ACTEWAGL Llewellyn CSO One Season 2019 · Nishi Gallery An exhibition of new ceramics from Aboriginal and Torres Strait Islands artists. Berder — a Meriam (Torres Strait Islands)

CSOSeason2019

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New Combination “Bean” Lorry No.341 commissioned 31st December 1925.

Photograph courtesy of The University of Melbourne Archives 2008.0045.0601

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We acknowledge and celebrate the First Australians on whose traditional lands we meet, and pay our respect to the elders of the Ngunnawal people past and present.

Wednesday 3 AprilThursday 4 April, 2019

Llewellyn Hall, ANU, 7.30pmPre-concert talk 6.45pm

Jessica Cottis ConductorArtistic patronage ActewAGLDiana Doherty Oboe2019 Artist in Focus

BEETHOVEN The Creatures of Prometheus op.43 OvertureNIGEL WESTLAKE Spirit of the Wild (Concerto for Oboe and Orchestra)I ♪ = 96 – cadenza II ♪ = 96III Tranquillo – Liberamente – ♪ = 96IV Agitato

INTERVAL

ROSS EDWARDS Ecstatic DanceMENDELSSOHN Symphony No. 3 in A minor, op. 56 ScottishAndante con moto – Allegro un poco agitato – Andante con moto –Vivace non troppo –Adagio – Allegro vivacissimo – Allegro, maestoso assai

Estimated Durations:BEETHOVEN 5 minutesWESTLAKE 22 minutesInterval 20 minutesEDWARDS 9 minutesMENDELSSOHN 40 minutes

Canberra Symphony Orchestra Season 2019 03

Front cover:Andrew HeronPrincipal Timpani

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A change of pace from the mid-week rhythm offering picnic concerts, opera, and chamber classics.

Contemporary Australian classical music alongside the finest portraiture in the country.

As ever, we sincerely thank the ACT Government, the Australia Council and all of our partners and donors for their generous support in 2019. Also, the CSO applauds you, our patrons, for your continued support of the CSO. I look forward to sharing inspiring musical experiences with you in 2019, where every musician, every instrument and every piece of music has a story that brings heart and soul to our performances.—Rachel Thomas Chief Executive Officer (Acting)

As the warm evenings approach their end, I’d like to welcome you back to Llewellyn Hall after a season which began outdoors with Music by the River in Queanbeyan, supported by Icon Water and Symphony in the Park as part of the Enlighten Festival presented by the ACT Government. I am very much looking forward to the CSO’s first ActewAGL Llewellyn Series concert for 2019, and I’m sure you are too. Tonight, we take a walk on the wild side as renowned oboist and 2019 Artist in Focus, Diana Doherty makes her CSO debut, performing a piece of music written for her by Nigel Westlake—Spirit of the Wild (Concerto for Oboe and Orchestra). Leading the CSO tonight we warmly welcome Jessica Cottis. It is my pleasure to announce that Jessica will join the CSO for a second concert this year, to conduct the CSO Opera Gala. Jessica brings with her depth, creativity and wisdom to this significant and diverse program which was programmed by Richard Gill AO before his passing. This concert will be a fitting tribute to a great man who was dear to so many.

CSOSeason2019

Classic and contemporary symphonic masterworks from composers past and present, international and Australian.

A relaxed, informal, and intimate afternoon performance with our guest soloists.

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A SEASON OF STORYTELLING THROUGH MUSIC

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Welcome

WELCOME

Berder. Gaba. Anaorgna. Wantja.

Until 1 JuneNishi Gallery

An exhibition of new ceramics from Aboriginal and Torres Strait Islands artists.Berder — a Meriam (Torres Strait Islands) word for ‘mud’. Gaba — a Girramay, Jirrbal and Gulnay (Queensland) word for ‘white clay’.Anaorgna — a Western Aranda (Northern Territory) word for ‘clay or dirty mud’.Wantja — a Pitjantjatjara (South Australia) word for ‘the hard, moist earth; the first sign of water when digging a soakage well’.

