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The Australian Chamber Orchestra presents ‘The Best of British’ performed by ACO2 and starring international director and violinist Alexander Sitkovetsky. ACO2 brings together musicians from the ACO with the rising stars of Australian music.
Citation preview
P R E S E N TS
NT, VIC & SA TOUR 2015
19–30 AUGUST
STARRING ALEXANDER SITKOVETSKY & ACO2
THE BEST OF BRITISH
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MESSAGE FROM THE GENERAL MANAGER
English composers have a distinctive sound when writing for strings and
this program of music by either native-born or adopted Brits captures this
unique tonal quality from its earliest soundings in the 17th century through
to music of the late 20th century. The music demands stylistic flair and
versatility and the young musicians of ACO2 have demonstrated time and
again a fearless approach to new challenges. Leading the Orchestra for the
first time is the brilliant Russian-born violinist Alexander Sitkovetsky –
a student of the legendary Yehudi Menuhin, himself a force in British music
through most of the last century.
August is a remarkably busy month for the Australian Chamber
Orchestra in all of its incarnations. It encompasses performances
and education projects all over the country, including our partnership
in Western Sydney to create the Penrith Youth Orchestra, ACO2’s
geographically vast tour to Darwin, regional Victoria and South
Australia, installations of ACO VIRTUAL (our immersive, interactive
digital installation of the Orchestra) in Gladstone, QLD and in Sydney,
and a large-scale symphonic program of Mozart and Brahms directed
by Richard Tognetti in Adelaide, Brisbane, Melbourne and Sydney. Later
in the year, the ACO travels to Hong Kong for an exciting week-long
residency before rounding off 2015 with performances of Vivaldi’s
Four Seasons.
We are most grateful to the Australia Council for its support of this tour
of ACO2 and to our generous education patrons who support not only the
formation of ACO2 but the expansive educational activities which ACO2
provides to local communities while touring in regional Australia.
The most exciting news has just been announced: from the beginning
of 2016, ACO2 will have not only a new Artistic Director and a new name,
but will also welcome a new sponsor. From January 2016 the thrillingly
dynamic Finnish violinist Pekka Kuusisto will become the new Director.
ACO2 will become ACO Collective, capturing the spirit of collaborative
music-making which is so much a part of this Orchestra’s character.
And the great Australian corporation Wesfarmers will become the
Principal Partner of ACO Collective.
With exciting young talent on stage, a brilliant new Artistic Director, a
fresh identity and an enlightened and visionary sponsor, the future has
never looked brighter.
Timothy Calnin
General Manager
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Alexander Sitkovetsky Guest Director & Lead Violin
ACO2
HANDEL Concerto Grosso in G major, Op.6, No.1, HWV319
PURCELL Chacony in G minor, Z730
PANUFNIK Violin Concerto
INTERVAL
HOLST St Paul’s Suite, Op.29, No.2
BRITTEN Variations on a Theme of Frank Bridge, Op.10
DARWIN
Entertainment Centre
Wed 19 Aug, 7pm
ACO2 is being presented
as part of the 2015
Darwin Festival.
HEALESVILLE
The Memo
Fri 21 Aug, 7.30pm
MONTROSE
Town Centre
Sun 23 Aug, 2pm
BENDIGO
The Capital
Wed 26 Aug, 8pm
WARRNAMBOOL
Lighthouse Theatre
Thu 27 Aug, 7.30pm
MOUNT GAMBIER
Sir Robert Helpmann Theatre
Fri 28 Aug, 7.30pm
ADELAIDE
Elder Conservatorium
Sun 30 Aug 2.30pm
This performance will be recorded
by ABC Classic FM and will be
broadcast on Thursday
3 September at 8pm.
This concert will run for approximately one hour and
40 minutes, including a 20-minute interval.
PROGRAM
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ABOUT THE MUSIC
GEORGE FRIDERIC HANDELBorn Halle 1685
Died London 1759
Concerto Grosso in G major Op.6, No.1, HWV319
(Composed 1739)
I. A tempo giusto
II. Allegro
III. Adagio
IV. Allegro
V. Allegro
On 22 November 1739 (St Cecilia’s Day), Handel opened a new
concert series in London. Unfortunately things went against it. The
War of Jenkins’ Ear had reluctantly been declared on the Spanish
colonies, so many people didn’t feel like going out for a good time.
The weather was unfavourable: the Thames 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’, the audience stayed away in droves.
Then the singers fell sick too.
Passing not quite unnoticed in this ill-fated concert series was a
collection of ‘Grand Concertos’, which were designed as interludes
to rest ears wearied by the mostly vocal content of the program.
