NATIONAL TOUR PARTNER The Baroque period was one of great change and is famous for its elaborate fi ne detail in sculpture, architecture and music. The creativity that fosters this kind of innovation continues today. For over 55 years Transfi eld has applied similar creativity to the many engineering projects it has pioneered and today our investment in solar energy technology continues that tradition. Transfi eld’s founder, my father Franco, recognised a very clear link between the creativity expressed in art and that which is applied in business. In 2011 we celebrate the 50 year anniversary of the establishment of the Transfi eld Art Prize, an award created by Franco, which led to the founding of the Biennale of Sydney. Next year marks the 18th Biennale and Transfi eld is proud to remain its founding partner. Transfi eld has supported the ACO for over a decade. In that time Richard Tognetti and his wonderfully talented musicians have not only inspired Transfi eld, they have captivated local and international audiences with their delicately crafted and uniquely magnifi cent music. As Chairman of the ACO, it is a privilege to welcome you to this performance of Baroque Virtuosi.

NATIONAL TOUR PARTNER

GUIDO BELGIORNO-NETTIS AM JOINT MANAGING DIRECTOR, TRANSFIELD HOLDINGS MESSAGE FROM THE GENERAL MANAGER

FREE PROGRAMS During the last couple of seasons, our audiences around To save trees and money, we the country have responded so warmly to the opportunity ask that you share one program to hear members of the ACO stepping into the solo between two people where possible. spotlight that we have decided to make ACO soloists a central feature of this national tour. PREPARE IN ADVANCE A free PDF and e-reader version Five ACO musicians step forward in this concert, three of the program are available at of whom, Helena Rathbone, Satu Vänskä and Christopher aco.com.au and on the ACO Moore, will be familiar to our subscribers from concerto iPhone app one week before each tour begins, together with music performances in previous years. Th is time we’re immensely clips, videos and podcasts. proud to include two other members of the ACO as soloists – violinists Madeleine Boud and Mark Ingwersen, HAVE YOUR SAY who join Helena and Satu in Vivaldi’s Concerto for four We invite your feedback about this concert at violins. aco.com.au/yoursay or by email to [email protected]. It is particularly fi tting that Transfi eld should be the National Tour Partner for this series of concerts. Since ACO COMMUNITY 2000, Transfi eld has been an important supporter of the For behind-the-scenes news, sign ACO, founded on a fi rm belief in what the ACO stands for up for the ACO’s free monthly and our mission to bring great musical performances to enewsletter or become an ACO Facebook fan or Twitter follower. audiences all over the country. Underpinned by Transfi eld’s support for more than a decade, the ACO has been able ACO ENEWSLETTER to attract and retain the wonderful musicians who make Sign up to the ACO enewsletter up the Orchestra, and those strengths are highlighted and receive everything from videos and concert programs throughout this program. to special offers including invitations to meet the musicians. Th is concert also allows the newest addition to the Visit aco.com.au for details. ACO’s gallery of legendary instruments to make its public debut. Inspired by the example of the Commonwealth ACO ON THE RADIO Bank and by generous individuals such as Peter Weiss, ABC Classic FM: the ACO has established an instrument fund which will Tue 5 Jul 8.30pm enable our musicians to play on great instruments of the Direct to air: Baroque Virtuosi calibre of Guarneri and Guadagnini. Th e ACO Instrument concert Fund’s very fi rst instrument is a stunning 1728/29 Sat 8 Oct 1pm Schubert String Quintet concert Stradivari violin played by Satu Vänskä and we very much Mon 19 Sep 8pm hope that you will be so inspired by its exquisite tonal Direct to air: Viennese Serenade qualities that you will join the growing number of investors concert in the Fund who participate not only in the ownership of a remarkable violin but also in a sound investment. NEXT TOUR Viennese Serenade 12 – 25 September TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

2 AUSTRALIAN CHAMBER ORCHESTRA TOUR FOUR BAROQUE VIRTUOSI HELENA RATHBONE Lead Violin SATU VÄNSKÄ Violin MADELEINE BOUD Violin SPEED READ MARK INGWERSEN Violin This program contrasts fi ve CHRISTOPHER MOORE Viola vibrant, virtuosic works composed within a four-decade span in the HANDEL TELEMANN fi rst half of the 1700s, with four Concerto Grosso, Viola Concerto Australian compositions written during the last four decades. Op.6 No.12 Two concerti grossi book-end the SCULTHORPE program: the fi rst by Handel, who GREENBAUM Port Essington composed over two dozen “grand concertos”, and the other by Moments of Falling Corelli who, although he did not TARTINI invent the concerto grosso, was BRUMBY (arr. Kreisler) its fi rst major exponent. Th e Phoenix and the Violin Sonata, Op.1 No.4, In a concerto grosso the soloist’s Turtle I and III “Th e Devil’s Trill” role is taken by a small group — a trio or quartet — playing LEDGER against the larger ensemble. CORELLI Such a format was revived Johann has left the Concerto Grosso, in the 20th century: think of building Op.6 No.2 Elgar’s Introduction and Allegro [WORLD PREMIERE] or Schoenberg’s Concerto for String Quartet and Orchestra. In a similar fashion Sculthorpe’s Port VIVALDI Essington uses a trio to represent Concerto for four violins, “civilisation” while the orchestra represents the bush. Ledger’s RV580 Johann has left the building, Brumby’s The Phoenix and the INTERVAL Turtle and Greenbaum’s Moments of Falling don’t utilise the concerto grosso format, but each Approximate durations (minutes): in its own way — the anachronistic 12 – 7 – 6 – 4 – 9 – INTERVAL – 12 – 15 – 11 – 10 use of harpsichord or the atavistic Th e concert will last approximately 2 hours including a soundworld of minimalism — 20 minute interval. harks back to something earlier, while remaining verifi ably contemporary. MELBOURNE SYDNEY BRISBANE Town Hall City Recital Hall QPAC Telemann’s Viola Concerto was Sun 3 Jul 2.30pm Angel Place Mon 11 Jul 8pm the fi rst such solo work for the Mon 4 Jul 8pm Sat 9 Jul 7pm viola and remains a popular showpiece today. Tartini’s “Devil’s Tue 12 Jul 8pm WOLLONGONG Trill” Sonata is much-loved of ADELAIDE Wed 13 Jul 7pm IPAC violinists and is heard here in Town Hall Th u 14 Jul 7.30pm an orchestral arrangement by Tue 5 Jul 8pm SYDNEY the virtuoso Fritz Kreisler. And Opera House a concerto grosso of sorts from Sun 10 Jul 2pm Vivaldi: Richard Tognetti said, “I always wanted to put Th e Australian Chamber Orchestra reserves the right to alter scheduled Sculthorpe and Vivaldi side by programs or artists as necessary. side, wondering whether these strange bedfellows might actually make congenial compadres.” Cover photo: Satu Vänskä © Gary Heery

AUSTRALIAN CHAMBER ORCHESTRA 3 AUSTRALIA’S ONLY STRADIVARIUS

In this concert, you will hear a 1728/29 Stradivarius violin which is, to our knowledge, the only Stradivarius violin to be owned in Australia. Satu Vänskä will be playing it in this and all future ACO national and international tours, sharing this exquisite work of art with all of us.