A group exhibition by

Erub Arts, Girringun Aboriginal Art Centre, Hermannsburg Potters

and Ernabella Arts

NISHI GALLERY17 Kendall Lane Canberra ACT 2601

[email protected]@nishigallery

Gallery HoursWed to Sun 11am–3pm

‘Titta & Attie’ by Racy Oui-Pitt of Erub Arts. Photography by Lynnette Griffiths.

the Sydney Symphony Orchestra where she conducted over thirty concerts per year with the orchestra, being lauded in the Australian press as “one of the big hopes for change”. Born in Australia and a dual British-Australian citizen, Jessica Cottis was awarded a first class honours degree in organ, piano and musicology from the Australian National University and continued her studies as an organist with Marie-Claire Alain in Paris, winning awards from the Royal Philharmonic Society and Royal College of Organists. A wrist injury subsequently halted her playing career and, after reading Law, she began conducting studies in 2006, studying with Colin Metters and Sir Colin Davis on the postgraduate conducting course at the Royal Academy of Music. A gifted communicator, Jessica Cottis is already acting as an inspiration to the younger generation. She has filmed projects for Play School (ABC Australia), CBeebies (BBC) and the Royal Opera House, has conducted projects with organisations such as the National Youth Orchestra of Great Britain and Sistema Scotland, and led courses for female conductors with London’s Royal Philharmonic Society.

as debuts with Houston Symphony Orchestra, London Symphony Orchestra, Malmö Symphony Orchestra, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Gavle Symphony Orchestra, Royal Liverpool Philharmonic Orchestra and Malaysian Philharmonic among others. In the upcoming 2018-19 season, Jessica will perform in her Los Angeles Philharmonic Orchestra debut, as well as revisiting the City of London Sinfonia, Scottish Chamber Orchestra, London’s Royal Philharmonic Orchestra, laVerdi in Milan, and the OBC in Barcelona. She will return to work for the Royal Opera House in London again, conducting the premieres of two significant new opera commissions. She will return also to her native Australia to conduct Canberra Symphony Orchestra, as well as Monash Academy Orchestra in Melbourne. Her international career was launched through close working relationships with mentors including Vladimir Ashkenazy and Donald Runnicles. From 2009 to 2011 she was Assistant Conductor at the BBC Scottish Symphony Orchestra and Fellow in Conducting at the Royal Conservatoire of Scotland, and from 2012 to 2014 Assistant Conductor of

Hailed in the UK music press as “one to watch”, Jessica Cottis possesses intellectual rigour, innate musicality and an easy authority; she is a charismatic figure on the podium who brings dynamism, intensity and clarity of vision to all her performances. Frequently in demand as guest conductor, highlights of recent seasons include performances with the Sydney Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic Orchestra, BBC Symphony Orchestra, BBC National Orchestra of Wales, BBC Concert Orchestra, L’Orchestra Sinfonica di Milano Giuseppe Verdi (laVerdi), l’Orchestre Philharmonique de Monte Carlo, New Zealand Symphony Orchestra, and recording with the BBC Scottish Symphony Orchestra. The 2017-18 season marked a return – after the success of her debut in 2016 – to the prestigious BBC Proms in July, as well


Conductor

CONDUCTORJessica Cottis

Christchurch Symphony Orchestras, the Queensland Youth Orchestra in the world premiere of an oboe concerto by Australian composer/pianist Allan Zavod, the Australian Festival of Chamber Music, Townsville, and the Vaughan Willams Oboe Concerto with Sydney Symphony. In 2017, with the Sydney Symphony Orchestra under the baton of David Robertson, Diana premiered Nigel Westlake’s Oboe Concerto, “Spirit of the Wild”, written especially for her, and repeated this performance with the Australian Youth Orchestra in Melbourne. She also performed with the St Lawrence String Quartet in Toronto, Vancouver and San Fransisco, and premiered another new oboe concerto, by Joe Chindamo, at the Queensland Music Festvial. In 2018 her engagements include guest appearances with Spirit Ensemble, a newly formed sextet of Sydney Symphony Orchestra musicians, at the Ukaria Cultural Centre in Adelaide, and with Northern Rivers Symphony Orchestra.

