TOGNETTI’S MOZART — 2010 NATIONAL CONCERT SEASON

NATIONAL TOUR PARTNER TOUR ONE TOGNETTI’S MOZART RICHARD TOGNETTI Artistic Director and Lead

SPEED READ SCHUBERT Schubert’s 15 string quartets Quartettsatz include some of the best-loved examples of the form. The 12th, however, never got beyond MOZART one movement (now known as the Quartettsatz) — but it is a No.4 in D major passionate and dramatic work well able to stand on its own. Written fi ve years after his INTERVAL previous Quartet, the Quartettsatz shows him abandoning Hausmusik in order to write HAYDN music for professional musicians. Symphony No.46 in B major Franz Liszt wrote of Grieg’s G-minor Quartet, “It is a long time since I have encountered a GRIEG arr. Tognetti) new composition, especially a String Quartet in G minor string quartet, which has intrigued me as greatly as this distinctive and admirable work by Grieg.” Grieg said that it “strives towards Approximate durations (minutes): breadth, soaring fl ight and, 9 • 26 • INTERVAL • 19 • 35 above all, resonance for the instruments”. Th e concert will last approximately two hours including Mozart wrote four violin interval. concertos between June and December, 1775, in Salzburg, presumably for his own pleasure. They show a remarkable NEWCASTLE development through the set, as the 19-year-old tests City Hall Hamer Hall QPAC out his voice in the new genre, Wed 3 Feb 7.30pm Sun 7 Feb 2.30pm Mon 15 Feb 8pm and it’s with the third and fourth Mon 8 Feb 8pm that he begins to hit his . This technically demanding work IPAC Opera House is understandably a popular Th u 4 Feb 7.30pm Town Hall Sun 21 Feb 2.30pm showpiece for violinists. Tue 9 Feb 8pm Haydn’s so-called “storm Llewellyn Hall SYDNEY and stress” period yielded Sat 6 Feb 8pm Angel Place some of his more famous Sat 13 Feb 8pm symphonies, including those Tue 16 Feb 8pm dubbed “Mercury”, the “Trauer- Wed 17 Feb 7pm Symphonie” and the “Farewell”. No.46 is the next in the set — less well-known perhaps but Th e performance at Sydney Opera House will be fi lmed for promotional in its drama and humour it is purposes. If you would prefer not to be recognisable in the footage, as Haydnesque as any of the please email [email protected] others. He says he was “forced to become original”: that originality is evident in each of Th e Australian Chamber Orchestra reserves the right to alter scheduled these striking symphonies. programs or artists as necessary.

AUSTRALIAN CHAMBER ORCHESTRA 3 ABOUT THE MUSIC

SCHUBERT Quartet Movement (Quartettsatz) in C minor, D703 (Composed 1820) Allegro assai

Schubert was born, bred, lived and died in . As an infant he took piano lessons from his brother Ignaz, but young Franz quickly outstripped his elder brother and proceeded to instruct himself. When Schubert was seven, (born Vienna, 1797 — died he was engaged to sing at the Imperial Chapel, and at the Vienna, 1828) age of eight he took up the violin and organ, and began elementary lessons in the techniques of composition. Schubert’s earliest surviving music dates from when he Further Reading and Listening was a young teenager, but it is clear that he had been composing for as long as he had known what music was Of the many recordings of (from the outset he was transfi xed by the music of Haydn Schubert’s 15 string quartets, a very fi ne complete set is that and Mozart). made for Naxos by the Kodaly As a schoolboy, Schubert was a high achiever across Quartet, in 7 CDs also including some smaller chamber works. the board, and it would be easy to assume that the The Quartettsatz appears talented youngster was rather full of himself. On the on Volume One (8.550590) contrary, Schubert found it uncomfortable to receive alongside the famous Death and compliments, and he described fl attery as “downright the Maiden quartet. nauseating”. His friend Anselm Hüttenbrenner reported: Stephen Hefl ing’s Nineteenth- “Schubert’s outward appearance was anything but striking Century (Routledge, 2004) provides or prepossessing. He was short of stature, with a full, a good contextual overview round face, and was rather stout. His forehead was very of the period in which both beautifully domed. Because of his short-sightedness he Schubert and Grieg fl ourished. always wore spectacles, which he did not take off even The major Schubert biography during sleep. Dress was a thing in which he took no is by Brian Newbould, entitled Schubert: The Music and the interest whatsoever.” Man (California UP, 1997), By 1820 Schubert had written music of the highest while an excellent shorter (and illustrated) ‘life’ is Peggy quality for church and stage, as well as symphonies, Woodford’s Schubert (Midas, chamber music, and hundreds of songs. Yet the Quartet 1978). An excellent set of Movement (or Quartettsatz) achieved new heights of essays on all aspects of his work expression in Schubert’s output. Th is is partly because this can be found in The Cambridge unfi nished Twelfth String Quartet had been conceived Companion to Schubert, edited by Christopher Howard Gibbs for performance by professionals – Vienna boasted a rich (Cambridge UP, 1997). seam of amateur music-making, but this was scorned