4 AUSTRALIAN CHAMBER ORCHESTRA Australian Chamber Orchestra Instrument Fund Patron: Peter Weiss AM

Th e ACO has been able to purchase this instrument through the creation of the ACO Instrument Fund. Th e Fund has been launched with the assistance of a most generous donation by Peter Weiss, who in 2007 also purchased the 1729 Guarneri fi lius Andreæ cello played by Timo-Veikko Valve, for use by the ACO. Investors are invited to make donations to the ACO or to buy units in the Fund, which has purchased this Stradivarius and will go on to invest in further high value instruments for the use of ACO musicians. Historically, such instruments have provided investors with a solid return, as well as a great deal of pleasure from hearing them played by the world’s fi nest musicians. Led by Peter Weiss, our Founding Patrons include Naomi Milgrom AO, Amina Belgiorno-Nettis, John Leece OAM and Anne Leece; Founding Investors include Guido Belgiorno-Nettis AM and Michelle Belgiorno-Nettis. If you are interested in learning more about the Fund, please contact Jessica Block, ACO Deputy General Manager at [email protected] or on (02) 8274 3803. Peter Weiss with Timo-Veikko Valve

Name the Strad

Instruments of this rarity and quality You are invited to suggest a suitable frequently have nicknames, but our new nickname for this Stradivarius. To do so, Stradivarius is yet to be named. visit aco.com.au/stradivarius. A winning name will be selected following this tour Th e Guarneri del Gesù violin bought by an and the winner will be invited to meet Satu anonymous benefactor in 2007 for the use of Vänskä backstage at a future concert, to see Richard Tognetti is known as the ‘Carrodus’, and hear the instrument up close. after the Victorian English violinist, John Carrodus, who owned the instrument. Th e Guarneri fi lius Andreæ cello is known as the ‘Weiss’ cello, after its owner, Peter Weiss.

AUSTRALIAN CHAMBER ORCHESTRA 5 HANDEL Concerto Grosso in B minor, Op.6, No.12 (Composed 1739) I. Largo II. Allegro III. Aria: Larghetto e piano IV. Largo V. Allegro

“Resourceful” is the word which comes to mind with Handel. His compositional technique was so assured that he could confi dently turn his hand to whatever best seemed to suit the public mood (and therefore improve his George Frideric fi nancial situation). Th ankfully, his musical skill was such HANDEL that even when he composed at speed, hoping to make a quick buck, the results have usually endured as wonderful (b. Halle, 1685 — d. London, 1759) works of art.

Handel is one of the giants of Speed was of the essence in the autumn of 1739. Handel the German Baroque and an had, in the past few years, seen his position as London’s exact contemporary of Bach, pre-eminent opera composer fade, as his audience’s tastes but he made his career in moved towards more down-to-earth fare, and as he battled England where he was a central a rival opera house. Appealing to their better selves, he fi gure of London musical life in the 1700s, transforming the won back considerable ground with a series of oratorios; world of opera and oratorio. but these were chiefl y associated with Lent and Easter, and public sentiment was anyway divided over the propriety of spending the holiest time of the year in a concert hall.

What did the adaptable Handel do? On 22 November (St Cecilia’s Day), fi ttingly, he opened a concert series, including his new Ode for that patron saint of musicians. Unfortunately the series was wracked with problems that would chill the blood of any insurance broker. Th e War of Jenkin’s Ear had reluctantly been declared on the Spanish colonies, so many people didn’t feel like going out for a good time. Th e weather was against Handel too: the Th ames had frozen over in one of the bitterest seasons on record. Despite the pleas of the theatre management at Lincoln’s Inn Fields that “Particular Preparations are making to keep the House warm” and that “Particular care will be taken to have Guards plac’d to keep all the Passages clear from the Mob”, the audience stayed away in droves. Th en the singers fell sick too. ACO Performance History Passing not quite unnoticed in this ill-fated concert Handel’s Concerto Grosso in B minor, Op.6, No.12, has series was a collection of “Grand Concertos”, which were only ever been included in designed as interludes to rest ears wearied by the mostly subscription concerts in 2002. vocal content of the program. Between 29 September and

6 AUSTRALIAN CHAMBER ORCHESTRA 30 October Handel wrote at unbelievable speed, producing a concerto grosso every two days or so. Th e result was his Op.6, containing “Twelve Grand Concertos, in Seven Parts, for four Violins, a Tenor [viola], a Violoncello, with a Th orough-Bass for the Harpsichord”. Th e set is now widely considered the pinnacle of Handel’s composition for instrumental ensemble.

Th ey were undoubtedly inspired by the concerti grossi of Arcangelo Corelli, and those of his pupil Geminiani. Th e English had learned to appreciate these even before Handel came on the scene. Although Handel would have known the “other” Italian concerto style (similar to the three-movement form that Vivaldi made famous), he was deliberately catering to public taste.

Th e title concerto grosso is literally “big concerto”, or “grand concerto”, as Handel more elegantly put it. Whereas these days we tend to think of a concerto in terms of a single soloist pitted competitively against an orchestra, a “big” concerto used a group of soloists instead of just one. In this case (Op.6, No.12) they are a gang of three, the “concertante”, working alternately with and against their colleagues in the larger “ripieno”.

While the infl uence of Corelli and Geminiani is obvious, musical scholarship has found that the ever-resourceful Handel borrowed from other colleagues too. George Muff at’s keyboard suites and Scarlatti’s harpsichord exercises come in for their own fair share of the sincerest form of fl attery; which is how such “theft” would have been comfortably perceived in the 18th century.

Th e contrast between fast and slow movements in No.12 is a result of the concerto’s debt to dance suites and other popular instrumental forms. Th e Aria is closely related to Further listening and the minuet, while the slow fourth movement and dashing reading “dotted rhythm” fi fth movement fugue combine to create Several fi ne recordings of something very close to a French overture. Handel’s many concerti grossi exist: a particularly exciting Although the concert series for which the concertos reading of the Op.6 set of were designed didn’t make him wealthy, Handel had 12 concertos is that by The the satisfaction of seeing published copies of Op.6 sell Academy of Ancient Music, to subscribers for their own use. Fans included most of directed by violinist Andrew the royal family, London’s two biggest impresarios, and Manze in a 2–CD set (Harmonia Mundi HMU907228/29). a number of the major musical societies in England and E.J. Dent’s early, infl uential Ireland. Th e resourceful composer had judged his public biography of Handel is well and triumphed once again. now available online (and downloadable for e-book readers) at gutenberg.org/ K.P. KEMP ebooks/9089. © 2002

AUSTRALIAN CHAMBER ORCHESTRA 7 GREENBAUM Moments of Falling (Composed 1988/1996)

Th e composer writes:

Th is piece is dedicated to Estonian composer Arvo Pärt, and particularly in respect to his Cantus in Memory of Benjamin Britten (1977/1980). I fi rst heard the work in 1987 as a 20-year-old undergraduate student. I was deeply impressed, and some months later in 1988 I attempted a similar mensuration canon structure, but in a compound metre and also incorporating a phasing technique learned Stuart GREENBAUM from Steve Reich. Just another experiment in a long line of minimalist pieces I wrote at that time – this one was (b. Melbourne, 1966) excitingly called “process #19”.