Sydney Symphony Orchestra since 1997, a position she had previously held with the Symphony Orchestra of Lucerne from 1990 to 1997. She was born in Brisbane and completed her Bachelor of Arts in Music Performance at the Victorian College of the Arts in Melbourne, where she was awarded the M.E.N.S.A prize for top graduating student. During this time she also won the ‘Other Instruments’ section of the ABC Instrumental and Vocal Competition and was named ‘Most Outstanding Competitor Overall’ for 1985. Other awards and prizes include joint winner of the Young Concert Artists International Auditions in New York, first prize at Prague Spring Festival Competition, a MO award for Classical/Opera performer of the year and an Aria for her performance of the Ross Edwards’ Oboe Concerto. In addition to her work as Principal Oboe with the Sydney Symphony, Diana has most recently appeared in Martinu’s Oboe Concerto with Adeladie Symphony Orchestra, Mozart’s Oboe Concerto in C Major and Messiaen’s Concert à quatre with West Australian Symphony Orchestra and Simone Young, Mozart’s Oboe Concerto in F major with the Sydney Symphony Orchestra, Strauss’ Oboe Concerto with the Melbourne and

Diana Doherty is widely regarded as one of the most talented Australian instrumentalists working today. Notable successes include performing Ross Edwards’ Concerto for Oboe with the New York, Liverpool and Hong Kong Philharmonic Orchestras, appearances with Australia’s and New Zealand’s leading Symphony Orchestras, Australian Chamber Orchestra, Melbourne Chamber Orchestra, St. Lawrence String Quartet, Musica Viva, the Seymour Group, Four Winds Festival, Ensemble Kanazawa, Japan, Townsville Chamber Music Festival, and at many international festivals, including Prague Spring Festival, MusicaRiva festival, Italy, Bratislava Music Festival and the ‘Young Artist in Concert’ Festival in Davos, Switzerland. Diana has been Principal Oboe of the

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OBOEDiana Doherty

rebellious, heroic character, and his sufferings which were the price of the good he did for mankind. In Beethoven’s mind, the character of Prometheus was identified with the young Napoleon, the defender of ‘liberty, equality and fraternity’. In the finale of the ballet, a theme which could almost be called the refrain of Beethoven’s young manhood makes an early appearance. It is a theme associated with heroism, and here treated as a basis for variations, as it was to be in the Variations for piano Op.35; and most memorably and magically exalted, in the finale of the Eroica Symphony, originally dedicated to Napoleon. The Overture prefigures the grand conclusion of the ballet. From the first notes, in which Beethoven commands his audience’s attention by the tonal ambiguity of a discord leading out of the main key, the music is passionate and noble. The youthful energy of the composer, well suited to the ballet’s theme, is apparent in the dashing and often brilliant orchestral writing.—Adapted from a note by David Garrett Reprinted by permission of Symphony Services International

Beethoven’s only ballet music was written for a ‘heroic and allegorical’ ballet conceived by the Italian dancer Salvatore Viganò, and produced in Vienna in 1801. The story combines the myth of Prometheus, who snatched fire from the sky, with that of Pygmalion, the sculptor whose statue came to life. Prometheus uses the fire to fashion two statues, a man and a woman, from clay; but they resist all his efforts to make them human, stubbornly remaining as inert as vegetables. Disappointed, he is about to destroy his handiwork when the god Pan persuades him to lead them to Mount Parnassus, where they are educated by Apollo, Orpheus and the Muses. Acquiring the ability to think and feel, they begin to appreciate the beauty of nature and the civilising influences of music, comedy, tragedy and dance. Beethoven didn’t think too highly of Viganò’s efforts – he wrote to a publisher: ‘I have written a ballet, in which, however, the ballet master has not made the most of his part.’ At any rate, Beethoven wrote no more ballet music. Perhaps he felt that Viganò had not put sufficient emphasis on Prometheus’

