his teacher.

More recently, an entire school of the 20th century’s most significant composers (including Aaron Copland, Elliot Carter, Philip Glass, Astor Piazzolla, Wojciech Kilar and Peggy Glanville-Hicks) owe not only their rigorously wrought composition skills but, most importantly, clarity and confidence in their individual styles, to the great composer and pedagogue Nadia Boulanger, such that she is one of the few great teachers in any art form that history has not forgotten.

History has a bad habit of forgetting some of its most important cornerstones. For much of the 19th century, and well into the early 20th century, the music of such seminal Renaissance and Baroque composers as Claudio Top. Claudio Monteverdi Monteverdi, Antonio Vivaldi, Johann Sebastian Bach and painting by Bernardo their contemporaries was largely unknown to concert- Strozzi. Above. Ottorino Respighi by photographer goers: Vivaldi’s Four Seasons were far from the inescapable Ghitta Lorell. elevator music they seem today; Bach’s Goldberg Variations had not yet been recorded to international fame by Wanda Landowska or Glenn Gould. Indeed, much music from before Haydn’s time was largely restricted to academic study by specialist scholars.

One of these scholars was the Italian composer Ottorino Respighi, who counted among his teachers the composer and musicologist Luigi Torchi, an early music scholar who sowed the seeds for his lifelong interest in early music. This music, though fascinating to the young Respighi, was notoriously difficult to find at the best of times, and even when it could be found, it might be written in old-

AUSTRALIAN CHAMBER ORCHESTRA

PHOTO. GIANCARLO PRADELLI 17

fashioned notation that was difficult for the modern musician to interpret. Fortunately, a treasure trove of this music had recently become available in modern editions prepared by the Italian scholar Oscar Chilesotti, a pioneer in deciphering lute tablature. Chilesotti published several volumes of lute songs over a period of 30 years, and Respighi, fascinated by their contents, would turn to them several times between 1917 and 1932, arranging selected pieces for orchestra into his ever-popular Ancient Airs and Dances.

Listening to these works in 2019 can be a slightly disconcerting experience. Our ears are used to historically informed performances that use gut strings, harpsichord continuo and historical reproductions of lutes and theorbos. By comparison, Nadia Boulanger’s 1937 recordings of Monteverdi employed a grand piano which, at the time, would not have seemed out of place at all. And yet, for all their old Renaissance charm, Respighi’s arrangements have a romantic lyricism that makes them sound anything but ancient. Respighi paid homage to early music in numerous other works, notably Gli Ucelli (The Birds), such Top. Igor Stravinsky & that his music and reputation are now inexplicably linked Nadia Boulanger 1937. with his Italian roots. Above. Frank Bridge

Where Respighi paid homage to the musical influences of his native country, English composer Benjamin Britten paid homage to the man who gave him his musical influences. Frank Bridge was a notable figure in the British music scene of the early 20th century. A well-known composer, though something of an outsider in English music circles, Bridge was a part of the pastoral school of composers that included Arnold Bax and Frederick Delius – quite removed from the structured modernism that was taking over Europe at the time. In 1924, at the Norfolk and Norwich Festival, Britten first heard Frank Bridge’s orchestral poem The Sea. The effect was immediate: Britten “was knocked sideways”.

Photos. The History Collection & Lebrecht Music & Arts / Alamy Stock Photo NATIONAL CONCERT SEASON 2019 18

Britten returned to the Festival as a 13-year-old in 1927, finally meeting Bridge through his viola teacher, Audrey Alston. As they say, the rest is history: Britten became Bridge’s only composition student, taking day trips to visit Bridge’s London house. There, he took in all he could from Bridge’s principles of composition study: “One was that you should find yourself and be true to what you found. The other – obviously connected with the first – was his scrupulous attention to good technique, the business of saying clearly what was in one’s mind.” Bridge introduced Britten to a plethora of music, from the cornerstones of the classical canon to the beautifully modern music of Alban Berg and Arnold Schoenberg (with whom Britten briefly considered studying).

In 1937, the British conductor Boyd Neel sought to commission a new work for that year’s Salzburg Festival. His orchestra, which performed repertoire from Corelli to Stravinsky, would comprise “the best 18 string players in the country”. Britten completed the commission in a little over a month. He worked furiously but efficiently, selecting a simple theme from his teacher’s 1906 Three Idylls for string quartet, on which he produced a series of ten short variations – turning a daunting assignment into a manageable task. Endearingly, Britten decided that each variation should represent an aspect of his teacher’s personality, using musical styles and techniques that his teacher had so lovingly introduced him to. As well as the principal theme, Britten alluded to five other works by Bridge, including The Sea (the first piece by Brige that Britten ever heard), Enter Spring, Summer, There is a Willow Grows Aslant a Brook, and the Piano Trio.