AUSTRALIAN CHAMBER ORCHESTRA 7 Schubert transformed our in professional circles as trivial at best, and artistically understanding of the art song, harmful at worst. but in life he was considered largely a domestic composer; Th e surviving Quartet Movement is remarkably self- indeed, he was a master of contained – its introduction and coda are the same, and all forms of chamber music. the working out of the sonata-form material is as coherent His fame increased after his premature death, however, and and dramatically satisfying as anything that Schubert he is now one of the most highly wrote. regarded of . Th ere is a masculine urgency to the fi rst subject, which is perfectly complemented by the serene feminine second subject. But this achingly lovely second subject is ACO Performance History banished by an impassioned interruption that verges on Schubert’s Quartettsatz the savage. makes its entry into the ACO’s repertoire to join the ‘Death Th ere is a clear autobiographical program here – the love and the Maiden’ quartet (fi rst of Schubert’s life had just married someone else: “I loved performed by the ACO in 1987 in its Gustav Mahler adaptation) someone very dearly, and she loved me too. She was not and Quartet in G minor, D887. exactly pretty and her face had pock-marks; but she had a heart of gold. For three years she hoped I would marry her; but I could not fi nd a position that would have provided Coda (literally, ‘tail’) is the for us both. She then bowed to her parents’ wishes and passage at the end of a married another, which hurt me very much.” movement of music which brings it to its conclusion. It Th e Neapolitan harmonies and wistful sequences that can be very short or extremely characterize the Quartet Movement come straight from drawn-out. Schubert’s heart. Th e string quartet remained unfi nished, Sonata form This favourite and Schubert’s love remained unrequited. Th e movement form of 18th and 19th century composers is typically heard stands alone, emerging from within the string quartet as the first movement of genre but struggling to create something larger, more symphonies, concertos and, universal. Tonight’s of the music for string of course, sonatas. In essence orchestra recognises that musical and personal struggle, it’s a way of structuring the and transports this heartfelt emotional utterance from the melodic and harmonic material into a coherent musical salon to the concert hall. argument. Most sonata form movements fall into three parts: an Exposition, where two contrasting tunes (in different keys) are introduced one after the other (sometimes this whole section is repeated), a Development section where the material is freely manipulated, a Recapitulation where the tunes are again heard in order and now in the same key. Sometimes a coda rounds things out.

8 AUSTRALIAN CHAMBER ORCHESTRA MOZART Violin Concerto No.4 in D major, K218 (Composed 1775) Allegro Andante cantabile Rondeau; Andante grazioso – Allegro ma non troppo

1756 had been a noteworthy year in the Mozart household. Not only did it witness Wolfgang’s birth, but it was also the year in which Mozart’s father, Leopold, published his celebrated violin tutor (A Treatise on the Fundamental Principles of Violin Playing). Although the young Mozart is indelibly associated with the piano – because of our image of the child prodigy touring Europe at the keyboard, and the existence of over twenty piano concertos – the Wolfgang Amadeus violin was Mozart’s father’s instrument and the instrument Mozart to which Mozart fi rst turned in earnest when writing (born Salzburg, 1756 — died concertos. (Of the fi ve piano concertos that pre-date the Vienna, 1791) violin concertos, four are of solo keyboard works by other composers, and the fi fth was conceived as Mozart was the single greatest an organ concerto.) composer of the Classical period and remains one of Mozart had played the violin well since he was very young music’s foremost geniuses. A indeed, as an observation from Mozart’s eighth year master both of the highbrow illustrates. “One or two days later, I came to see him again, and the common touch, he and found him amusing himself with his own violin. He has delighted audiences and inspired performers from his thought a moment, and said to me: ‘Herr Schachtner, your time until now. violin is tuned an eighth of a tone lower than mine, if you left it tuned as it was last time I played it’. ”

ACO Performance History Needless to say, the seven-year-old proved to be correct, It seems appropriate that the and went on to be appointed leader of the Salzburg Court fi rst concert of a new season Orchestra by the time he was fourteen. Mozart did not should be a program made shrink from boasting about his excellence as a violinist up largely with ‘fi rsts’. With (“I played as if I was the fi nest fi ddler in all Europe”), egged the exception of the Mozart on by the approval of his doting father (“You yourself Concerto the Orchestra has not performed any of the works do not know how well you play the violin”). His fi rst try before. at a violin concerto (K207) most likely dates from 1773, The exception is a fi rst also, but in a typically manic burst of creativity, Mozart wrote however, Richard Tognetti four more violin concertos between June and December not having performed it in a 1775. Th ese four concertos (K211, 216, 218, and 219) were Subscription Concert before. the main musical output of the closing months of the Mozart’s 4th Violin Concerto composer’s teenage years and were designed primarily to has been performed only once show off Mozart’s technique as a player. Th e orchestration by the Orchestra, in 1993 when of the concertos was the standard Austrian confi guration Richard Tognetti directed the Orchestra for soloist Thomas of the time: string orchestra augmented by a pair of Zehetmair. and a pair of horns (by now the use of a keyboard within