LUDWIG VAN BEETHOVEN(1170-1827)

The Creatures of Prometheus — Ballet, Op.43: Overture


Music Notes

concerto score in subtle and mysterious ways. As a young boy, my parents had introduced me to the wilds of Tasmania and I am forever grateful to them for instilling in me a deep love of Australia’s wilderness fostered during numerous walking and boating expeditions. My trip to Bathurst Harbour reminded me of the preciousness of the wilderness, and of mankind’s propensity to become subsumed by materialism, neglecting our connection to country and the wonders of the natural world, choosing instead to value only those elements of our environment that can be quantified by monetary worth. Such wild places are truly priceless and we exploit and destroy them at our peril. Work on the concerto began when, in an act of courageous exploration, Diana dropped around to my studio one morning and allowed me to record her performing a dazzling stream of freeform improvisations. Always up for a challenge, she had accepted my invitation to do so with characteristic enthusiasm and good will. To hear such an accomplished classical player liberate themselves from the constraints of the notated

I ♪ = 96 – cadenza II ♪ = 96III Tranquillo – Liberamente

– ♪ = 96 –IV Agitato

In mid 2016, following concert commitments in Hobart, I was invited by Bob Brown, one of Australia’s leading environmentalists, to accompany him on a visit to Bathurst Harbour, a pristine waterway on the south west coast of Tasmania contained within the Tasmanian Wilderness World Heritage Area. Almost completely devoid of modern human intrusion, the area was the home of the Needwonnee people for many thousands of years, and is accessible only by boat, plane or foot. It is a magical patchwork of button-grass moorlands, heathlands and estuaries, bordered by jagged peaks, wild rivers and rugged coastlines. My introduction to this place of exquisite beauty became the backdrop to my next project, an oboe concerto commission for the Sydney Symphony Orchestra, and as I pondered the ensuing collaboration with soloist Diana Doherty, the memories and significance of my expedition with Bob continued to infuse my consciousness, leaving their fingerprints on the

score in this way, enter ‘the zone’ and follow their musical intuition through a myriad of patterns, riffs and sequences was a privilege indeed, and the best possible way for me to infiltrate Diana’s highly unique, dynamic and virtuosic approach to the instrument. Her visit left me inspired and ready to start work. Performed in a continuum, the concerto can be divided into four distinct sections or movements, the first two of which are closely related in terms of energy and contour. The third section is a slow movement where long, sustained oboe phrases are supported by a detailed filigree of repeated patterns that ebb and flow in dynamic waves. A syncopated string canon forms a bridge to the final section which is perhaps the most playful and extrovert in manner, building as it does to a traditional ‘big finish’.—Nigel Westlake © 2017

NIGEL WESTLAKE(BORN 1958)

Spirit of the Wild — Oboe Concerto

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Music Notes

Ecstatic Dance was originally the second movement of Edwards’ work for string quartet, Enyato I. The generic title ‘Enyato’ is extracted from Edwards’ Maninya text, an arbitrary nonsense poem dating from 1981 consisting of randomly chosen phonetic units that are grouped together to form rhythmic cells. This text has had a formative influence on much of his instrumental and vocal music: its chant-like quality, resulting from the subtly varied repetition of material; its static harmonic basis; the general liveliness of its tempi; and so on. The evolution of this ‘maninya style’, says Edwards, may have been influenced by his subconscious absorption of a variety of non-western musics: the characteristic terseness and angularity of the melodic shapes in African mbira music, the texture of Indonesian gamelan music, Japanese, Indian and Indonesian

scales, and/or the repetitive processes used to induce heightened awareness in much of the world’s functional religious music, such as Australian Aboriginal chant or Moroccan Sufi music. Far more important an influence, however, was the natural environment and the ecstatic and mysterious sound-tapestry of the insect chorus in the heat of the Australian summer.—Symphony Australia © 2002 Reprinted with permission