The work launched Britten’s career, and he would go on to become the pre-eminent British composer of his day. But the real triumph of his Variations on a Theme of Frank Bridge, was that it ensured his teacher’s legacy would never be forgotten. Writing to Britten, Bridge said “It is one of the few lovely things that has ever happened to me, and I feel the richer in spirit for it all, including the charming dedication.” There is a touch of Elgarian self-pity in Bridge’s letter of thanks, acknowledging that, while Britten’s piece Edward Benjamin would keep his name alive, it was ultimately Britten who Britten would gain immortality through his music.

AUSTRALIAN CHAMBER ORCHESTRA 19

Photo. Science History Images / Alamy Stock Photo NATIONAL CONCERT SEASON 2019 20 “There is a touch of Elgarian self- pity in Bridge’s letter of thanks, acknowledging that, while Britten’s piece would keep his name alive, it was ultimately Britten who would gain immortality through his music.”

While Britten’s Variations seem to strive for immortality, more than four decades later, Australia’s Richard Meale was grappling with mortality, dedicating Cantilena Pacifica to a friend who had recently passed away. Meale remains one of Australia’s most exceptional composers: a prominent advocate of new music by Boulez, Messiaen and Schoenberg, his own style evolved throughout the 20th century, embracing and mastering neo-Romanticism, serialism, atonalism and modernism, before rediscovering lyrical melody late in his career.

In the late 1970s, with much of his musical output firmly under the influence of European modernism and experimentalism, the most important stylistic change of Meale’s career would take place. A personal crisis had emerged: his adherence to the meticulously ordered neurotic convulsions of modernism was in direct conflict with his own honest artistic expression. This dilemma came to a head in 1979 as he was composing his second string quartet: “Sadly, my best friend, Stephen Wilson, died after a sudden onset of cancer. It now became a matter of necessity to write a piece that would be a memorial to him. So it became clear that the work could not be based on any artifice; its existence had to lie in its emotional truth.”

The quartet’s final movement, entitledCantilena Pacifica, could not be more different from Meale’s previous output. Its lyrical violin line sings a mournful melody over a tonal undercurrent in the strings. In that same year Meale returned to a lushness of orchestration not seen since Debussy’s La Mer, re-embracing the emotional possibilities of harmony and tonality in his orchestral work Viridian. Meale’s newfound style would culminate in his 1986 opera

AUSTRALIAN CHAMBER ORCHESTRA 21

Voss, an adaption of Patrick White’s novel of the same name, which would remain for many years the leading candidate for “the great Australian opera”.

On the other side of the world, Latvian composer Peˉteris Vasks was having a similar crisis of faith. His earliest works owed much to the experimental music of Witold Lutosławski and Krzysztof Penderecki, as well as the music of Iron Curtain composer Dmitri Shostakovich. In his native Latvia, however, Vasks suffered under the repressions of Russian cultural doctrine due to his religious beliefs and artistic convictions. It is out of this political turbulence that his present style – which combines nationalistic, moral and environmental concerns – was born.

Today, Vasks’ music is often grouped with Europe’s holy minimalists: John Tavener, Henryk Górecki and of course, Arvo Pärt, another avant-gardist who experienced religious and artistic repression from the Soviets, and consequently turned to a deep spirituality in his music. Because of his emigration to Berlin in the early 1980s, Pärt’s music

Top. Peˉteris Vasks. became widely known much sooner, such that his music Above. Arvo Pärt. and career became something of an inspiration to Vasks. In his 2001 composition Viatore, he pays homage to Pärt, whom he describes in the dedication as “my guiding light for many decades.”

In Viatore, Vasks pays tribute not only to Pärt’s intensely spiritual sound world, but to the very building blocks of his compositional technique, “tintinnabuli” (derived from the Latin word for “bell”), which sets one voice moving stepwise against a second voice moving in triads. In Vasks’s tribute, Pärt’s two voices become two musical images. One is a traveller who “arrives in this world, grows up in it, develops, falls in love, fills himself up and then departs”, the other is the “endless and starry universe” that illuminates his journey, in much the same way Pärt has illuminated Vasks’ journey for many years.

The works in this program are more than an eclectic assortment of fine, virtuosic music for string orchestra. As Lucretius observed, “the sum of things is ever being renewed … the generations, like runners, pass on the torch of life.” These works pay homage to each composer’s deepest influences and guiding lights, so as to create new music that illuminates the future.