AUSTRALIAN CHAMBER ORCHESTRA 9 “You yourself do not know how well you play the violin.” LEOPOLD MOZART

Leopold Mozart

the orchestra was redundant). But unusual and unexpected features had begun to creep into Mozart’s music, and these idiosyncrasies were not wholly appreciated by the conservative Salzburg public. Further Reading and Listening Th e form of the fi rst movement strikes us now as attractively capricious, in that sometimes material from For a defi nitive collection of the exposition is developed as expected, but sometimes the Mozart Violin Concertos we suggest you hold fi re and not. Th is apparent disrespect for classical form was keep an eye on BIS Records perceived in Salzburg as wilful rather than eccentric. (www.bis.se) who will be After the orchestral introduction, the lilting second releasing the complete set movement is a vehicle for the hypnotic soloist who, featuring Richard Tognetti once entered, has virtually no rests until the end of the and the ACO during the next movement, which itself sets the stage for the end of the 12 months. As soon as they’re released they will also be concerto. Th is fi nal, third movement is straight out available from aco.com.au/shop of Haydn – quirky and gypsy-like, with drones, mock- An excellent survey of the serious passages, and dramatic silences; it is collage-like, fi rst part of Mozart’s life ultimately optimistic, and culminates in a cheekily quiet (including the composition of ending. the Violin Concertos) is Stanley Sadie’s Mozart: The Early Years 1756—1781 (Oxford UP, 2006); for a more gargantuan overview try Maynard Solomon’s 640-page opus Mozart: a life (Harper, 1996).

10 AUSTRALIAN CHAMBER ORCHESTRA HAYDN Symphony No.46 in B major (Composed 1772) Vivace Poco Adagio Menuetto – Allegretto Finale – Presto e Scherzando

Haydn was famously unhappy following his dismissal from the choir of St Stephen’s Cathedral in Vienna. Haydn’s voice broke when he was seventeen, and the young musician was condemned to work as a music teacher, a living that he despised. “For eight whole years I was forced to eke out a wretched existence by teaching young people. Many geniuses are ruined by this miserable daily bread, because they lack time to study. Th is could well Franz Joseph Haydn have happened to me; I would never have achieved what (born Rohrau, 1732 — died little I have done, had I not carried on with my zeal for Vienna, 1809) composition during the night.”

Eventually Haydn’s hard work paid off , and he was appointed director of music to Count Morzin (for whom Haydn wrote most of his earliest symphonies), and Haydn was hugely prolifi c and thereafter to the court of the rich and infl uential Prince highly infl uential, his output Nicolaus Esterházy. In the late 1760s and early 1770s, encompassing almost every form of music, sometimes to Haydn’s orchestral works assumed an air of dark caprice an extreme degree (over 100 that characterised the composer’s so-called Sturm und symphonies, over 60 string Drang (‘Storm and Stress’) period. Th is ‘romantic crisis’ quartets). The link in the chain in Haydn’s output was identifi ed a century ago, at a time between Bach and Mozart, the Classical era would be when the chronology of Haydn’s works was imperfectly unimaginable without him. understood. In fact, the play that bore the title Sturm und Drang was not written until 1776, by which time Haydn had turned his own stylistic corner in order to follow a path that led away from this Counter-Enlightenment ACO Performance History movement. Whether the term Sturm und Drang is useful Haydn Symphonies have held or not, the music of Haydn’s late thirties was idiosyncratic a major place in the ACO’s and powerfully persuasive. “My Prince was always satisfi ed concerts, from the fi rst in 1975 with my works; I not only had the encouragement of when the Orchestra’s inaugural concert included Symphony constant approval, but as conductor of an orchestra I could No.90 in C major. Since that make experiments, observe what produced an eff ect and time the ACO has performed what weakened it, and was thus in a position to improve, no less than 34 of Haydn’s alter, make additions or omissions, and be as bold as I Symphonies in various concerts pleased. I was cut off from the world, there was no one all over the world. Although most of the Symphonies to confuse or torment me, and I was forced to become between No.42 and No.49 have original.” been played, strangely tonight’s work was missed in that Th e B-major Symphony (written in 1772 for performance sequence. at Eszterháza) is the only substantial surviving work by

AUSTRALIAN CHAMBER ORCHESTRA 11 “My Prince was always satisfi ed with my works; I had the encouragement of constant approval…” HAYDN