ROSS EDWARDS(BORN 1943)

Ecstatic Dance

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large and empty, water is dripping down along one of the walls; the floor is thin, and conversation from the servants’ quarters can be heard echoing up from below; they’re singing drunken songs and laughing – dogs are barking as well. A few days later, undaunted by the weather, Mendelssohn set sail for the Hebrides, where he visited Fingal’s Cave and made a sketch for what later became the Hebrides Overture. The Third Symphony can also be traced to a sightseeing visit, this time to Holyrood House, Edinburgh, about which Mendelssohn wrote: The chapel beside it has now lost its roof. It is overgrown with grass and ivy, and at the altar Mary was crowned Queen of Scotland. Everything is ruined, decayed and open to the sky. I believe I have found there the beginning of my Scottish Symphony. Mendelssohn continued to work on this and the Hebrides Overture during his travels, but in Italy, understandably, his mind turned more to the Italian Symphony. As he said, ‘Who can wonder that I find it difficult to return to the Scottish mood?’ It is probably in terms of overall mood that the Scottish Symphony most noticeably reveals its original impetus. One can perhaps glimpse, through the overall sombreness, the Scottish landscape ‘looking so stern and robust, half-wrapped in haze of smoke or fog’, but this work is not as pictorial as the Hebrides Overture. The portrait is somewhat muted.Although many of Mendelssohn’s works

Wales. There in the British Isles, Mendelssohn was enthusiastically received as a concert and salon pianist, but he also spent time touring and observing, soaking up the sights and sounds of fascinating new environments. Mendelssohn’s correspondence from the time includes some beautifully descriptive travel writing. He said vividly of London, for example, that it was ‘the most grandiose and complicated monster that the world has to offer’.In the summer of 1829 Mendelssohn and Carl Klingemann, with whom he had roomed on arrival in London, set off for Scotland. There he was taken in by the wild atmosphere of the country. He wrote home from Blair Atholl (3 August), for example: A wild affair. The storm is howling, blustering, and whistling around outside causing doors to slam shut down below and blowing the shutters open, but one can’t tell whether the sounds of water are from the rain or from the blowing spray, since both are raging. We’re sitting here around the burning hearth which I poke a bit from time to time making it flare up. Otherwise, the room is

FELIX MENDELSSOHN(1809-1847)

Symphony No.3 in A minor, Op.56 Scottish

Andante con moto – Allegro un poco agitato – Andante con moto –Vivace non troppo –Adagio – Allegro vivacissimo – Allegro, maestoso assai

Like the Piano Concerto No.1, the Italian Symphony and the Hebrides Overture, this work dates from the period of what we may call Mendelssohn’s ‘Grand Tour’ – a period of roughly four years during which Mendelssohn, entering his twenties, toured the British Isles and Europe. Some time in the summer of 1828, Mendelssohn’s parents decided that their young man needed to travel to broaden his mind. Unlike so many 19th-century composers, Mendelssohn was born into middle class comfort. His home was a cultural hub, and it could be asked how much more broadening was needed by someone whose family home buzzed with the company of people such as the scientist Alexander von Humboldt, the philosopher Hegel, the actor Eduard Devrient, and music critic and theorist Adolph Bernhard Marx, among others. In any case Felix left Berlin on 10 April 1829 bound for England, Scotland and