Photo. Priit Grepp (Pärt) NATIONAL CONCERT SEASON 2019 22

AUSTRALIAN CHAMBER ORCHESTRA 23 THE ACO

“The Australian Chamber Orchestra is uniformly high-octane, arresting and never ordinary.” – The Australian, 2017

The Australian Chamber Orchestra lives and breathes music, making waves around the world for their 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 their commitment to creating transformative musical experiences. The Orchestra regularly collaborates with artists and musicians who share their ideology, from instrumentalists, to vocalists, to cabaret performers, to visual artists and film makers. In addition to their 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, Heroines, recorded with Australian soprano Nicole Car, and the soundtrack to the acclaimed cinematic collaboration, Mountain. aco.com.au

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Board Learning & Engagement Philanthropy Guido Belgiorno-Nettis am Tara Smith Jill Colvin Chairman Learning & Engagement Manager Director of Philanthropy Liz Lewin Caitlin Gilmour Lillian Armitage Deputy Emerging Artists & Regional Touring Executive Capital Campaign & Bequests Manager Bill Best Cressida Griffith Tom Tansey Judy Crawford Learning & Engagement Coordinator Events & Special Projects Manager John Kench Yeehwan Yeoh Anthony Lee Finance Investor Relations Manager Martyn Myer ao Fiona McLeod Julia Donnelly James Ostroburski Chief Financial Officer Data Administrator Heather Ridout ao Yvonne Morton Julie Steiner Financial Accountant & Analyst Australian Chamber Orchestra John Taberner Dinuja Kalpani ABN 45 001 335 182 Nina Walton Transaction Accountant Australian Chamber Orchestra Simon Yeo Samathri Gamaethige Pty Ltd is a not-for-profit company Business Analyst registered in NSW. Artistic Director Bonnie Ikeda In Person Richard Tognetti ao Project Finance Manager Opera Quays, 2 East Circular Quay, Sydney NSW 2000 Administrative Staff Market Development By Mail Executive Office PO Box R21, Royal Exchange Antonia Farrugia NSW 1225 Australia Richard Evans Director of Market Development Managing Director Telephone Caitlin Benetatos (02) 8274 3800 Alexandra Cameron-Fraser Communications Manager Box Office 1800 444 444 Chief Operating Officer Rory O’Maley Email Katie Henebery Digital Marketing Manager [email protected] Head of Executive Office Christie Brewster Web Claire Diment Lead Creative aco.com.au Human Resources Manager Emma Fisk Robin Hall CRM Executive Archival Administrator Isabelle Ulliana Marketing & Content Coordinator Artistic Operations

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NATIONAL CONCERT SEASON 2019 26 ACKNOWLEDGEMENTS The ACO thanks the following people for supporting the Orchestra.

ACO Medici Program Viola Sandra Cassell Nicole Divall Sandra Dent Ian Lansdown Dr William F Downey MEDICI PATRON Peter Evans The late Amina Belgiorno-Nettis Ripieno Viola Carol Farlow Philip Bacon am Suzanne Gleeson PRINCIPAL CHAIRS Lachie Hill Cello Richard Tognetti ao David & Sue Hobbs Artistic Director & Lead Violin Melissa Barnard Patricia Hollis Wendy Edwards Dr & Mrs J Wenderoth Penelope Hughes Peter & Ruth McMullin Julian Thompson Toni Kilsby & Mark McDonald Louise Myer & Martyn Myer ao The Grist & Stewart Families Judy Lee Andrew & Andrea Roberts John Mitchell Selwyn M Owen Helena Rathbone ACO COLLECTIVE Michael Ryan & Wendy Mead Principal Violin Pekka Kuusisto Michael Soo Kate & Daryl Dixon Artistic Director & Lead Violin Cheri Stevenson Satu Vänskä Horsey Jameson Bird Jeanne-Claude Strong Principal Violin Leslie C. Thiess Kay Bryan GUEST CHAIRS Dr Lesley Treleaven Principal Viola Brian Nixon Ngaire Turner peckvonhartel architects – Principal Timpani GC & R Weir Robert Peck am, Mr Robert Albert ao & Mrs Libby Albert Margaret & Ron Wright Yvonne von Hartel am, Mark Young Rachel Peck & Marten Peck Anonymous (18) Timo-Veikko Valve Principal Cello ESTATE GIFTS Peter Weiss ao The late Charles Ross Adamson Maxime Bibeau The late Kerstin Lillemor Anderson Principal Double Bass The late Mrs Sibilla Baer Darin Cooper Foundation The late Prof. Janet Carr The late Mrs Moya Crane CORE CHAIRS The late Colin Enderby The late Neil Patrick Gillies Violin ACO Bequest Patrons The late John Nigel Holman The late Dr S W Jeffrey am Glenn Christensen We would like to thank the following The late Pauline Marie Johnston Terry Campbell ao & people who have remembered the The late Mr Geoff Lee am oam Christine Campbell Orchestra in their wills. Please consider The late Shirley Miller Aiko Goto supporting the future of the ACO by The late Julie Moses Anthony & Sharon Lee Foundation leaving a gift. For more information The late Geraldine Nicoll Mark Ingwersen on making a bequest, or to join our The late Eva Nissen Prof Judyth Sachs & Julie Steiner Continuo Circle by notifying the The late Richard Ponder ACO that you have left a bequest, The late Geoffrey Francis Scharer Liisa Pallandi please contact Lillian Armitage, The late Ernest Spinner The Melbourne Medical Syndicate Capital Campaign & Bequests Maja Savnik Manager, on (02) 8274 3827. Alenka Tindale Ike See CONTINUO CIRCLE Di Jameson Steven Bardy Ruth Bell Dave Beswick Dr Catherine Brown-Watt psm & Mr Derek Watt