Greenbaum’s infl uences include But this particular “process” stayed with me and in 1990 pop, jazz and minimalism, I made an electronic version for a play, Atlanta (Joanna but he is also deeply rooted Murray-Smith), which involves a woman in her late in Australian traditions of composition and conceptions of twenties who has “moments of falling” where she imagines place. He is now Professor and what it must be like to walk through glass and come Convenor of Composition at out on the other side. And so the title stuck. In 1996, I Melbourne University. orchestrated the piece for strings, which is now the fi nal version.

A mode is a form of musical Th e most overtly minimalist piece I have written, Moments scale, and the Aeolian mode is of Falling is constructed around a cascading 16-note a scale which can be replicated motif in the Aeolian mode. It features a high degree of by playing an ascending sequence of white notes on repetition, but as the motif is overlaid at diff erent speeds the piano, starting on an A. in diff erent octaves, no bar is ever exactly the same.

STUART GREENBAUM © 2010

Further reading and listening Stuart Greenbaum is one of several Australian composers interviewed in David Bennett’s enlightening (if infuriating) Sounding Postmodernism (Australian Music Centre, 2008). He also maintains an informative personal website (including many audio samples, and a full discography) at stuartgreenbaum.com.

8 AUSTRALIAN CHAMBER ORCHESTRA BRUMBY Th e Phoenix and the Turtle I and III (Composed 1974) I. Andante semplice III. Lusingando

Th e composer writes:

Th e Phoenix and the Turtle was commissioned by Musica Viva for the 1974 Australian tour of the Academy of St Martin-in-the-Fields under Neville Marriner. I had recently returned from twelve months’ study in Rome with Franco Evangelisti, and felt that the time had come to take a stand with regard to my personal style of composition. For over Colin BRUMBY ten years I had been working in the twelve-tone method, (b. Melbourne, 1933) but had become increasingly dissatisfi ed as to the validity of its philosophical basis. More importantly, I had grown One of the most prolifi c less than satisfi ed with the sound that resulted from its Australian composers, Brumby application. Th e Musica Viva commission provided me with has written in almost every genre and in a myriad of styles, an ideal opportunity to ask myself what I felt the stuff of from austere atonality in the music to be really about. 1960s to a pleasing tonality — starting with The Phoenix and Inspiration for the work came from the Shakespearean the Turtle — from the 1970s on. poem of the same name, which “celebrates the decease of two, chaste lovers, who were perfectly united in an ideal passion”. Th e idea of regeneration, symbolised by Twelve-tone method refers to the phoenix, is one which I have long found attractive a style of composition in which because of its close relationship to the idea of continuous all 12 notes of the chromatic variation: continually creating something new from the scale are accorded equal importance, unlike traditional ashes of the old. For this principle I openly acknowledge tonal harmony where key my indebtedness to Schoenberg, but my application of it centres are given greater is in a clearly tonal context, stylistically far removed from importance than other notes. Schoenberg’s. My aim was not to seek some literal musical parallel to the poem, even if this were possible, but rather to let the poem act as a catalyst on my musical thinking. Amongst the music I admire most, various “love music” features prominently – Tristan und Isolde, Pelleas et Melisande, Romeo and Juliet – and this was to be my essay in that genre.

I resolved to take as simple a musical idea as possible, the Further listening intervals of the second (with its inversion, the seventh) and Colin Brumby’s music is well of the third (with its inversion, the sixth). With this basic represented by the overview material I determined to “start again”; and hence, when the albums Music of Colin Brumby work was completed, I felt that my personal musical style (Jade JADCD1082) and The had in a sense been reborn from the ashes of the old. Trenchant Troubadour (Grevillea GRVCD-5100), available from the Australian Music Centre © COLIN BRUMBY (australianmusiccentre.com.au).

AUSTRALIAN CHAMBER ORCHESTRA 9 LEDGER Johann has left the building (Composed 2007)

Th e composer writes:

Johann has left the building was composed in 2007 from material I had that dated back to 1997. At its core are Bach-like chordal movements and it is scored for a typically baroque ensemble of strings and harpsichord. However, the piece is in the very “un-Baroque” time signature of 7/4 and this is further complicated by some alien tones and clusters that fl oat over the top of the whole thing. Furthermore, some of the gestures in the strings have a rock and roll infl uence. James LEDGER (b. Perth, 1966) I haven’t quite decided if it sounds more like Bach travelling through time to play something like Elvis Presley’s “Hound Dog”, or Elvis himself travelling back through time to play a Ledger is developing a major compositional career in Brandenburg Concerto! Perth where he is lecturer in composition at the University of Western Australia. He has JAMES LEDGER spent periods in residence © 2011 with the Adelaide and West Australian Symphony Orchestras, and his Bassoon Concerto was recently premiered by Sydney Symphony.

Further reading James Ledger is one of many Australian composers discussed in Gordon Kerry’s essential New Classical Music: Composing Australia (UNSW Press, 2009) and he also keeps a personal website at jamesledger.com.

10 AUSTRALIAN CHAMBER ORCHESTRA VIVALDI Concerto for four violins in B minor, RV580 (Composed 1711) I. Allegro II. Largo – Larghetto – Adagio – Largo III. Allegro

Vivaldi shares with Mozart the dubious honour of having died in relative obscurity and abject poverty in Vienna. Both proceeded to the next life in pauper’s graves. For a composer like Vivaldi, however, whose career had been mostly high profi le and his fi nancial situation comfortable, such a modest departure from this world was prophetic. Antonio VIVALDI Because although his brilliantly eccentric violin playing (b. Venice, 1678 — d. Vienna, and unusual status as the red-haired, musical priest were 1741) remembered and referred to in various written sources, awareness and performance of his music seemed to vanish The “red priest” Vivaldi for the remainder of the 18th century. Th e Venetian transformed the concerto with works such as The dramatist Goldoni recalled in 1761 that Vivaldi had been Four Seasons, promoting a “famous violin player…noted for his sonatas, especially the virtuoso violinist to the those called Th e Four Seasons”. In 1787, however, his regard forefront of his boundless for Vivaldi was dimmer: he was merely an “excellent violin musical invention. player and mediocre composer”.