Music Notes

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during the period bore the sign of literary or pictorial inspiration, his aesthetic probably owes more to the philosophy of a family friend, Hegel, who was to say in Vorlesung über die Aesthetick (Lecture on Aesthetics, Berlin, 1836) that the composer ‘should devote equal attention to two aspects – musical structure, and the expression of an admittedly indeterminate content’. It is probably towards the creation of a piece which is satisfying on purely musical terms that the composer directed his energy in this instance. The symphony is composed in the standard symphonic four-movement plan, but structurally, Mendelssohn was trying to break new ground, not only linking the four movements, but relating them through some cross-referencing of themes. The first movement rarely leaves the minor mode, even for the lyrical second subject. The second movement is an example of the fleet-footed scherzando style which we have typically come to associate with the composer of the Octet and A Midsummer Night’s Dream. The finale provides an affirmative conclusion but also binds the work together thematically. Here we may recognise the music of the opening – purged of its brooding, but retaining its regal quality.

How Scottish is the work? Certainly there are no bagpipe competitions, though Mendelssohn wrote home about one:

[the bagpipers] with long red beards, tartan plaids, bonnets and feathers, naked knees, and their bagpipes in their hands…passing along the half-ruined grey castle on the meadow, where Mary Stuart lived in splendour and saw Rizzio murdered…

And there is no folksong quotation, which would have been the easiest way to make a Scottish association. The nearest Mendelssohn actually comes to folk-like sources is in the scherzo, where the main melody could be thought to possess a ‘folkish’ pentatonicism. Even so perceptive a critic as Schumann, hearing this symphony and thinking it was the Italian, was moved to remark on how appropriately it portrayed its subject! It was, he said, ‘so beautiful as to compensate a listener who had never been in Italy’ – which should console those listeners who simply wish to enjoy the superbly well-written music.—G.K. WilliamsSymphony Australia ©1999 Reprinted by permission


Music Notes (Symphony No.3 in A minor, Op.56 Scottish)

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May

CSO OPERA GALA—Saturday 18 MayLlewellyn Hall, ANU__7.30pm—Jessica Cottis ConductorJaqueline Porter SopranoJeremy Kleeman Bass-baritone

June

RECITAL TWO—Sunday 16 JuneGreat Hall, University House__2pm—Slava and Leonard Grigoryan Guitars —Join the Grigoryan Brothers as they journey to a dimension of guitar playing rarely seen in the musical world.

ACTEWAGL LLEWELLYN TWO—Wednesday 19 JuneThursday 20 JuneLlewellyn Hall, ANU__7.30pmPre-concert talk__6.45pm—Paul Kildea ConductorSlava and Leonard Grigoryan Guitars David Pereira Cello

(LS2) —MOZART The Marriage of Figaro OvertureJOAQUN RODRIGO Concierto madrigal KENNETH AND KIRSTEN LAMPL To the Memory of Nelson Cooke: an Elegy for Cello and OrchestraBEETHOVEN Symphony No. 8 in F major, op. 93

August

RECITAL THREE—Sunday 18 AugustGreat Hall, University House__2pm—Andrea Lam Piano

ACTEWAGL LLEWELLYN THREE —Wednesday 21 AugustThursday 22 August Llewellyn Hall, ANU__7.30pmPre-concert talk__6.45pm—RAVEL La ValseRACHMANINOV Piano Concerto No. 1, op. 1MATTHEW HINDSON The Stars Above Us AllMUSSORGSKY (orchestrated by Ravel) Pictures at an Exhibition

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Australian Series CuratorProf Matthew Hindson AM

CSO Administration

Chief Executive Officer (acting)Rachel ThomasCommunications Coordinator Geordie CullenEnsembles* Eloise FisherEvents & Logistics* Julie SeatonFinance* Lou MalfoneOrchestra & Operations Andrew HeronPartnerships* Frances CorkhillPhilanthropy* Tim LangfordResidents Coordinator* Lindy RekstenTicketing & Administration* David Flynn*part-time

CSO Volunteers

Dianna Laska Gail Tregear John & Anne Rundle Alison Gates

Contact the CSO

Level One 11 London Circuit (entrance off Farrell Place) Canberra CityGPO Box 1919 Canberra ACT 2601