AUSTRALIAN CHAMBER ORCHESTRA Performance at the highest level is critical in business and the concert hall. We are dedicated supporters of both. www.jws.com.au

Photo © Julian Kingman 28

ACO Life Patrons ACO Reconciliation Circle Matt Comyn Chief Executive Officer, IBM The Reconciliation Circle directly Commonwealth Bank Mr Robert Albert ao & Mrs Libby Albert supports our music education Mark Coppleson Mr Guido Belgiorno-Nettis am initiatives for Aboriginal and Torres Mrs Barbara Blackman ao Strait Islander students, with the Judy Crawford Mrs Roxane Clayton aim to build positive and effective Rowena Danziger am & Mr David Constable am partnerships between Aboriginal Kenneth G. Coles am Mr Martin Dickson am & and Torres Strait Islander peoples Doug & Robin Elix Mrs Susie Dickson and the broader Australian Mrs Alexandra Martin community. To find out more please Daniel Gauchat Mrs Faye Parker contact Jill Colvin, Director of Principal, The Adelante Group Mr John Taberner & Mr Grant Lang Philanthropy, on (02) 8274 3835. Robert Gavshon & Mark Rohald Mr Peter Weiss ao Quartet Ventures Colin Golvan am qc & Debbie Golvan Kerry Landman James Gibson ACO Special Initiatives Peter & Ruth McMullin Chief Executive Officer Patterson Pearce Foundation Australia & New Zealand BNP Paribas The ACO thanks Dame Margaret The Hon Justice Anthe Philippides Scott ac dbe for establishing the Sam Ricketson & Rosie Ayton John Grill ao & Rosie Williams Dame Margaret Scott ac dbe Janet Holmes à Court ac Fund for International Regional Touring Party Simon & Katrina Holmes à Court Guests and Composition Observant Stephen Byrne Craig & Nerida Caesar Andrew Low SPECIAL COMMISSIONS Stephen & Jenny Charles David Mathlin PATRONS Justine Clarke Julianne Maxwell Mirek Generowicz Jennifer Darin & Dennis Cooper Dee de Bruyn & Mike Dixon Michael Maxwell BRANFORD MARSALIS CIRCLE Wendy Edwards Sam Meers ao Anita George Deborah & David Friedlander Naomi Milgrom ao Colin Golvan AM QC & Debbie Golvan David & Sandy Libling Joelle Goudsmit Jan Minchin Peter Joping AM QC Director, Tolarno Galleries 2018 EMANUEL SYNAGOGUE Craig Kimberley OAM & Jim & Averill Minto PATRONS Connie Kimberley Alf Moufarrige ao Andrew Low Lead patron Chief Executive Officer, Servcorp Anthony & Suzanne Maple-Brown The Narev Family Julianne Maxwell John P Mullen Chairman, Telstra Patrons Paddy McCrudden Leslie & Ginny Green Helen Telfer Martyn Myer ao The Sherman Foundation Rob & Jane Woods Gretel Packer Justin Phillips & Robert Peck am & Louise Thurgood-Phillips Chairman’s Council Yvonne von Hartel am peckvonhartel architects Corporate partner The Chairman’s Council is a limited Carol Schwartz am Adina Apartment Hotels membership association which supports the ACO’s international Paul Scurrah LUMINOUS CIRCLE touring program and enjoys private Chief Executive Officer, Virgin Australia Patrons events in the company of Richard Leslie & Ginny Green Tognetti and the Orchestra. For Glen Sealey more information please call Chief Operating Officer Supporters Tom Tansey, Events & Special Projects Maserati Australasia & South Africa Connie Kimberley & Manager, on (02) 8274 3828. Tony Shepherd ao Craig Kimberley oam Naomi Milgrom Foundation Guido Belgiorno-Nettis am Peter Shorthouse Martyn Myer ao & Louise Myer Chairman, ACO Senior Partner Crestone Wealth Management Peter & Victoria Shorthouse Philip Bacon am Director, Philip Bacon Galleries Peter Slattery Friends Managing Partner Andrew Clouston David Baffsky ao Johnson Winter & Slattery Detached Hobart Marc Besen ac & Eva Besen ao Malcolm Turnbull & Peter Jopling am qc Craig & Nerida Caesar Lucy Turnbull ao Patricia Mason & Paul Walker Michael & Helen Carapiet Vanessa Wallace & Alan Liddle John Casella Paul Whittaker Managing Director, Casella Family Chief Executive Officer Brands (Peter Lehmann Wines) Australian News Channel Michael Chaney ao Rob & Jane Woods Chairman, Wesfarmers