Counterpoint is the art of combining two different but simultaneous melodic lines — anybody who has ever sung a descant to Happy Birthday has improvised their own Prince Nicolaus Esterházy counterpoint. Haydn in that key – B major was unusual for the time, and is one of many hallmarks stamped onto the symphony Further Reading and that underlines its Sturm und Drang nature. Other Listening features of this style – all of which are evident in this work The Sturm und Drang – are the use of a loud unison opening theme followed symphonies have been by a sudden quiet continuation; an increased use of repeatedly recorded – a good dynamics, particularly the crescendo; the use of silence set is that by Trevor Pinnock as a dramatic device; bold reliance on counterpoint; and and the English Concert a fi ercely intense and original use of the instruments of (Archiv 463731). the orchestra (the occasionally screamingly high horn Endless words have been parts are a particularly audible Haydnesque fi ngerprint). written about Haydn’s life, many of them in H.C. Robbins Haydn’s aim is to present dramatic music that is by turns Landon’s staggering 5-volume tempestuous, quirky, and humorous. What marks Haydn Haydn: Chronicle and Works out as a symphonic composer of genius is that, for all the (Thames and Hudson, 1976–80). volatility and unpredictability of his musical ideas, there is A more portable handbook is an inevitability about the working out of each of the four The Cambridge Companion to Haydn, edited by Caryl Clark movements. Haydn’s sobriquet ‘Father of the Symphony’ is (Cambridge UP, 2005). Charles well deserved. Rosen’s The Classical Style: Haydn, Mozart, Beethoven (Norton, 1998) is one of the major works on the overall period.

12 AUSTRALIAN CHAMBER ORCHESTRA GRIEG String Quartet in G minor, Op.27 (Composed 1877–8) Arr. Tognetti Un poco Andante – Allegro molto ed agitato Romanze Intermezzo Finale

Grieg lived at an important time in his country’s history. Norway’s four-hundred-year union with Denmark had ceased in 1814, just thirty years before Grieg was born. An urban, middle-class Norwegian family, such as the one in which grew up, still looked to Denmark for its cultural and linguistic anchors. When he was fi fteen, the budding composer met the charismatic virtuoso Edvard Grieg violinist Ole Bull, who insisted that Grieg be sent to the (born Bergen, 1843 — died Leipzig Conservatory for his musical education, although Bergen, 1907) Grieg complained bitterly about his early instruction for the rest of his life. Grieg’s attitude to his formative Grieg is Norway’s greatest professional training was, frankly, churlish. Certainly composer, and the fi rst to imbue the teenager did not see eye to eye with his fi rst piano western classical music with a teacher at the Leipzig Conservatory, but after a year the native Nordic sensibility. Great opinionated prodigy was allowed to transfer to the class friends with Percy Grainger, works such as of Ernst Wenzel (who had known Schumann as a close his and the personal friend), thence to the class of the legendary Holberg Suite are known and Moscheles, and latterly to study composition with Carl loved the world over. Reinecke, who steered Grieg’s tortuous path through the writing of his earliest string quartet (now, perhaps fortunately, lost). Scathing though Grieg may have been ACO Performance History about the allegedly pedantic and reactionary teaching that The ACO’s repertoire has been he received in Germany, this early sojourn in continental enlarged with its performances of adaptations of string Europe forced the immature composer to acquire a solid, quartets, the earliest being in Austro-German technique on which to graft his individual 1976 with Felix Weingartner’s voice. arrangement of Verdi’s E minor String Quartet played at the Grieg returned to his home town of Bergen shortly before Adelaide Festival conducted by his nineteenth birthday; there he started seriously to Neville Marriner. Grieg’s String seek out specifi cally Norwegian culture, rather than that Quartet now joins no less than of Denmark with which he had been brought up. In the 14 other works the ACO has made its own, in their string summer of 1864, Grieg renewed his acquaintance with Ole orchestra versions. From 1991 Bull: “He played for me the trollish Norwegian melodies when the Janáˇcek Kreutzer that so strongly fascinated me, and awakened the desire to Sonata Quartet was fi rst played have them as the basis for my own melodies. He opened by the Orchestra, Quartet adaptations have been regular my eyes to the beauty and originality in Norwegian music. inclusions in ACO concert Th rough him I became acquainted with many forgotten programs. folk songs, and above all, with my own nature.”