CSO Direct (ticketing) 02 6262 6772 weekdays 10am–3pm

Administration02 6247 9191 | cso.org.au

Facebook — /canberrasymphonyorchestraInstagram — /canberrasymphonyorchestraTwitter — /@cbrsymphony

Your feedback is always welcome. Please find us on social media or send an email:[email protected]


Board andAdministration

Board and Administration

The CSO is all about connecting our partners with the community through music. We believe that life is better with music and our collaborative partnerships support a diverse range of concerts from the mainstage to the extensive CSO Education and Community Outreach programs.

If you would like to find out more please call us on 02 6247 9191.


Partners and Supporters

Partners and Supporters

Partnerships

YARRAMUNDI PARTNER

POWERHOUSE PARTNER

AUSTRALIAN SERIES

HONORARY SOLICITORS CULTURAL PARTNER

MURRUMBIDGEE PARTNERS

Venue Partner

The CSO is assisted by the Commonwealth Goverment through the Australia Council, its arts funding and advisory body

SIDE BY SIDE ORCHESTRA PARTNER EVENTS PARTNERPRINT PARTNER

Recital Series Partner

AUTOMOBILE PARTNER

IT SUPPORT PARTNER

COTTER PARTNERS

WINE PARTNER

ESTATES PLANNING PARTNER

MEDIA PARTNERS

DESIGN PARTNER

Accommodation Partners

We thank our government, corporate and community partners

GOVERNMENT PARTNERS

We thank all supporters for their commitment and generosity.

ASSOCIATE MEMBER $500-$999

Virginia BergerJoan BostonNeil BattyAK & JE CooperDudley & Mrs Helen CreaghAnn FieldProf Rae Frances & Prof Bruce ScatesTony Hayward Malcolm & Rhondda HazellHeather HendersonDr Marian HillJohn & Ros JacksonPatricia JonesJohn KalokerinosMelanie KontzeHenry & Dianna LaskaRaymond Macourt OAMAnne & John MotenMarie & Peter NicholsonJohn & Libby OliverParis ‘99Katharine PierceEmma PurnellMichael & Emily ReedIsher & Norah SekhonDavid ShelmerdineMuriel WilkinsonHelen White & Bob RichardsonMarie WrightAnonymous 6

VANGUARD MEMBER $25000 +

Prof Brian Anderson AC & Dianne Anderson AM

VIRTUOSI MEMBER ABOVE $10000

June GordonKenyon FoundationThe Tall FoundationMandy Westende & Lou Westende OAMAnonymous 1

MAESTRO MEMBERSHIP $4000-$9999RA David Campbell AMFay CullSue Daw OAM (in memory of Peter Cianchi) Ross & Sue KingslandMarjorie LindenmayerNoela McDonaldDavid McDonaldAnonymous 3

EDUCATION GIVING CIRCLE

Virginia BergerJoan BostonFay CullAnonymous 1

B HammondColin HarmerTony HaywardElizabeth HewsonMaureen HickmanRobyn HolmesKathleen HoltzapffelCatherine Hook & Paul CarmenJune HowardMary Elspeth HumphriesDr John & Mrs Judith HuppatzIan IngleG.A. JosephFrank KellyHelga KlippanSusanne KoerberBjarne KraghDenise KrausN. LandauDr Frederick & Mrs Penelope LilleyJudith LindgrenJohn & Jinnie LovettSue LudwigPatricia MakehamDiana MildernDr Louise MoranAnne & John MotenPenelope MoyesMargaret MyersTeresa NeemanKate NockelsMarie OakesPamela O’KeeffeRex N. OramHelen PamplingSue PidgeonPaul & Mary PollardS PurserJulie QuinnPeter RandallWayne & Linda RobertsJill Robilliard