Between 29 September and 30 October Handel wrote at unbelievable
speed, producing a concerto grosso every two days or so. The result
was his Opus 6, containing ‘Twelve Grand Concertos in Seven Parts,
for four Violins, a Tenor [viola], a Violoncello, with a Through-Bass for
the Harpsichord’. The set is now widely considered the pinnacle of
Handel’s compositions for instrumental ensemble.
The 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.1) they are a gang
of three, the ‘concertino’, working alternately with and against their
colleagues in the larger ‘ripieno’.
Handel’s Opus 6 was undoubtedly inspired by the concerti grossi of
Arcangelo Corelli, and those of his pupil Francesco Geminiani. The
English had learned to appreciate these even before Handel came
on the scene; he was deliberately catering to public taste. Musical
scholarship suggests that Handel borrowed from other colleagues
too. George Muffat’s keyboard suites and Domenico Scarlatti’s
harpsichord exercises come in for their own fair share of the sincerest
form of flattery.
George Frideric Handel
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Although the concert series for which the concertos were designed
didn’t make him wealthy, Handel had the satisfaction of seeing
published copies of Opus 6 sell to most of the royal family, London’s
two biggest impresarios, and a number of the major musical societies
in England and Ireland.
HENRY PURCELLBorn London c.1659
Died London 1695
Chacony in G minor, Z730
(Composed c1678)
When Purcell died in 1695, poems and musical tributes flowed from
pens across Britain. To this day there are few English composers who
can lay claim to an equivalent place in musical history.
The boy Henry Purcell followed in the footsteps of his uncle and
possibly also his father in becoming a musician with the Chapel Royal,
where he studied and worked with some of the best composers, singers
and instrumentalists. After his voice broke in 1673, he moved smoothly
into various jobs associated with the Chapel and with Westminster
Abbey – by 1682 he had been appointed Organist at both venues, and
was simultaneously making a name as a theatre composer.
However, his biography still contains a number of mysteries, and
his catalogue contains many shadows of uncertainty. One such
minor puzzle is why he called this work a ‘chacony’. The French term
‘chaconne’ was used at that time; perhaps it is just his own quaint
pronunciation of the word, in a period when consistent spelling was
not as valued as it is today. But this piece is not strictly speaking
a chaconne anyway, but rather its triple-time, bass-dependent
cousin the passacaglia, a work with a low ostinato line that repeats
throughout, while decorations are applied ever more lavishly.
This is thought to be an early piece, written at perhaps the age of 18.
Purcell loved this kind of musical approach and used it throughout his
life, most often as a kind of ‘ground bass’ where the repeated phrase
sits in the lowest line – a famous example is his Dido’s Lament, in the
same key. This Chacony may have been written for solo harpsichord.
Yet something about its rich harmonies comes more vividly alive
on strings, suggesting its suitability for playing domestically, with
cheerful friends, despite the minor tonality.
Henry Purcell
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ANDRZEJ PANUFNIKBorn Warsaw 1914
Died London 1991
Violin Concerto
(Composed 1971)
I. Rubato
II. Adagio
III. Vivace
Andrzej Panufnik is to Poland what György Ligeti is to Hungary:
a significant and adventurous composer, whose work reflects his
connection to his country’s folk traditions. Both escaped the Iron
Curtain to the West during the Cold War. Panufnik left Poland in 1954
to live in the UK and did not return until 1990, the year before
his death.
The composer wrote of this work:
When Yehudi Menuhin asked me to compose a violin concerto
for him, I immediately had in mind his unique spiritual and poetic
qualities and I felt I should provide a vehicle which would accentuate
these rare gifts, and not obscure his deep inner musicianship by
virtuoso pyrotechnics. I treated the violin as a singing instrument so,
though keeping within my strict self-imposed discipline of sound-
organisation, I constructed rather long and unbroken melodic lines.
The concerto opens with a Rubato, music which gives considerable
freedom to the performer. Cadenza-like virtuoso passages, whose
material is an imaginative response to the basic three-note triads,
are contrasted with long, singing lines.
The second movement is also a musical discussion of triads,
presented as alternating major and minor thirds, passed around
between orchestra and soloist. Panufnik wanted this Adagio
movement to have ‘utter simplicity and frugality of means, but with
much poetic content’.
The final movement continues to explore major and minor, but the
real interest becomes rhythm. Described by the composer as ‘almost
dance-like’, he wanted the soloist to ‘convey the most human feelings
of joyousness, vitality and even some sense of humour.’