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Hiromasa Yamamoto these annual programs. To discuss Anthony Strachan Managing Director & CEO making a donation to the ACO, Leslie C Thiess Mitsubishi Australia Ltd or if you would like to direct your Pamela Turner Peter Yates am support in other ways, please Shemara Wikramanayake Deputy Chairman contact Jill Colvin, Director of Cameron Williams Myer Family Investments Ltd & Philanthropy, on (02) 8274 3835. Director AIA Ltd $5,000–$9,999 Program names as at 7 May 2019 Peter Young am & Susan Young Jennifer Aaron The Belalberi Foundation PATRONS Helen Breekveldt ACO Next Marc Besen ac & Eva Besen ao Veronika & Joseph Butta This philanthropic program for Janet Holmes à Court ac Craig & Nerida Caesar young supporters engages with Stephen & Jenny Charles Australia’s next generation of $20,000+ Roxanne Clayton Caroline & Robert Clemente great musicians while offering Australian Communities Foundation – Annie Corlett am & Bruce Corlett am unique musical and networking Ballandry (Peter Griffin Family) Fund Carol & Andrew Crawford experiences. For more information Dr Catherine Brown-Watt psm & Darin Cooper Foundation please call Jill Colvin, Director of Mr Derek Watt Dee de Brugn & Michael Dixon Philanthropy, on (02) 8274 3835. Euroz Charitable Foundation Ari & Lisa Droga Adrian Barrett Daniel & Helen Gauchat Maggie & Lachlan Drummond Justine Clarke Andrew Low Suellen Enestrom Este Darin-Cooper & Chris Burgess Jim & Averill Minto Paul R Espie ao Anna Cormack Louise & Martyn Myer Foundation Euroz Securities Ltd. Sally Crawford The Barbara Robinson Family Bridget Faye am Shevi de Soysa Margie Seale & David Hardy JoAnna Fisher & Geoff Weir Amy Denmeade Rosy Seaton & Seumas Dawes Cass George Jenni Deslandes & Hugh Morrow Tony Shepherd ao Gilbert George Sarah & William Forde Susan Thacore Colin Golvan am qc & Dr Anita George E Xipell Dr Deborah Golvan Rebecca Gilsenan & Grant Marjoribanks Peter Young am & Susan Young Tom & Julie Goudkamp The Herschell Family Anonymous (2) Ms Joelle Goudsmit Ruth Kelly Warren Green Evan Lawson $10,000–$19,999 Kim & Sandra Grist Aaron Levine & Daniela Gavshon Robert Albert ao & Libby Albert Liz Harbison Royston Lim Geoff Alder Anthony & Conny Harris Dr Caroline Liow Karen Allen & Dr Rich Allen Annie Hawker Dr Nathan Lo Allens – in memory of Ian Wallace Doug Hooley Pennie Loane Walter Barda & Thomas O’Neill Peter Jopling am qc Carina Martin Steven Bardy & Andrew Patterson I Kallinikos Paddy McCrudden Michelle Belgiorno-Nettis The Key Foundation Rachael McVean Rod Cameron & Margaret Gibbs Lorraine Logan Pat Miller Jane & Andrew Clifford Joan Lyons Bede Moore In memory of Wilma Collie Macquarie Group Foundation Lucy Myer & Justin Martin Judy Crawford The Alexandra & Lloyd Martin James Ostroburski Eureka Benevolent Foundation – Family Foundation Nicole Pedler & Henry Durack Belinda Hutchinson am & Neometals Ltd Kristian Pithie Roger Massy-Greene Morgan & Bree Parker Rob Clark & Daniel Richardson Mr & Mrs Bruce Fink K & J Prendiville Foundation Emile & Caroline Sherman Dr Ian Frazer ac & Mrs Caroline Frazer John Rickard Tom Smyth Leslie & Ginny Green Fe & Don Ross Michael Southwell John Griffiths & Beth Jackson In memory of Lady Maureen Schubert – Helen Telfer Tony & Michelle Grist Marie-Louise Thiele & Sophie Thomas G B & M K Ilett Felicity Schubert Max Tobin Miss Nancy Kimpton Greg Shalit & Miriam Faine Nina Walton & Zeb Rice Irina Kuzminsky & Mark Delaney Edwina & Paul Skamvougeras Peter Wilson & James Emmett Kerry Landman J Skinner Thomas Wright Anthony & Sharon Lee Foundation Petrina Slaytor Anonymous (2) Liz & Walter Lewin Jeanne-Claude Strong Anthony & Suzanne Maple-Brown Rosemary White National Patrons’ Program Jennie & Ivor Orchard Rob & Jane Woods James Ostroburski & Leo Ostroburski Dr Mark & Anna Yates Thank you to all our generous Sandra Plowman Peter Yates am & Susan Yates donors who contribute to our Bruce & Joy Reid Trust Anonymous (2) Learning & Engagement, Excellence, Angela Roberts Instruments, International Touring Ryan Cooper Family Foundation $2,500–$4,999 and Commissioning programs. Paul Schoff & Stephanie Smee Annette Adair We are extremely grateful for the Servcorp Peter & Cathy Aird support we receive to maintain Jon & Caro Stewart Rae & David Allen