AUSTRALIAN CHAMBER ORCHESTRA 13 Having discovered his roots, the 1870s were a musical melting-pot for Grieg. In 1873 he attempted to write a fully Norwegian opera, and a year later he was invited by Ibsen to provide the music for the epic Peer Gynt. In 1876, Grieg visited Bayreuth and witnessed the première of Wagner’s Ring cycle. In the following winter, Grieg added a second piano part to four of Mozart’s piano sonatas, an act which might now be considered both tasteless and arrogant, but which became an important landmark for Grieg’s self- discipline as a composer. In the summer of 1877, when Grieg was in his mid-thirties, he rented a house in Lofthus on the Hardanger Fjord. Th ere he erected a ‘composing hut’, and the breathtaking scenery of Western Norway was the backdrop against which the G-minor String Quartet was sketched: “Th ere is something that I must do for the sake of my art. Day by day I am becoming more dissatisfi ed with myself. It is enough to make one lose one’s mind – but I know well enough what the problem is. It’s lack of practice, because I have never got beyond composing by fi ts and starts. But that is going to end. I am going to fi ght my way through the large musical forms, cost what it may. Sonata form (See page 8) If I go mad in the process, now you know why.” Fugato means, simply, ‘in Far from driving Grieg mad, the composition of the the style of a fugue’ — so, not a fully-formed fugue, but G-minor String Quartet announced the arrival of the a passage of music in that composer’s artistic maturity. Th ere is an autobiographical fashion. element that runs throughout Grieg’s only surviving A Fugue is the most complete string quartet. Grieg had in mind a poem by sophisticated form of Ibsen, “Minstrels”, which describes the lovelorn musings counterpoint (see page 15) of a musician as he walks beside a stream on a summer where several melodic lines evening. Th e theme that represents the musician of the (or ‘voices’) imitate each poem is heard at the very start of the quartet, fi rst slowly other and then expand on the theme according to a set and with great portent, and thereafter as the quartet’s of rules. Although its earliest dreamier second subject. development was in improvised music (eg the fugues of Bach, Right from the start of the fi rst movement, the G-minor many of which are thought String Quartet startles the listener with its Nordic to have been improvised on boldness. Grieg was determined to prove that he could the spot at the organ) it is a write a convincing large-scale sonata-form movement technique that now forms part of all compositional teaching. – although the second subject, for instance, is preceded by one of the most self-conscious general pauses in the history of the form. Th ere is little in the rest of the quartet that is any less self-absorbed. Th e mood of the serene, waltz-like second movement is rocked by the appearance of the musician’s theme, and the third movement opens with the theme stated in capital letters. Th e middle section of the third movement features a repeated fugato passage, every bit as pedantic as one imagines Grieg’s fugue lessons to have been when he was a student in Leipzig. Th e musician’s theme, again, opens the fourth movement, this time in

14 AUSTRALIAN CHAMBER ORCHESTRA refl ective mode; this mood quickly gives way to music that is heavily infused with ‘trollish’ cavorting. Th is last movement is assured and idiosyncratic; one of Grieg’s most impressive musical constructions: “I have recently written a string quartet, which I still haven’t heard. It is in G minor and is not intended to bring trivialities to market. It strives towards breadth, “I have recently written a soaring fl ight and, above all, resonance for the instruments.” string quartet, which I still haven’t heard. Certainly the quartet is in no way trivial. And certainly it has breadth: its gestures soar, and it is instrumentally resonant. GRIEG Th ese full textures proved problematic, in that Grieg’s normally supportive publisher regarded the piece as too orchestral and initially refused to publish the work. Th is concert’s solution is to make a virtue out of that supposed defect by scoring the work for string orchestra, in which version the rich textures become more credibly part of a larger ensemble.

PROGRAM NOTES BY JEREMY SUMMERLY © 2010 Jeremy Summerly is the Sterndale Bennett Lecturer in Music at the Royal Academy of Music, .

Minstrels (Spillemænd) My thoughts were with her every summer-light night, but the path led to the river in the bedewed alder thicket.

Hey, if you knew terror and songs, you could bewitch the beautiful one’s mind, Further Reading and so that in great churches and halls Listening she would think to follow you! Grieg started (but never fi nished) a second string I conjured the water-sprite from the deep; quartet: you can hear a he played to me straight from God; speculative completion of it, but by the time I had become his master, alongside a terrifi c recording she was my brother’s bride. of the G-minor Quartet, played by the Chilingirian Quartet on (CDH55299). In great churches and halls I play by myself, Grieg also left behind him a and the sprite’s terror and songs fascinating array of personal documents which shed much are never out of my mind. light on his life and music. Of particular interest are his HENRIK IBSEN Letters to Colleagues and English translation © BERYL FOSTER 2008 Friends, collected and edited by Finn Benestad (Peer Gynt Beryl Foster is the author of Th e Songs of Edvard Grieg (Scolar Press, Press, 2000) and his Diaries, 1990; revised edition Boydell & Brewer, 2007). Ms Foster is Vice Articles and Speeches, also President of the International Grieg Society (www.griegsociety.org) edited by Benestad (Peer Gynt and Chairman of Th e Grieg Society of Great Britain (griegsociety. Press, 2001). co.uk). www.berylfoster.com