Andrzej Panufnik
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GUSTAV HOLSTBorn Cheltenham 1874
Died London 1934
St Paul’s Suite, Op.29, No.2
(Composed 1913)
I. Jig: Vivace
II. Ostinato: Presto
III. Intermezzo: Andante con moto
IV. Finale (The Dargason): Allegro
Gustav Holst is best-known for composing The Planets, a mighty
orchestral suite mixing astronomy, astrology and fabulous
orchestration (subsequently ripped off by many film composers). But
that success arrived quite late in his career. Like most composers,
Holst had to do something besides write music in order to make a
living. For some years he survived as a casual trombonist in light
orchestras, and as a choir director for a socialist men’s club. In 1905
he became Director of Music at the brand new St Paul’s Girls’ School
in Hammersmith, London, and discovered both a gift for teaching, and
also how much better life can be with a regular salary.
He stayed there for nearly 30 years. It’s worth mentioning that at a
time when young ladies’ music education often leaned to sentimental
drawing-room songs, his approach to teaching ‘serious’ music bore
some substantial fruit, with a number of pupils going on to pursue
groundbreaking careers in music. In 1913 the school opened a new
music wing, including a soundproof studio. As well as teaching
there, Holst now had somewhere to work which was conducive to
composing. Out of gratitude he quickly responded with this Suite for
strings, though some of it is a reworking of earlier material.
His most popular music presents an attractive balance between
tradition, and looking forward. His interest in the unpretentious
appeal of folksongs was encouraged by his great friend Ralph
Vaughan Williams. Perhaps the most famous British song,
Greensleeves, which Vaughan Williams used so beautifully in his
Fantasia, appears in this Suite by Holst as a tantalising glimpse in
the final movement (alongside a number of other musical references).
Folksongs, country dance rhythms and historical references nudge
their way into the other movements too.
Holst as a teacher inspired devotion – we know for example that a
number of students volunteered as careful copyists of some of his
major scores. The enduring popularity of this small-scale, charming
Suite is a happy tribute to those days: teaching was a valued part of
his creative life, not merely an imposition on his composing time.
Gustav Holst
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BENJAMIN BRITTENBorn Lowestoft 1913
Died Aldeburgh 1976
Variations on a Theme of Frank Bridge, Op.10
(Composed 1937)
‘To F.B. A tribute with affection and admiration.’
– Composer’s dedication
Frank Bridge (1879–1941) is today almost solely known through this
musical tribute from his only composition student, Benjamin Britten.
Bridge was something of an outsider, particularly when his music
began to range outside cosy British pastoralism and to look towards
the more acerbic, structured, intellectual path that music was taking
in Europe. Had Britten found a more ‘establishment’, less intellectually
curious teacher, he may not have grown into the highly individual
compositional voice that is now so admired.
The pair met during the Norwich Festival in 1924. Young Ben
Britten then began making occasional day trips up to London for
composition lessons. He later recalled that there were two ‘cardinal
principles’ in Bridge’s methods. ‘One was that you should find yourself
and be true to what you found. The other – obviously connected
with the first – was his scrupulous attention to good technique, the
business of saying clearly what was in one’s mind.’
Britten went on to study at the Royal College of Music; after leaving
he was hired to write the music for some documentaries created by
a film unit where he met useful colleagues, including the writer WH
Auden, and the conductor Boyd Neel. In May 1937 Neel approached
Britten for a new work for the Boyd Neel Orchestra – but the stakes
were high: it was to premiere at the famous Salzburg Festival in
August, and time was very tight.
Britten started work on his piece for Neel on 5 June 1937. It was
essentially shaped within the next 10 days, and printed ready for
rehearsals on 12 July. This would have been a terrific effort for even
the most established composer.
It helped that Britten took as his starting point a theme by Frank
Bridge: the principal theme from No.2 of Three Idylls for string
quartet. Choosing to write a set of variations meant that he was
really writing a series of smaller works rather than trying to compose
a single massive one. It also gave this young, almost unknown
musician the opportunity to show his flair in a great variety of styles
and forms.
Benjamin Britten
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Britten decided that each movement would represent something
about his esteemed teacher. Although he probably wouldn’t approve
of us for publishing those descriptions here, they are quite an
interesting insight into the character of each variation, and useful
signposts for the listener.