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Warwick Anderson Michael & Barbara Coombes Diana McLaurin Will & Dorothy Bailey Charitable Gift Anne Craig Helen & Phil Meddings Lyn Baker & John Bevan Cruickshank Family Trust Michelle & Brett Mitchell The Beeren Foundation John Curotta Peter & Felicia Mitchell Vicki Brooke Peter & Penny Curry Dr Robert Mitchell Neil & Jane Burley Sharlene Dadd Baillieu & Sarah Myer Mr Stephen Byrne Michael & Wendy Davis Dr G Nelson Laurie Cox ao & Julie Ann Cox am George & Kathy Deutsch Nola Nettheim Anne & Thomas Dowling Martin Dolan Barry Novy & Susan Selwyn Don & Marie Forrest In memory of Ray Dowdell Kenichi & Jeanette Ohmae Elizabeth Foster Dr William F Downey Mimi & Willy Packer Anne & Justin Gardener Emeritus Professor Dexter Dunphy Benita Panizza Anita George Peter Evans Catherine Parr & Paul Hattaway Paul Greenfield & Kerin Brown Julie Ewington Leslie Parsonage Peter & Helen Hearl Bridget Faye am Rob Priestly Merilyn & David Howorth Penelope & Susan Field Greeba Pritchard Warwick & Ann Johnson Jean Finnegan & Peter Kerr Dr S M Richards am & Mrs M R Richards Phillip & Sairung Jones Ron Forster & Jane Christensen John & Virginia Richardson Charlie & Olivia Lanchester Chris & Tony Froggatt Em Prof A W Roberts am Janet Matton & Robin Rowe Brian Goddard Mark & Anne Robertson Paddy McCrudden Louise Gourlay oam Philip Rossi Peter & Ruth McMullin Camilla & Joby Graves John & Donna Rothwell Jane Morley Emeritus Professor William & Irene Ryan & Dean Letcher qc Sandra & Michael Paul Endowment Mrs Ruth Green J Sanderson Prof David Penington ac Kathryn Greiner ao In Memory of H. St. P. Scarlett Patricia H Reid Endowment Pty Ltd Grussgott Trust David & Daniela Shannon Ralph & Ruth Renard In memory of Jose Gutierrez Diana Snape & Brian Snape am Tiffany Rensen Paul & Gail Harris Dr Peter & Mrs Diana Southwell-Keely D N Sanders Kingsley Herbert Kim & Keith Spence Carol Schwartz am & Alan Schwartz am Linda Herd Cisca Spencer Jenny Senior & Jenny McGee Jennifer Hershon The Hon James Spigelman ac qc Maria Sola Christopher Holmes & Mrs Alice Spigelman am Ezekiel Solomon am Michael Horsburgh am & Harley Wright & Alida Stanley Mark Stanbridge Beverley Horsburgh Dr Charles Su & Dr Emily Lo Josephine Strutt Gillian Horwood Team Schmoopy Helen Telfer Sarah Hue-Williams Robyn Tamke Rob & Kyrenia Thomas Penelope Hughes Jane Tham & Philip Maxwell Ralph Ward-Ambler am & Dr & Mrs Michael Hunter Dr Jenepher Thomas Barbara Ward-Ambler Stephanie & Mike Hutchinson Mike Thompson Kathy White Dr Anne James & Dr Cary James Joanne Tompkins & Alan Lawson Kim Williams am Owen James Anne Tonkin Anne & Bill Yuille Anthony Jones & Julian Liga Ngaire Turner Rebecca Zoppetti Laubi Brian Jones Kay Vernon Anonymous (4) Bronwen L Jones John & Susan Wardle Nicky Joye Simon Watson $1,000–$2,499 Justin Foundation Brian Zulaikha & Janet Laurence Mrs Angela Karpin Anonymous (24) Jane Allen Professor Anne Kelso ao Joanna Baevski Josephine Key & Ian Breden A & A Banks $500–$999 In memory of Francis William King Adrienne Basser Dr Judy Alford Lionel & Judy King Doug & Alison Battersby Elsa Atkin am Delysia Lawson Robin Beech Ms Rita Avdiev Professor Gustav Lehrer faa am & Jessica Block Christine Barker Mrs Nanna Lehrer In memory of Peter Boros In memory of Dr Hatto Beck Angela & Geoff Loftus-Hills Brian Bothwell Kathrine Becker Megan Lowe Diana Brookes Ruth Bell Diana Lungren Elizabeth Brown L Bertoldo Hyne Nicholas Maartens Sally Bufé Philomena Billington Prof Roy & Dr Kimberley MacLeod Gerard Byrne & Donna O’Sullivan Lynne & Max Booth Don Maloney The Caines Jan Bowen am Garth Mansfield oam & Ray Carless & Jill Keyte Denise Braggett Margaret Mansfieldoam Ann Cebon-Glass Henry & Jenny Burger Mr Greg & Mrs Jan Marsh Connie Chaird Mrs Pat Burke James Marshall Julia Champtaloup & Andrew Rothery Elise Callander Patricia Mason & Paul Walker Alex & Elizabeth Chernov Ian & Brenda Campbell Greg & Jan Marsh Kaye Cleary Joan Carney James Marshall Dr Peter Clifton Pierre & Nada Chami Jane Matthews ao Richard Cobden sc Fred & Angela Chaney Kevin & Deidre McCann Angela & John Compton Fred & Jody Chaney Abbey McKinnon Leith & Darrel Conybeare Patrick Charles