Th e rediscovery – quite literally – of Vivaldi’s music began in the early 19th century, as a by-product of the renewed interest in the music of J.S. Bach. Th e pioneering Bach scholar J.S. Forkel referred in his 1802 biography to the German composer’s indebtedness to Vivaldi, and to his transcription for keyboard of his violin concertos. Over 20 Bach transcriptions were soon unearthed, including his concerto for four harpsichords and string orchestra. In 1850, over a century after Vivaldi’s death, the original work was identifi ed by C.L. Hilgenfeldt as the tenth concerto of the Venetian composer’s Opus 3 – a concerto for four violins. Vivaldi, the composer, was on the map again, and the next 50 years saw the discovery of a good portion of the instrumental music. In 1905, a history of the concerto by Arnold Schering paid Vivaldi the compliment of him being the “exemplary for the shaping of the violin concerto” (in its three-movement, fast-slow-fast model). It wasn’t ACO Performance History until a 97-volume collection of manuscripts, owned by a Although very popular in the Salesian monastery, came up for sale in 1926 that a broader ACO’s early days, Vivaldi’s Concerto for four violins representation of Vivaldi’s music was discovered – a did not appear in the ACO’s further 140 instrumental works, 29 cantatas and 12 operas. subscription series until 1995. Subsequently it was included in Th ere have been further discoveries in subsequent decades, the 1999 and 2004 series. and the Vivaldi catalogue now lists over 500 concertos.

AUSTRALIAN CHAMBER ORCHESTRA 11 324 are for a single solo instrument (214 for violin), and the remainder are for multiple combinations or for orchestra without soloist. Th ere is a handful of four-violin concertos, but RV580 is the best known, partly because of transferred acquaintance with the Bach transcription for harpsichords.

Vivaldi’s Opus 3 set of concertos, L’estro armonico – four each for one, two and four violins – was published in 1711 by Etienne Roger in Amsterdam (at that time, Dutch and English engraving processes were acknowledged to be superior). In the opening Allegro, between the tutti ritornelli (refrains) Vivaldi evenly shares out the solo episodes, mostly of fl uid semi-quaver passage-work, between the four players. Often there is a single solo line, joined at times by a second, pairing soloist – underpinned by a “concertante” bass line.

Th e second movement is framed by almost-severe, dotted rhythm passages; centrally, a steady harmonic progression is made remarkable by Vivaldi’s rhythmic divisions and precise instructions for bowing articulation – unusual for that time. Above repeated quavers in the lower strings, diff erent violin lines are instructed to play semi-quavers either all detached, in slurred pairs, or in a three-plus-one pattern. Above this, the fi rst solo violin performs rapid, string-crossing demi-semi quavers.

Th e fi nal Allegro is a more conventional ritornello movement than the fi rst (which starts with a solo violin rather than a tutti statement). Th ere is also more interaction between the soloists, as their lines weave in and out of each other. Further reading and listening K.P. KEMP There are several biographies © 2006 that piece together what is known of Vivaldi’s life. One of the most readable is H.C. Robbins Landon’s Vivaldi: Voice of the Baroque (University of Chicago Press, 1996). And of the many recordings of the concertos (or of selections from that massive body of work) two of the best are the 6-CD Academy of Ancient Music/ Christopher Hogwood set (Philips 689302) and the 5-CD set by the English Concert/Trevor Pinnock (Archiv 471317).

12 AUSTRALIAN CHAMBER ORCHESTRA TELEMANN Viola Concerto in G major (Composed c.1716–1721) I. Largo II. Allegro III. Andante IV. Presto

Consider Georg Philipp Telemann: his is usually only the third name mentioned in any discussion of the great German composers born in that golden decade, the 1680s, but in his own time his fame and reputation far exceeded that of his two direct contemporaries, Bach and Handel. Georg Philipp Now, although he has by no means disappeared, his works TELEMANN are something of a cul-de-sac compared with the well-worn (b. Magdeburg, 1681 — highways of JSB and GFH’s worklists. It’s not really fair. d. Hamburg, 1767) For one, he trumps them for prolifi cacy – we know that Bach wrote at least fi ve complete cycles of church cantatas, Hugely prolifi c, Telemann but Telemann wrote more than 30, and it’s likely that he was a central musical fi gure wrote at least a dozen more operas than that genius of in Baroque Germany — more the theatre, Handel. But, in a massive output, there is the famous and esteemed even question of strike-rate, and Telemann’s was not perhaps than Bach. His innovative works across almost every as high as Bach’s; and history has also been unkind in genre place him as one of preserving Telemann’s works. Although a lot of Bach’s the chief forerunners of the music has been lost, Telemann suff ered even more cruelly: Classical period. of those 50-plus operas, for example, only nine have come down to us intact.

Ironically it was the tastemakers of the 19th century, those who did so much to restore Bach’s reputation, who proscribed Telemann. All those operas counted against him, for one. Compared with the master Bach, whose commitment to his post spawned the most focused oeuvre of sacred music ever compiled, Telemann’s diverse approach to music-making made him appear frivolous by comparison.

But, gradually, we are getting to know Telemann’s music, and are the better for it. It was the charm of his music compared with the severity of Bach’s which made him more popular in the 18th century and led to his rejection in the 19th, but in fact we can enjoy them both as two very diff erent musical characters, albeit operating at exactly the same time in more-or-less the same place. Crucially, Telemann’s more innovative moments allow us to see him as a forerunner of the Classical style, paving the way – much as did Bach’s son Johann Christian – with his development of the so-called galant style.

AUSTRALIAN CHAMBER ORCHESTRA 13 Th e Viola Concerto in G – perhaps the fi rst viola concerto ever written – beautifully demonstrates the bridge that Telemann built between the baroque and the classical periods. It’s in four (brief) movements – slow-fast-slow- fast – in the style of a Baroque church sonata. Th e opening of the fi rst movement sounds not dissimilar to a Handel largo aria, but it is the lightness of touch in the gentle, translucent accompaniment and the song-like nature of the melody itself that betray key hallmarks of the galant style. Further reading and Th e vigorous Allegro plays the lower, darker registers of listening the viola against the higher strings, and even though the So much of Telemann’s melodic line is busy it is always agreeably unfussy. For the music is worthy of further Andante the viola sings a plaintive minor-key line with exploration it’s worth brief interruptions from the rest of the orchestra, before overlooking the odd the fi nal movement Presto sees the soloist develop an dodgy performance (and a preponderance of fl ute music) energetic, joyful melodic fi nale befi tting such a charming and investing in the (bargain- and appealing work. priced) 29–CD set, called the “Telemann Edition” from MICHAEL STEVENS Brilliant Classics (94104). © ACO 2011

14 AUSTRALIAN CHAMBER ORCHESTRA SCULTHORPE Port Essington (Composed 1977) I. Prologue: Th e Bush II. Th eme and Variations: Th e Settlement III. Phantasy: Unrest IV. Nocturnal: Estrangement V. Arietta: Farewell VI. Epilogue: Th e Bush