1. Introduction & Theme (Himself) [i.e. Frank Bridge]
2. Adagio (His depth)
3. March: Presto alla marcia (His energy)
4. Romance: Allegretto grazioso (His charm)
5. Aria italiana: Allegro brillante (His humour)
6. Bourrée classique: Allegro e pesante (His tradition)
7. Wiener Walzer: Lento – vivace (His enthusiasm)
8. Moto perpetuo: Allegro molto (His vitality)
9. Funeral march: Andante ritmico (His sympathy)
10. Chant: Lento (His reverence)
11. Fugue and Finale: Allegro molto vivace – molto animato –
Lento e solenne (His skill and dedication)
As well as the principal theme, introduced by tender solo strings after
a brisk introduction, the Variations also allude to five of Bridge’s more
important scores, including the first Britten ever heard. The Sea; Enter
Spring; Summer; There is a Willow Grows Aslant a Brook; and the
Piano Trio (1929) make their way cunningly into the score.
The premiere was a triumph, and the work was immediately taken
up for performance by other ensembles. It can fairly be said to be
the piece which launched Britten’s career. This must have been
particularly satisfying for his first and best teacher, whose name is
thus remembered when so many other great teachers are forgotten.
All notes © K.P. Kemp
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“ACO2 IS BREATHING PURE MUSICAL
OXYGEN ... IF YOU’RE LOOKING FOR THE
FINEST YOUNG STRING PLAYERS IN THIS
COUNTRY AND, MOST PROBABLY, WELL
BEYOND, THIS IS WHERE YOU’LL FIND THEM.”
AUSTRALIAN STAGE ONLINE
Ima
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© J
ac
k S
alt
mir
as
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ACO 2
ACO2 , the ACO’s critically acclaimed string ensemble, delivers the ACO’s
regional touring and education programs. It connects the elite musicians
of the ACO with Australia’s most talented young professional musicians
at the outset of their careers, creating a combined ensemble with a fresh,
energetic performance style.
These young professionals have all participated in the ACO’s
year-long Emerging Artists’ Program and are in demand from
Australia’s professional orchestras but choose to spend time
experiencing the ACO’s high-octane performance style for
intense touring periods. It is testament to the ACO’s Emerging
Artists’ Program’s success that four former ACO2 members have
been appointed members of the ACO.
ACO2 commenced touring in 2007 and has since toured to over
70 regional centres in every state and territory. In 2013, the ACO
presented ACO2 in a national subscription tour led by Richard
Tognetti and it was named by The Australian as ‘one of the
year’s must see concerts’. ACO2 regularly works with international
and Australian guest artists of the highest calibre, including
violinists Elizabeth Wallfisch, Pekka Kuusisto, Lara St. John
and Thomas Gould; cellist Daniel Müller-Schott; harpist Alice
Giles; recorder virtuoso Genevieve Lacey; singer/songwriter Tim
Freedman from The Whitlams; and oud player Joseph Tawadros.
Biennially, ACO2 is the Orchestra in Residence at the Vasse
Felix Festival in WA.
In 2014 ACO2 was featured in four performances at the Canberra
International Music Festival. ACO2 performed in the Classical
Destinations II television series screened worldwide and released
on CD and DVD by Sony.
ACO2 performs in regional and metropolitan Australia and runs
workshops and presents concerts for school-aged students in
regional and metropolitan areas. In this way the ACO’s Education
Program identifies, connects and mentors three generations of
Australian string players, making the future very bright indeed.
aco.com.au
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ALEX ANDER SITKOVETSKY GUEST DIRECTOR & LEAD VIOLIN
Alexander Sitkovetsky was born in Moscow into a family with an established
musical tradition. He made his concerto debut at the age of eight and in
the same year began his studies at the Menuhin School. Lord Menuhin was
his inspiration throughout his school years and they performed together
on several occasions, including the Bach Double Concerto, Bartók Duos at
St James’s Palace, and when Alexander played the Mendelssohn Concerto
under Menuhin’s baton.
He has gone on to perform with the Netherlands Philharmonic,
the Philharmonia, Royal Philharmonic, English Chamber Orchestra,
Tokyo Symphony, Konzerthaus Orchester Berlin, the European
Union Chamber Orchestra, Academy of St Martin in the Fields,
St Petersburg Symphony, Moscow Symphony, Welsh National Opera
and the BBC Concert Orchestra among many others. Conductors
he has worked with have included Sir Mark Elder, Yakov Kreizberg,
Dmitry Sitkovetsky, Denis Russell Davies, Andrew Sewell, and
Alexander Dmitriev.
This season Alexander makes his debut in Brussels, Poznan, and
Bolivia, as well as going on two nationwide tours of the UK with the
Brussels Philharmonic and St Petersburg Symphony. He will also
perform a series of concerts with the Royal Philharmonic Orchestra
at the Royal Albert Hall. He will also make his debut with the Yomiuri
Nippon Symphony Orchestra in Tokyo and with the BBC Scottish
Symphony Orchestra in Glasgow.