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Colleen & Michael Chesterman Prof. Graham & Felicity Rigby Carla Zampatti Foundation Richard & Elizabeth Chisholm Jakob Vujcic & Lucy Robb Vujcic Sally Collier Stephen Chivers Jennifer Royle Michael Cowen & Sharon Nathani Captain David Clarke Trish & Richard Ryan Marco D’Orsogna Warren & Linda Coli Peter & Ofelia Scott Dr William Downey Dr Jane Cook Margaret Seares Garry & Susan Farrell R & J Corney Bernard Seeber Gammell Family Sam Crawford Architects Jan Seppelt Adriana & Robert Gardos Donald Crombie am Mr Michael Sharpe Daniel & Helen Gauchat Julie Crozier & Peter Hopson Ann & Quinn Sloan Edward Gilmartin Marie Dalziel Michael Southwell Lindy & Danny Gorog Family Foundation Amanda Davidson Ross Steele am Tom & Julie Goudkamp Mari Davis Roger Steinepreis Laura Hartley & Stuart Moffat Dr Michelle Deaker Cheri Stevenson Philip Hartog Amy Denmeade C A Scala & D B Studdy Peter & Helen Hearl Jennifer Douglas Dr Douglas Sturkey cvo am Brendan Hopkins In memory of Raymond Dudley In memory of Dr Aubrey Sweet Angus & Sarah James Sandra Dunn Gabrielle Tagg Paul & Felicity Jensen John Field Susan & Yasuo Takao Jos Luck Penny Fraser C Thomson Mangala SF Kerry Gardner am Juliet Tootell Media Super Don & Mary Glue Phi Phi Turner Nelson Meers Foundation Leo & Paula Gothelf TWF See & Lee Chartered Accountants Daniel & Jo Phillips Professor Ian Gough am & Joy Wearne Sam Reuben & Lilia Makhlina Dr Ruth Gough GC & R Weir Ryan Cooper Family Foundation Carole A P Grace Sally Willis Andrew & Philippa Stevens Jennifer Gross Joyce Yong Dr Lesley Treleaven Kevin Gummer & Paul Cummins Anonymous (37) John Taberner & Grant Lang Rita Gupta The late Ian Wallace & Kay Freedman Rob Hamer Jones Lesley Harland ACO Instrument Fund Rohan Haslam ACO Instrument Fund The Instrument Fund offers investors Sandra Haslam the opportunity to participate in Directors Dr Penny Herbert in memory the ownership of a bank of historic of Dunstan Herbert Bill Best – Chair stringed instruments. The Fund’s Dr Marian Hill Jessica Block assets are the 1728/29 Stradivarius Sue & David Hobbs Edward Gilmartin violin, the 1714 ‘ex Isolde Menges’ Geoff Hogbin John Leece am Joseph Guarnerius filius Andreæ violin Peter & Edwina Holbeach Julie Steiner and the 1616 ‘ex-Fleming’ Brothers Geoff & Denise Illing John Taberner Amati Cello. For more information Peter & Rosemary Ingle please call Yeehwan Yeoh, Investor Di Jagelman Relations Manager on (02) 8274 3878. Caroline Jones ACO US Directors Bruce & Natalie Kellett Patrick Loftus-Hills – Co-Chair Ruth Kelly PATRON Peter Weiss ao Sally Phillips Paridis – Co-Chair Ashley Lucas Camilla Bates Geoffrey Massey Jessica Block FOUNDING PATRONS Dr Donald & Mrs Jan Maxwell Judy Crawford Susan Maxwell-Stewart Visionary $1m+ Camilla Marr Stephen McConkey Peter Weiss ao David McCann Pam & Ian McDougall Steve Paridis Brian & Helen McFadyen Concerto $200,000–$999,999 John Taberner J A McKernan The late Amina Belgiorno-Nettis Alastair Walton Margaret A McNaughton Naomi Milgrom ao Justine Munsie & Rick Kalowski Nevarc Inc. Octet $100,000–$199,999 ACO UK Directors Andrew Naylor John Taberner John Taberner – Chair J Norman Quartet $50,000 – $99,999 Paul O’Donnell Professor Edward Byrne ac John Leece am & Anne Leece Robin Offler Richard Evans E Xipell Mr Selwyn Owen Alison Harbert S Packer Rebecca Hossack Yvonne von Hartel am & Robert Peck INVESTORS Kathy Lette Ian Penboss Stephen & Sophie Allen Sonya Leydecker Helen Perlen John & Deborah Balderstone The Rt Hon. the Baroness Liddell Kevin Phillips Guido Belgiorno-Nettis am & of Coatdyke Erika Pidcock Michelle Belgiorno-Nettis Paul Orchart Beverly & Ian Pryer Bill Best Patricia Thomas obe Jennifer Rankin Benjamin Brady Alison Reeve Sam Burshtein & Galina Kaseko