Th e composer writes: Port Essington tells the story in musical terms of the attempted settlement of Port Essington, on the northern coast of Australia. Two attempts were made: the fi rst in Peter SCULTHORPE 1824, later abandoned, and a second in 1838, abandoned (b. Launceston, 1929) in 1849. Th e port was, incidentally, the terminal point for Sculthorpe is the pre-eminent Leichhardt’s overland expedition from Brisbane in 1845. Australian composer, whose It appears that the main reason for the abandonment of Port work has come most closely to defi ning what an Australian sound Essington was, simply, that those living there were unable to might be. He has composed adapt to the peculiar condition of the land. Th e soldiers of the extensively for the ACO. garrison, for instance, at all times wore uniforms appropriate to an English winter than to an endless Capricornian summer. For me, because my life is centred upon the idea of a culture that is appropriate to Australia, the story has a special importance. Th e music, broadly speaking, exists on two planes: a string orchestra represents the bush; and a string trio, playing what appears to be nineteenth-century drawing room music, represents the settlement. During the two opening sections Further reading and of the work, the two planes co-exist in a not unharmonious listening manner, but, as the work progresses, the insistence of the Sculthorpe is the feature of music of the string orchestra brings about a withdrawal Michael Hannan’s Peter of the music played by the string trio. Following this Sculthorpe: His Music and withdrawal, the string trio makes a fi nal statement, and the Ideas, 1929–1979 (University music is echoed by the string orchestra, suggesting that of Queensland Press, 1982) some kind of agreement could have been possible. and Graeme Skinner’s Peter Sculthorpe: the making of an Th e work is made up of six sections played without breaks. It Australian composer (UNSW should be mentioned that the theme heard in the Prologue is Press, 2007). Sculthorpe’s own an adaptation of an Aboriginal melody “djilile” (“whistling-duck autobiography is Sun Music on a billabong”) from Arnhem Land, collected by Professor (ABC Books, 1999). The ACO has recorded most of Sculthorpe’s A.P. Elkin. Th is melody serves as a theme for the complete string orchestra works, including work, which is a double set of variations, one in my own Port Essington, for ABC Classics manner and one in a nineteenth-century European manner. (454 504-2) and Chandos Records (CHAN10063) — both Port Essington was commissioned by Musica Viva Australia albums are available from for the ACO, who gave the premiere performance in aco.com.au/shop. Sculthorpe’s Brisbane in August 1977. own website is petersculthorpe. com.au. PETER SCULTHORPE © 1977

AUSTRALIAN CHAMBER ORCHESTRA 15 TARTINI Violin Sonata in G minor, Op.1, No.4, “Th e Devil’s Trill” Arranged by Fritz Kreisler (Probably composed after 1745) I. Larghetto aff ettuoso II. Allegro – Tempo giusto III. Andante IV. Allegro assai – Andante – Allegro assai

Musical pacts with the devil are not the sole domain of Delta bluesmen, although Robert Johnson’s is the most famous. Th ree centuries before Johnson allegedly made a Giuseppe TARTINI midnight deal with the devil at a Mississippi crossroads, (b. Piran, 1692 — d. Padua, however, the violin virtuoso Giuseppe Tartini made a 1770) Faustian pact of his own. As he reported to his friend Jérôme Lalande (who later published the story), “One night Tartini was one of the great I dreamt that I had made a pact with the devil; he was my violin virtuosos and teachers servant and anticipated my every wish. I had the idea of of 18th-century Italy, famous not only for his compositions giving him my violin to see if he might play me some pretty (including over 130 violin tunes (beaux aires), but imagine my astonishment when concertos) but also for his I heard a sonata so unusual and so beautiful, performed theoretical treatises on violin with such mastery and intelligence, on a level I had never technique. before conceived was possible! I was so overcome that I stopped breathing and awoke gasping. Immediately I seized my violin, hoping to recall some shred of what I had just heard – but in vain. Th e piece I then composed is without a doubt my best, and I still call it ‘Th e Devil’s Sonata’, but it falls so short of the one that stunned me that I would have smashed my violin and given up music forever if I could but have possessed it.”

Th e modesty is typical of the painfully proper Tartini, and indeed the work is a masterpiece – defi nitely his most famous, if not even his fi nest work. But his secretive nature was such that, even though he identifi ed the work as his best, he refused to have it published in his lifetime. Although it is undoubtedly virtuosic – Tartini is the fi rst- known owner of a Stradivarius violin, and was a celebrated performer and teacher all over Europe – the Sonata is not mindlessly showy, but is rather a deeply expressive, evocative work. (Tartini, incidentally, was born in Piran, then part of the Venetian empire but now enclosed within modern Slovenia, making him perhaps the world’s most famous Slovenian composer.)

Although Tartini’s concertos tended to be constructed in the fast-slow-fast pattern established by Vivaldi, in his

16 AUSTRALIAN CHAMBER ORCHESTRA Sonatas he varied the number and type of movements considerably. In this sonata, a graceful, mysterious Larghetto aff ettuoso gives way to a sprightly Allegro movement in which the violinist begins to get a proper workout. A gloriously beautiful, slower Andante Further reading and movement follows, acting merely as a brief introduction listening to the Allegro fi nale, in which the “devil’s trill” – or, the “devil’s trill at the foot of the bed” as the score appealingly A good recording of several of Tartini’s violin sonatas denotes it – is heard for the fi rst time. But it is every bit (including the “Devil’s Trill”) as wistful as it is fl ashy, and the whole is one of the most is the 2-CD set by the Locatelli attractive violin solos of the late Baroque. Th e virtuosic Trio (Hyperion CDD22061). nature of the work, originally for solo violin and basso For those wishing to delve continuo, naturally appealed to the great Fritz Kreisler, and into Tartini’s infl uential pedagogical works, Erwin it is his arrangement of the piece for larger forces that is Jacobi’s edition of Tartini’s most often heard in orchestral concerts today. Traité des agréments de la musique (Moeck Verlag, 1961) includes English translations MICHAEL STEVENS of all the major writings. © ACO 2011

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AUSTRALIAN CHAMBER ORCHESTRA 17 CORELLI Concerto Grosso in F major, Op.6, No.2 (Published 1714) I. Vivace II. Allegro III. Grave – Andante Largo IV. Allegro

From its ancient beginnings – when tubas and trumpets sounded in the amphitheatres and fl utes piped in the temples – to more recent times when the operas of Rossini, Donizetti, Verdi and Puccini were premiered, Rome has had a diverse and colourful musical history. Arcangelo CORELLI But there were two golden ages in that city of seven hills – (b. Fusignano, 1653 — d. Rome, one vocal and sacred, the other instrumental and secular. 1713) Palestrina’s compositional activities in various churches and the Sistine Chapel were the crowning achievements Corelli was a central fi gure of a refi ned style of polyphony in the 16th century. And in Rome in the mid-Baroque about one hundred years later, a young violinist from period, as a composer, a near Ravenna and Bologna arrived in Rome, and was to violinist and a teacher. His pupils included Geminiani and remain there for nearly 40 years until his death in 1713. Locatelli, and his compositional Arcangelo Corelli’s residence there coincided with, and infl uence extended far and substantially contributed to, a remarkable fl owering of wide — J.S. Bach was a keen the dramatic and musical arts in Rome. He and many student of Corelli’s music. other musicians, including Alessandro and Domenico Scarlatti, and the young Handel, benefi ted from the cultural largesse of patrons such as Queen Christina of Sweden, Princess Maria Livia Spinola Borghese, the Cardinals Pamphili and Ottoboni, and numerous Accademie (academies).