THE KINGSLAND FELLOWSHIP PROGRAM

Founding DonorsThe late Sir Richard & Lady Kingsland & Family Robyn HolmesMajorie LindenmayerPaul & Jan KriedemannIngrid MitchellAnonymous 1

GIFTS AND BEQUESTS

Betty Beaver AMDr Pamela RothwellAnonymous 2

IN MEMORIAM

Don BeazleyJanice BeveridgePeter CianchiHeather EastwoodAnn & Liam KearnsProf John MulvaneyAlan RichardsonNancy Shackell

INSTRUMENT FUND

Prof Brian Anderson AC & Dianne Anderson AMShane Baker & Linda PearsonBoronia GiftJoan BostonProf Robert Crompton & Helen CromptonThe Flynn FamilyAnthony Hedley AMGeoffrey White OAMSally White OAMIn Memoriam Leonie Voorhoeve

SUPPORTING MEMBER $100–$499

Judith AndrewsDr John AzouryNorman & Sarah BakkerJane BattsNeil BattyTim BeckettNC & JE BedloeBrenda BernasconiRobin BlakeDaryl & Hermina BlaxlandRobyn BoydMary BrennanC & R BrockDr Peter Brown AMPauline & Kevin BryantA BullerAdrian Burton & Divya SharmaLouise ButlerMrs Bev CarfraeAndrew ChalklenFaith ChegwynNatalie CollisDon Coutts & Julie CampbellMerrilyn CrawfordVicky CullenMaria DamoYole & Bill Daniels AMPaul DearloveJohn DearnVicki Dunne MLAJudi EdwardsSarah ElphickM N FalkDr Miriam FischerGreg GeorgeDr Ann GibsonIan & Shirley GollingsGeoff & Lynette GorrieGoyne FamilyGillian & Ian GrahamElizabeth Grant AMHelen & John GrantRosemary GreavesIsobel GriffinCarol Grout-SmithMarlene Hall

PRINCIPAL MEMBER $1000-$3999

Prof Brian Anderson AC & Dianne Anderson AMHalina BarrettVirginia BergerMax & Lynne BoothAnne Caine & Jim LumbersPeter Carrigy-RyanChristoper & Rieteke ChenowethDudley & Mrs Helen CreaghHelen DouglasSue DyerJoanne Frederiksen & Paul LindwallRaydon & Alison GatesBeatrice GuppyAllan Hall AMBarbara Hall OAMDonald Harris AMAnthony Hedley AMPaddy & Louise HodgmanDavid HowardStephanie & Mike HutchinsonPaul & Jan KriedemannHenry & Dianna LaskaJim & Heather LeedmanRaymond Macourt OAMGarth Mansfield OAMMargaret Mansfield OAMDavid & Sheila MiddletonIngrid MitchellTeresa NeemanMargaret OatesCarolyn PhilpotUrsula ReidMargaret Reid AORobyn RobertsonGeoffrey White OAMSally White OAMAnonymous 8

Jennifer RowlandJohn & Anne RundleIsher & Norah SekhonDr Kenneth ShepherdJoy SobellGrace StewartJohn SuttonDeane & Jennifer TerrellPamela & Graham ThomasG. TriggLeonard TuohyGraham & Rewa UtleySuzanne Vaisutis-WhiteBrenton WarrenMike & Ros WelchJune WestmacottDon Whitbread OAMNadine White & Dr Michael SchaperRosslyn WileyTony WillisJackie WraightDiane WrightAnonymous 3—The CSO would like to acknowledge all donations from Contributing Members of up to $99—THE 2018 & 2019 CSO RECITAL SERIES supported by Brian & Dianne Anderson


CSO Private GivingCSO Private Giving

CSO Private Giving

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Documents

ACTEWAGL Llewellyn CSO One Season 2019 · Nishi Gallery An exhibition of new ceramics from Aboriginal and Torres Strait Islands artists. Berder — a Meriam (Torres Strait Islands)