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ACO Committees David Abela Alexandra Ridout Managing Director Lynne Testoni 3 Degrees Marketing Sue Tobin SYDNEY DEVELOPMENT Colin Golvan am qc Susan Wynne COMMITTEE James Ostroburski Heather Ridout ao (Chair) Brisbane CEO Philip Bacon Chair Kooyong Group Australian Super Kay Bryan Rachel Peck Andrew Clouston Guido Belgiorno-Nettis am Principal Caroline Frazer Chairman peckvonhartel architects ACO Dr Ian Frazer ac Ken Smith Cass George Gauri Bhalla CEO & Dean ANZSOG Di Jameson CEO Wayne Kratzmann Curious Collective Susan Thacore Marie-Louise Theile John Kench Peter Yates am Beverley Trivett Jason Li Deputy Chairman, Myer Family Investments Ltd & Chairman Vantage Group Asia Director, AIA Ltd ACO Government Partners Jennie Orchard EVENT COMMITTEES We thank our Government Partners Peter Shorthouse for their generous support Senior Partner Sydney Crestone Wealth Management Judy Crawford (Chair) Mark Stanbridge Lillian Armitage Partner, Ashurst Jane Clifford Deeta Colvin The ACO is assisted by the Australian Government through the Alden Toevs Australia Council, its arts funding and advisory body. Barbara Coombes Lucinda Cowdroy THE MELBOURNE COMMITTEE Fay Geddes Martyn Myer ao (Chair) Julie Goudkamp Chairman, Cogslate Ltd Lisa Kench President, The Myer Foundation Liz Lewin The ACO is supported by the NSW Government through Create NSW. Peter McMullin (Deputy Chair) Julianne Maxwell Chairman, McMullin Group Rany Moran

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@A_C_O #ACO19 33 ACO PARTNERS We thank our Partners for their generous support.

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