AUSTRALIAN CHAMBER ORCHESTRA 15 RICHARD TOGNETTI ARTISTIC DIRECTOR, ACO

Australian violinist and conductor Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with , and at the Berne Conservatory (Switzerland) with , where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he returned to lead several performances of the ACO, and in November was appointed as Leader. He was subsequently appointed Artistic Director of the Orchestra. Tognetti performs on period, modern and electric ‘Richard Tognetti is one instruments. His numerous arrangements, compositions of the most characterful, and transcriptions have expanded the chamber orchestra incisive and impassioned repertoire and been performed throughout the world. violinists to be heard today.’ As a soloist Richard Tognetti has appeared on many occasions with the ACO and with the major Australian THE DAILY TELEGRAPH (UK) symphonies, including the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony in 1998. Select Discography He has collaborated with colleagues from across various As soloist: art forms and artistic styles, including Joseph Tawadros, BACH Sonatas for Violin and Dawn Upshaw, James Crabb, , actor Keyboard Jack Th ompson, singers , Neil Finn, Tim ABC Classics 476 5942 Freedman and Paul Capsis, photographer Bill Henson and 2008 ARIA Award Winner poet/cartoonist . He is currently Artistic BACH Violin Concertos ABC Classics 476 5691 Director of the Maribor Festival: the fi rst festival under 2007 ARIA Award Winner his leadership was held in September 2008 and featured BACH Solo Violin Sonatas and collaborations with European and Australian musicians Partitas and the European premiere of Luminous. ABC Classics 476 8051 2006 ARIA Award Winner A passionate advocate for music education, Tognetti (All three releases available as established the ACO’s Education and Emerging Artists a 5CD Box set: programs in 2005 and toured regional with a ABC Classics 476 6168) concert based on the inspiring documentary fi lm, Musica Musica Surfi ca (DVD) Best Feature, New York Surf Film Surfi ca (recently awarded at surf fi lm festivals in the USA, Festival France, South Africa and Brazil). As director: Richard Tognetti holds honorary doctorates from three VIVALDI Flute Concertos, Op.10 Emmanuel Pahud, Flute Australian universities and was made a National Living EMI Classics 0946 3 47212 2 6 Treasure in 1999. He performs on a 1743 Guarneri del Grammy Nominee Gesù violin, made available exclusively to him by an PIAZZOLLA Song of the Angel anonymous Australian private benefactor. Chandos CHAN 10163 Scenes Featuring music by Corelli, Bach, Elgar, Mahler, Rodrigo and Sibelius Sony SK63160 All available from aco.com.au/shop

20 AUSTRALIAN CHAMBER ORCHESTRA AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, ARTISTIC DIRECTOR

‘Listening to the Australian Th e Australian Chamber Orchestra was founded by John Chamber Orchestra is like Painter in 1975. Every year, this ensemble presents taking a swig of a vitamin performances of the highest standard to audiences around drink. Suddenly: pow! the world, including 10,000 subscribers across Australia. Th e ACO’s unique artistic style encompasses not only the The music certainly feels masterworks of the classical repertoire, but innovative stronger, muscled, hot cross-artform projects and a vigorous commissioning from the gym… If that’s program. what Australia does for you, Richard Tognetti was appointed Lead Violin in 1989 I’m also emigrating.’ and subsequently appointed Artistic Director. Under his THE TIMES 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 resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience. Several of the ACO’s principal musicians perform with spectacularly fi ne instruments. Tognetti performs on a Select Discography priceless 1743 Guarneri del Gesù, on loan to him from an Bach Violin Concertos anonymous Australian benefactor. Principal Cello Timo-Veikko ABC 476 5691 Valve plays on a 1729 Giuseppe Guarneri fi lius Andreæ cello, Vivaldi Flute Concertos also on loan from an anonymous benefactor, and Principal with Emmanuel Pahud Second Violin Helena Rathbone plays a 1759 J.B. Guadagnini EMI 3 47212 2 violin on loan from the Commonwealth Bank Group. Bach Keyboard Concertos with Regular international tours to Asia, Europe and the USA have Hyperion SACDA 67307/08 drawn outstanding reviews for the ACO’s performances Tango Jam at many of the world’s prestigious concert halls, including with James Crabb Mulberry Hill MHR C001 ’s , London’s Wigmore Hall, Song of the Angel New York’s Carnegie Hall and Lincoln Center, Vienna’s Music of Astor Piazzolla Musikverein, ’s Symphony Hall and Washington with James Crabb DC’s Kennedy Center. Chandos Chan 10163 Sculthorpe: works for string In recent years, the ACO has made critically-acclaimed orchestra including Irkanda I, Djilile recordings for labels including Sony, BIS, Hyperion, EMI, and Cello Dreaming ABC Classics, Chandos and Orfeo. Th ese recordings include Chandos Chan 10063 Bach’s Keyboard Concertos with Angela Hewitt, Vivaldi’s Giuliani Guitar Concerto with John Williams Flute Concertos with Emmanuel Pahud and Bach’s Violin Sony SK 63385 Concertos with Richard Tognetti, which won the ACO its Scenes: music by Corelli, Rodrigo, second ARIA award. Th e ACO also features in the television Beethoven, Sibelius series Classical Destinations II. Sony SK 63160 In 2005, the ACO inaugurated an ambitious national Education Program, with outreach activities and mentoring programs for These and more ACO recordings C outstanding young musicians, and the formation of A O2, are available from our online shop: aco.com.au/shop or by calling an elite training orchestra, which tours regional centres. For 1800 444 444. more information visit aco.com.au/education-programs.