Corelli’s fame during his lifetime, and subsequent infl uence throughout Europe in the 18th century, were based on just six volumes of published music (though we can assume that a much broader output has been lost). He shares the dual distinctions of being the fi rst composer in musical history to gain a reputation through instrumental music only – solo sonatas, trio sonatas and concerti grossi – and to have acquired that fame through the enormous growth of music publishing from around 1700 onwards. Each of his six opus sets was issued dozens of times throughout the 18th century, and his Opus 6 concertos were particularly ACO Performance History popular in England, where they were even more highly The ACO fi rst performed Corelli’s regarded in some quarters than Handel’s Opus 3 and 6 Concerto Grosso in F major, sets, published in 1740. Op.6, No.2 in a 1989 subscription series, then again in 1997 and It is estimated that Corelli’s activities as violinist and 2004. ensemble director would have given him, during his four

18 AUSTRALIAN CHAMBER ORCHESTRA decades in Rome, well over 100 opportunities to compose such concertos for large public gatherings, banquets and civil ceremonies. Th e six published set of concertos must therefore be a mere fraction of what he wrote in this manner. But it can also be seen as the composer’s “Best of…” compilation; the fruits of rigorous selection, revision and reordering.

Th is particular concerto was used by British composer Michael Tippett in 1953 in his famous Fantasia Concertante: his own homage to Corelli, 300 years after the composer’s birth. Th e opening Vivace – assertive, and like a call to attention – is followed by a fl uent, imitative Allegro (still within the same fi rst movement, however) which typically sets up the contrasts between the concertante (solo) and ripieno (tutti) groups. Th is proceeds for a while, and rather abruptly runs into its own buff ers; ready for a darker, more sombre Adagio section involves harmonic suspensions very typical of Corelli. Th e fi rst and second sections are then repeated, but this time in the F major’s dominant key, C major. At the end of this modifi ed Allegro the two solo violins climb up the arpeggio of F – and, for those interested in musical trivia, the high F that the fi rst violin reaches is the highest note that Corelli ever required in his printed works.

Th e Allegro second movement, a loosely worked fugue, is followed by a leisurely Grave – Andante Largo with no concertante elements. And the fi nal Allegro brings back the question-answer, solo-tutti exchange with a Gavotte- like movement in two (repeated) sections.

MEURIG BOWEN © 1999

Further reading and listening Corelli’s twelve concerti grossi have been recorded and re- recorded, especially the best- known, Op.6, No.8, (often called the “Christmas Concerto”). An excellent CD set is that performed by The English Concert under their founder- director Trevor Pinnock (Archiv 423 626–2).

AUSTRALIAN CHAMBER ORCHESTRA 19 HELENA RATHBONE LEAD VIOLIN

Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s second ensemble ACO2 which sources musicians from the ACO’s Qantas Emerging Photo: Paul Henderson-Kelly Paul Photo: Artists Program. Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff , Canada. Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St Martin-in-the-Fields. When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, Christchurch Arts Festival, Sangat Festival in Mumbai and Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. Th e group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008. Helena performs on a 1759 J.B. Guadagnini violin, kindly made available to her by the Commonwealth Bank Group.

20 AUSTRALIAN CHAMBER ORCHESTRA SATU VÄNSKÄ ASSISTANT LEADER

Satu Vänskä was appointed Assistant Leader of the ACO in 2004. Satu was born to a Finnish family in Japan where she began violin lessons at the age of three. Her family moved back to Finland in 1989 where she studied at the Sibelius Academy and with Pertti Sutinen at the Lahti Conservatorium. From 1997, Satu studied with Ana Chumachenco at the Hochschule für Musik in Munich. Photo: Paul Henderson-Kelly Paul Photo: At age eleven, Satu was selected for the Kuhmo Violin School in Finland where she attended masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov, and performed at the Kuhmo Chamber Music Festival with the Kuhmo Virtuosi Chamber Orchestra. In 1998, Sinfonia Lahti named Satu the Young Soloist of the Year, and in 2000, she was a prize-winner of the Deutsche Stiftung Musiklebe. In Germany, Satu played with the Munich Philharmonic and the Bavarian Radio Symphony Orchestra. Satu has performed solos in Finland, Germany, Spain, Australia and Canada. As a chamber musician, she has played at festivals in Finland and Germany, including the Tuusulanjärvi Festival and the Festivo Aschau. Satu has recorded chamber music for BIS Records. Satu performs on a 1728/29 Stradivarius, lent to her by the ACO Instrument Fund.

CHRISTOPHER MOORE VIOLA

Born in Newcastle, Christopher Moore’s strongest childhood memory was seeing his mother Patricia (a long time ACO Newcastle subscriber) pulling into the driveway of his Valentine home with a tiny blue violin case on the back seat. Pat was and still is a dedicated amateur musician and took Chris to concerts long before he learned to tie his shoelaces. After studying with Photo: Paul Henderson-Kelly Paul Photo: prominent Sydney Suzuki teachers, Marjorie Hystek and the late Harold Brissendon, he completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell. After working with the Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highly strung instrument and moved his musical focus and energy to the viola. He had always thought the violin made his head look big! He accepted a position as violist with the Melbourne Symphony Orchestra – a position he held for eighteen months before successfully auditioning for the position of Associate Principal Viola with the same orchestra. During the 2006 ACO season, Chris appeared as Guest Principal Violist and then accompanied the ACO on their Malaysian tour. It was during this time that Chris successfully auditioned for the ACO’s Principal Viola position. Christopher plays on a 1937 Arthur E. Smith viola (Sydney).

AUSTRALIAN CHAMBER ORCHESTRA 21 MARK INGWERSEN VIOLIN

Mark Ingwersen joined the ACO as a full-time member in 1999. Mark graduated with a Bachelor of Music from the Canberra School of Music, where he received the Erika Haas Award for Achievement in Chamber Music in 1993. He received a Queen’s Trust Scholarship in 1995 and a year later was awarded a scholarship for the Guildhall School of Music and Drama

Photo: Paul Henderson-Kelly Paul Photo: in London, where he completed the Advanced Instrumental Studies course. Mark has performed with the Sydney Symphony, Australian Brandenburg and Australian Opera and Ballet Orchestras, as well as guest Associate Concertmaster with the Tasmanian Symphony Orchestra. Mark has also performed with the European Union Chamber Orchestra, Royal Philharmonic, and as Concertmaster with the Batignano Festival Opera Orchestra. As a soloist, he has performed with the Australian Brandenburg Orchestra and the Canberra School of Music Orchestra. He was a fi nalist performer in the 1995 Geelong Advertiser Music Scholarship. As a chamber musician, Mark has performed at the Canberra and Australian Festival of Chamber Music Festivals. He has also performed at St James’ Piccadilly, St Mary-le-Strand, and with the Guildhall School of Music. MADELEINE BOUD VIOLIN

Madeleine Boud began playing violin aged four. She graduated with fi rst-class honours from the Australian Institute of Music studying with Alice Waten, with whom she also studied at the Australian National Academy of Music. She has participated Photo: Helen White Photo: in masterclasses with Pinchas Zukerman, Boris Kushnir and Felix Andrievsky. Madeleine was principal player in the WA and Australian Youth Orchestras and has worked with the Sydney Symphony, Sydney Philharmonia, Australian Opera and Ballet Orchestra, Schoenberg Ensemble and Lucerne Festival Academy Orchestra. As soloist, Madeleine performed with the WA Symphony and Youth Orchestras. She was soloist in the Bruch Violin Concerto for the ballet Paquita, and in Wheeldon’s ballet After the Rain. Madeleine performed at Blackwood River Chamber Music Festival and Melbourne Arts Festival and was prize-winner in the Gisborne International Music Competition. Madeleine received a scholarship to the Lucerne Festival Academy and worked with Ensemble Intercontemporain. She was accepted into the ACO’s Qantas Emerging Artist Program and is now an ACO core player. Madeleine plays a 1957 A.E Smith violin.

22 AUSTRALIAN CHAMBER ORCHESTRA AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI AO ARTISTIC DIRECTOR

“You’d have to scour the Australia’s national orchestra is a product of its country’s vibrant, universe hard to fi nd adventurous and enquiring spirit. In performances around another band like the Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six ACO.’” centuries and a vitality and energy unmatched by other ensembles. THE TIMES, UK Th e ACO was founded in 1975. Every year, this ensemble “The energy and vibe presents performances of the highest standard to audiences of a rock band with the around the world, including 10,000 subscribers across Australia. ability of a crack classical Th e ACO’s unique artistic style encompasses not only the chamber group.” masterworks of the classical repertoire, but innovative cross- WASHINGTON POST artform projects and a vigorous commissioning program. Under Richard Tognetti’s inspiring leadership, the ACO has performed as a fl exible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective. In a nod to past traditions, only the cellists are seated – the Select Discography resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience. Bach Violin Concertos ABC 476 5691 Several of the ACO’s principal musicians perform with Vivaldi Flute Concertos spectacularly fi ne instruments. Tognetti plays a 1743 Guarneri with Emmanuel Pahud del Gesù, on loan to him from an anonymous Australian EMI 3 47212 2 benefactor. Principal Cello Timo-Veikko Valve plays on a 1729 Bach Keyboard Concertos Giuseppe Guarneri fi lius Andreæ cello, on loan from Peter with Angela Hewitt Hyperion SACDA 67307/08 Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759 Tango Jam J.B. Guadagnini violin on loan from the Commonwealth Bank with James Crabb Group. Assistant Leader Satu Vänskä plays a 1728/29 Stradivarius Mulberry Hill MHR C001 violin owned by the ACO Instrument Fund, through which Song of the Angel investors participate in the ownership of historic instruments. Music of Astor Piazzolla with James Crabb Forty international tours have drawn outstanding reviews at Chandos CHAN 10163 many of the world’s most prestigious concert halls, including Sculthorpe: works for string Amsterdam’s Concertgebouw, London’s Wigmore Hall, New orchestra including Irkanda I, Djilile and Cello Dreaming York’s Carnegie Hall and Vienna’s Musikverein. Th is year, the Chandos CHAN 10063 ACO tours to the USA, Japan and Europe. Giuliani Guitar Concerto Th e ACO has made acclaimed recordings for labels including with John Williams Sony SK 63385 ABC Classics, Sony, Channel Classics, Hyperion, EMI, Chandos and Orfeo and currently has a recording contract These and more ACO recordings are available from our online shop: with BIS. A full list of available recordings can be found at aco.com.au/shop or by calling aco.com.au/shop. Highlights include the three-time ARIA 1800 444 444. Award-winning Bach recordings and Vivaldi Concertos with Emmanuel Pahud. Th e ACO appears in the television series Classical Destinations II and the award-winning fi lm Musica Surfi ca, both available on DVD and CD.

To be kept up to date with ACO In 2005, the ACO inaugurated an ambitious national education tours and recordings, register program, which includes outreach activities and mentoring of for the free e-newsletter at outstanding young musicians, including the formation of ACO2, aco.com.au. an elite training orchestra which tours regional centres.

AUSTRALIAN CHAMBER ORCHESTRA 23 MUSICIANS Photos: Paul Henderson-Kelly, Helen White

HELENA RATHBONE* SATU VÄNSKÄ≈ MADELEINE BOUD ALICE EVANS Guest Leader Assistant Leader Violin Violin Violin Violin Chair sponsored by Terry Chair sponsored by Jan Bowen, Chair sponsored by Hunter Hall Chair sponsored by Robert & Campbell AO & Christine Campbell Th e Davies and Th e Sandgropers Investment Management Limited Kay Bryan

AIKO GOTO MARK INGWERSEN ILYA ISAKOVICH VERONIQUE SERRET Violin Violin Violin Violin Chair sponsored by Andrew & Chair sponsored by Runge Chair sponsored by Melbourne Hiroko Gwinnett Community Foundation – Connie & Craig Kimberley Fund

CHRISTOPHER MOORE NICOLE DIVALL STEPHEN KING TIMOVEIKKO VALVE✫ Principal Viola Viola Viola Principal Cello Chair sponsored by Tony Chair sponsored by Ian & Nina Chair sponsored by Philip Chair Ssonsored by Mr Peter Shepherd Lansdown Bacon AM Weiss AM

BRIELLE CLAPSON† Violin HOLLY PICCOLI Violin DONALD NICOLSON Principal Harpsichord

† Appears courtesy of the Sydney Symphony

Players dressed by MELISSA BARNARD JULIAN THOMPSON# MAXIME BIBEAU AKIRA ISOGAWA Cello Cello Principal Bass Chair sponsored by Th e Bruce & Chair sponsored by the Clayton Chair sponsored by John Taberner Joy Reid Foundation Family & Grant Lang * Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. ≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. ✫ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri fi lius Andreæ cello kindly on loan from Peter Weiss AM. # Julian Th ompson plays a 1721 Giuseppe Guarneri fi lius Andreæ cello kindly on loan from the Australia Council.

24 AUSTRALIAN CHAMBER ORCHESTRA BEHIND THE SCENES

BOARD Guido Belgiorno-Nettis AM (Chairman) Angus James (Deputy Chairman) Bill Best Liz Cacciottolo Chris Froggatt Janet Holmes à Court AC Brendan Hopkins Tony Shepherd Andrew Stevens John Taberner Peter Yates AM

EXECUTIVE OFFICE FINANCE INFORMATION SYSTEMS Timothy Calnin Steve Davidson Ken McSwain General Manager Chief Financial Offi cer Systems & Technology Manager Jessica Block Shyleja Paul Emmanuel Espinas Deputy General Manager and Assistant Accountant Network Infrastructure Engineer Development Manager Michelle Kerr DEVELOPMENT ARCHIVES Executive Assistant to Mr Calnin and Alexandra Cameron-Fraser John Harper Mr Tognetti AO Corporate Relations and Archivist Public Aff airs Manager ARTISTIC & OPERATIONS Kate Bilson Richard Tognetti AO Events Manager Artistic Director Tom Carrig Michael Stevens Senior Development Executive Head of Artistic Planning Lillian Armitage & Operations Philanthropy Manager Gabriel van Aalst Kylie Anania Orchestra Manager Patrons Manager Erin McNamara Liz D’Olier Tour Manager Development Coordinator Elissa Seed Travel Coordinator MARKETING Jennifer Collins Georgia Rivers Librarian Marketing Manager Rosie Rothery EDUCATION Marketing Executive Vicki Stanley Chris Griffi th Education and Emerging Artists Box Offi ce Manager Manager Mary Stielow Sarah Conolan National Publicist Education Assistant Dean Watson Customer Relations Manager Lachlan Wright Offi ce Administrator & Marketing Assistant

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Offi ce: 1800 444 444 Email: [email protected] Website: aco.com.au

AUSTRALIAN CHAMBER ORCHESTRA 25 ACO PARTNERS

Th e ACO receives around 45% of its income from the box offi ce, 35% from the business community and private donors and less than 20% from government sources. Th e private sector plays a key role in the continued growth and artistic development of the Orchestra. We are proud of the relationships we have developed with each of our partners and would like to acknowledge their generous support.