AUSTRALIAN CHAMBER ORCHESTRA 21 MUSICIANS Photos: Tanja Ahola

RICHARD TOGNETTI SATU VÄNSKÄ ALICE EVANS Artistic Director and Lead Violin Assistant Leader Violin Chair sponsored by Michael Ball AM & Violin Chair sponsored by Jan Bowen, Jo McKenzie Daria Ball, Joan Clemenger, Wendy Edwards, Chair sponsored by Robert & Kay Bryan & Scott Davies, and Th e Sandgropers Prudence MacLeod

MARK INGWERSEN ILYA ISAKOVICH CAROLINE HENBEST Violin Violin Guest Principal Viola Chair sponsored by Runge Chair sponsored by Melbourne Community Foundation – Connie & Craig Kimberley Fund

NICOLE DIVALL TIMOVEIKKO VALVE MELISSA BARNARD Viola Principal Cello Cello Chair sponsored by Ian & Nina Lansdown Chair Sponsored by Mr Peter Weiss AM Chair sponsored by Th e Bruce & Joy Reid Foundation

MAXIME BIBEAU Principal Bass Chair sponsored by John Taberner & Grant Lang

22 AUSTRALIAN CHAMBER ORCHESTRA MUSICIANS

ZOË BLACK ANNA STARR Players dressed by Violin Principal AKIRA ISOGAWA MADELEINE BOUD JOEL RAYMOND Violin Oboe Chair sponsored by Terry Campbell AO & Christine Campbell JANE GOWER Principal MYEE CLOHESSY Violin ANNEKE SCOTT Principal Horn VERONIQUE SERRET Violin KATHRIN WILLINER Horn PAUL WRIGHT * Violin * Courtesy of ANAM teaching faculty JACQUELINE CRONIN Viola DANIEL YEADON Cello

BEHIND THE SCENES

BOARD MANAGEMENT DEVELOPMENT MARKETING AUSTRALIAN Guido Belgiorno- EXECUTIVE OFFICE Kate Bilson Georgia Rivers CHAMBER Events Manager Marketing Manager ORCHESTRA Nettis AM William A (Chairman) Gillespie OAM Alana Clarke Rosie Rothery ABN 45 001 335 182 Angus James General Manager Development Executive Marketing Coordinator Australian Chamber (Deputy Chairman) Jessica Block Lillian Armitage Chris Griffi th Orchestra Pty Ltd is a Ken Allen AM Deputy General Manager Patrons Manager Box Offi ce Manager not for profi t company registered in NSW. Bill Best and Development Laura Milner Mary Stielow Manager Patrons Administrator National Publicist Glen Boreham In Person: Michelle Kerr Liz D’Olier Dean Watson Opera Quays, Liz Cacciottolo Executive Assistant to Development Coordinator Customer Relations 2 East Circular Quay, Chris Froggatt Messrs Gillespie and Manager Sydney NSW 2000 Tognetti Brendan Hopkins OPERATIONS Olivia Artigas By Mail: Philip Latham Damien Low Offi ce Administrator and PO Box R21, Royal ARTISTIC Marketing Assistant Exchange NSW 1225 Christine Rothauser Artistic Operations Richard Tognetti Manager Telephone: Tony Shepherd Artistic Director Gabriel van Aalst INFORMATION (02) 8274 3800 Peter Yates Michael Stevens Orchestra Manager SYSTEMS Facsimile: Artistic Administrator Erin McNamara Martin Keen (02) 8274 3801 Deputy Orchestra Systems and Technology Box Offi ce: FINANCE Manager Manager 1800 444 444 Emmanuel Espinas Steve Davidson Vicki Stanley Email: Network Infrastructure Chief Financial Offi cer Education and Emerging [email protected] Artists Manager Engineer Shyleja Paul aco.com.au Assistant Accountant Amandine Petit Librarian ARCHIVES Sarah Conolan John Harper Education and Archivist Operations Assistant

AUSTRALIAN CHAMBER ORCHESTRA 23 ACO PARTNERS

Th e ACO receives around 50% of its income from the box offi ce, 35% from the business community and private donors and less than 15% 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.

FOUNDING PARTNER

NATIONAL TOUR PARTNERS

PRINCIPAL INNOVATION PARTNER

OFFICIAL PARTNERS

PERTH SERIES AND WA REGIONAL TOUR PARTNER

QLD/NSW REGIONAL TOUR PARTNER

CONCERT AND SERIES PARTNERS

GOVERNMENT SUPPORT ACCOMMODATION AND EVENT SUPPORT

Department of the Arts, Sport and Recreation

BILSON’S RESTAURANT BAR CUPOLA SWEENEY RESEARCH

AUSTRALIAN CHAMBER ORCHESTRA 33 STACCATO: ACO NEWS PROFILE: JOHN AND PATTI DAVID John and Patti David’s discovery of the ACO was a step by step journey. During the late 1980s and throughout the 1990s John and Patti David were Qantas Frequent Flyers. When they disembarked in Asia, Europe or USA they were given CDs. Richard Tognetti’s recordings were amongst those CDs they most enjoyed. Th e Davids’ longstanding friends, Daria and Michael Ball, invited them to attend a Bowral performance by the ACO. Imagine their excitement that night when they discovered Richard Tognetti was the Artistic Director and Lead Violin of the ACO! John and Patti David Over many years, John and Patti have supported talented young Australians involved in music, the enrichment the ACO gave to rural children, sport and literature. Th ey have received great how could we not be moved? To repeat the words satisfaction in watching them mature into of Richard Tognetti, ‘wouldn’t it be wonderful if wonderful ambassadors for our country. In recent every child had access to music education?’” years they have supported the ACO’s Emerging John and Patti David hosted a private Artists. Patti says: performance in their home in November 2009 “Once we understood the earnestness of the ACO inviting their guests to support the ACO. We Emerging Artists Program and saw for ourselves are truly grateful for their constant support.

For more information about donating to the ACO, please phone Lillian Armitage on (02) 8274 3835 or email [email protected] 2009 MELBOURNE EVENT Australian Chamber Orchestra’s Spring Soirée – presented by Tiff any & Co. On Wednesday 28 October 2009, Richard Tognetti and Kerry Gardner hosted a private event at “Cranlana”, the Myer family’s historic Melbourne home. Guests were treated to an exclusive private performance by an ACO quartet, led by Richard Tognetti, with repertoire crafted specially for the occasion. Celebrity chef Shannon Bennett of Vue de Monde created a spectacular three-course meal, which was accompanied by Ruinart champagne and Cape Peter Yates, Shannon Bennett and Richard Tognetti Mentelle wines, provided by Moet Hennessy Australia. Th e ACO’s Spring Soirée was a sell out event. Over $90,000 was raised from the night’s activities, which will directly support the ACO’s 2010 Trans-Atlantic Tour. Th e ACO would like to thank presenting partner Tiff any & Co. and all of our 2010 Trans-Atlantic tour patrons for their generous support. Santo Cilauro, Morena Buffon and Andrew Myer

34 AUSTRALIAN CHAMBER ORCHESTRA STACCATO: ACO NEWS

Wesfarmers’ association with the Australian Chamber Orchestra goes back a long way. Twelve years after we fi rst worked together to bring this wonderful orchestra to on a regular basis, we are now delighted to be able to help the ACO reach out into our regional communities in Western Australia. In its fi rst ever C regional tour through Western Australia, A O2 will perform in seven important regional centres across our state – bringing Australia’s fi nest musicians into our community halls and creating once-in-a lifetime opportunities for young people in our regional areas to hear and enjoy classes with some of this country’s most talented and inspirational artists. It is a privilege and a joy to support the tremendous work of the ACO. We hope you and your family enjoy all that this world-class orchestra has to off er both city and country audiences alike in 2010.

Richard Goyder Managing Director Wesfarmers

AUSTRALIAN CHAMBER ORCHESTRA 35 STACCATO: ACO NEWS MERCHANDISE NEW DVD: LUMINOUS AWARDS: MUSICA SURFICA Recorded live at the State Th eatre in In recent months, the Sydney, Luminous features the ACO, fi lm Musica Surfi ca Richard Tognetti, Katie Noonan and has won the following the photographs of Bill Henson. awards: • Best Feature at the New York Surf NEW CD: BAROQUE Film Festival • Best Adventure Film bought his at the San Francisco fi rst sackbut 30 years ago with Ocean Film Festival the hope of one day recording • Best Film and Best a baroque program. Now the Soundtrack at the opportunity to do so has arrived– Festival de Surf St largely due to Lindberg’s Jean de Luz, France encounter with Richard Tognetti and the Australian • Best Film at the Wavescape/Durban Film Festival, Chamber Orchestra. On this recording Lindberg and South Africa ACO players Richard Tognetti, Helena Rathbone, • Best Film at the Brasil FestivAlma Surf Timo-Veikko Valve, Maxime Bibeau and perform sonatas and canzonas by Biber, Available now in the foyer and at Frescobaldi and Dario Castello. aco.com.au/shop or by phoning 02 8274 3800. GIFT CERTIFICATES Stuck for the perfect present? Why not give the music-lover in your life their choice of ACO concerts or recordings? Gift certifi cates can be purchased and redeemed at aco.com.au/gift-certifi cates or by calling 1800 444 444.

36 AUSTRALIAN CHAMBER ORCHESTRA