C FOUNDING PARTNER A O2 PRINCIPAL PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

QLD/NSW REGIONAL TOUR PARTNER

CONCERT AND SERIES PARTNERS

PREFERRED TRAVEL PARTNER

GOVERNMENT SUPPORT ACCOMMODATION AND EVENT SUPPORT

ACO is supported by the NSW Government through Arts NSW

BAR CUPOLA SWEENEY RESEARCH

36 AUSTRALIAN CHAMBER ORCHESTRA STACCATO: ACO NEWS

EDUCATION NEWS

May was a busy month for the ACO’s three-year project in Picton which aims to Education Program. ACO players facilitated develop musical culture in local schools and string workshops in Melbourne, Perth and throughout the community. Sydney. Th ese events are a great opportunity for school string players to rehearse alongside ACO musicians.

On 24 May, a quintet of ACO musicians played a concert for primary school students at Matraville Soldiers’ Settlement School, and participated in the students’ music classes. Th e children performed alongside and even conducted the quintet of ACO players.

In Picton (NSW), on 27 May, a quartet of ACO players led a workshop with local youth Richard Tognetti with students from Matraville Soldiers’ ensemble, the Picton Strings, to prepare Settlement School them for their debut with the ACO. Th is concert marks the beginning of the ACO’s

Julian Thompson plays the “thongophone” with students from Maxime Bibeau and Isabella Brown at the Sydney Combined Matraville Soldiers’ Settlement School Schools Workshop

Combined Schools Workshop in the ACO rehearsal studio, Sydney

AUSTRALIAN CHAMBER ORCHESTRA 37 STACCATO: ACO NEWS

AcO2 NSW, QUEENSLAND & NORTHERN TERRITORY TOUR BACH & SCHUBERT JS BACH Goldberg Variations, BWV988 SCHUBERT Arpeggione Sonata, D821 TÜÜR Action–Passion–Illusion Th omas Gould Guest Director and Lead Violin AcO2 Since graduating from the Royal Academy of Music in 2006, young British violinist Th omas Gould has been showered with glowing and enthusiastic acclaim from critics and audiences. He makes his Australian debut directing AcO2 in an ingenious arrangement for string orchestra of one of the most magnifi cent pieces of music of all time, Bach’s Goldberg Variations. Starting with a simple song, Bach guides us through a myriad of musical styles over thirty variations. First, though, music from Estonian pop-star- turned-composer Erkki-Sven Tüür and Schubert’s charming Arpeggione Sonata.

NEW SOUTH WALES PORT MACQUARIE – Th e Glasshouse GRAFTON – Clarence Valley Conservatorium Tue 9 Aug 8pm Wed 10 Aug 8pm

QUEENSLAND REDLANDS – Performing Arts Centre ROCKHAMPTON – Pilbeam Th eatre Fri 12 Aug 7.30pm Tue 16 Aug 7.30pm NAMBOUR – Civic Centre MACKAY – Entertainment & Convention Centre Sat 13 Aug 8pm Th u 18 Aug 7.30pm GLADSTONE – Entertainment Centre CAIRNS – Civic Th eatre Sun 14 Aug 8pm Fri 19 Aug 7.30pm

NORTHERN TERRITORY DARWIN – Th e Studio, Darwin Entertainment Centre Sat 20 Aug 7pm

Details & Bookings: aco.com.au

PRESENTING PARTNER MAJOR PARTNER AcO2 PRINCIPAL PARTNER

38 AUSTRALIAN CHAMBER ORCHESTRA STACCATO: ACO NEWS

EUROPEAN TOUR WITH THE ACO 25 November – 10 December Hear the ACO perform in venues across Europe: • Musikverein, Vienna • Concertgebouw, Amsterdam • Philharmonie, Luxembourg • Queen Elizabeth Hall, London • Symphony Hall, Birmingham Musikverein, Vienna and attend opera performances in Vienna and Frankfurt. Your host, Len Amadio AO, provides cultural commentary on the music, art and architecture of each of these magical cities and introduces each of the concerts.

Concertgebouw, Amsterdam “I am delighted to off er a European music tour featuring the Australian Chamber Orchestra. Th e orchestra will perform fi ve concerts in some of the world’s most prestigious venues, joined by distinguished soloists such as Freddy Kempf (piano), Tine Th ing Helseth (trumpet), Simon Trpčeski (piano) and Martin Fröst (clarinet). Th ere Philharmonie, Luxembourg will be ample sightseeing opportunities in all cities we visit – Birmingham, London, Vienna, Frankfurt, Amsterdam, the French fortress city of Metz and Luxembourg. I urge you to consider joining me as we experience some of the great music centres of the UK and Europe.”

–Len Amadio AO Symphony Hall, Birmingham

For details please contact ALUMNI TRAVEL 1300 799 887 / [email protected] / www.alumnitravel.com.au

AUSTRALIAN CHAMBER ORCHESTRA 39 STACCATO: ACO NEWS

THE ACO’S 2011 CHAIRMAN’S COUNCIL AND MAJOR PATRONS COCKTAIL PARTIES In March, the ACO hosted its annual In Melbourne, the then Governor of Victoria, Chairman’s Council and Major Patrons His Excellency Professor David de Kretser AC Cocktail Parties in Sydney and Melbourne. and Mrs Jan de Kretser invited the ACO to Th ese special events thank the ACO’s Government House, for an evening soirée Chairman’s Council members and Major featuring an exquisite performance by the Patrons for their continued investment in, ACO led by Richard Tognetti. and support of the Orchestra. Th e ACO’s Chairman’s Council and Major In Sydney, Julia Ross opened her stunning Patrons are an integral part of the ACO family Point Piper home to the ACO on a glorious and continue to generously support the players, Saturday evening for a cocktail party that the ACO’s international touring schedule and featured an exclusive performance by a the ACO’s Education Program. We are truly quartet of the ACO’s Principal musicians. grateful for their invaluable support.

Sydney Chairman’s Council and Major Patrons Cocktail Party. Beau Neilson and Satu Vänskä in Sydney.

Maudie Palmer AO, Marc Besen AO and Eva Besen AO in Melbourne. The ACO in Melbourne.

Melbourne Chairman’s Council and Major Patrons Cocktail Party.

40 AUSTRALIAN CHAMBER ORCHESTRA