His new recording for CPO of Andrzej Panufnik’s Violin Concerto has
been critically acclaimed and is winner of the 2015 ICMA Special
Achievement Award.
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MUSICIANS ON STAGE
VIOLIN
Alexander Sitkovetsky – Guest Director & Lead Violin
Zoë Black (ACO)
Amy Brookman 1
Peter Clark 2
Madeleine Jevons 1
Anne-Marie Johnson 2
Jenny Khafagi
Monique Lapins 2
Emily Sheppard 2
VIOLA
Nicole Divall (ACO) 3
Martin Alexander 1
Benjamin Caddy 2
CELLO
Paul Stender – Guest Principal Cello
Anna Pokorny 2
Paul Zabrowarny 2
DOUBLE BASS
Aurora Henrich 1
1. 2015 Emerging Artist
2. Emerging Artist alumni
3. Chair sponsored by Ian Lansdown
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2015 EMERGING ARTISTS
The Emerging Artists’ Program connects the next generation of
up-and-coming string musicians with the stars of the ACO in a dynamic
17-piece ensemble with a fresh and unique sound of their own.
AMY BROOKMAN Violin
Amy Brookman is a Melbourne-based violinist and in 2014 became
a graduate of the Australian National Academy of Music (ANAM).
She previously studied at the Queensland Conservatorium
completing a Bachelor of Music in 2009 and Master of Music Studies
in 2010. Amy has studied with Rachel Smith, Michele Walsh and
Adam Chalabi and is currently studying with Robin Wilson.
She is a founding member of the Penny String Quartet, which
is the proud recipient of the 2014 John and Rosemary Macleod
Travelling Fellowship.
Amy has extensive chamber and orchestral experience and was
a finalist in the 2013 Chamber Music Competition at ANAM.
MADELEINE JEVONS Violin
Melbourne-born Madeleine Jevons holds a Bachelor of Music
Performance (Hons) from the Victorian College of the Arts (VCA)
(2011). While at the VCA, she studied with Zoë Black, Miwako Abe,
Monica Curro and Adam Chalabi. In 2014 she graduated from the
Australian National Academy of Music (ANAM) where she studied
with Robin Wilson.
In 2010, Madeleine was part of the winning string quartet in
the University of Melbourne Alumni Chamber Competition, and
was a finalist the following year. In 2011, she was awarded the
Corinna D’Hage Mayer string scholarship. In 2013, Madeleine’s
quartet was one of three ANAM groups selected to perform at the
Quartetthaus season in Perth and is a founding member of the
Penny String Quartet.
She has performed extensively in orchestras including the
Melbourne Youth Orchestra, the Australian Youth Chamber
Orchestra, Orchestra Victoria and the ANAM symphony and
chamber orchestras. Madeleine is the proud recipient of the
2013 St Silas outstanding achievement award.
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MARTIN ALEXANDER Viola
As well as playing with many different ensembles both in and outside
of his tertiary studies, Martin Alexander has held principal positions
in the Australian Youth Orchestra, Queensland Conservatorium
Orchestras, the University of Tasmania and University
of Massachusetts. He has also performed with both the Tasmanian
and Queensland Symphony Orchestras.
Martin commenced his tertiary studies at the Queensland
Conservatorium majoring in piano, then in viola, studying with
Graeme Jennings. He graduated with a Bachelor of Music, and
then continued his studies at the University of Tasmania with
Josephine St. Leon. He is currently undertaking a Masters in
Music with esteemed violist Kathryn Lockwood at the University
of Massachusetts.
In 2012, Martin was one of four external participants chosen to
appear at the Australian National Academy of Music’s ‘VIOLA! Week’.
He has performed in masterclasses both in Australia and overseas
for Tobias Lea, Yuri Zhislin, Toby Appel, Kenneth Freed, Michelle
LaCourse, Pieter Wispelwey, Charmian Gadd, and for the New
Zealand, Australian, Goldner, Ying, Chiara, Pacifica, and Borromeo
string quartets.
AURORA HENRICH Double Bass
Aurora began piano at age 5, and flute shortly thereafter. But it was
the double bass, which she began at age 8, that Aurora enjoyed the
most. When she was 10, she began studying with Alex Henery (SSO
Principal Double Bass), and received her AMEB Associate Diploma in
Music in 2009. In 2012 Aurora began tertiary studies at the Sydney
Conservatorium, where she was awarded a Sydney University Entry
Scholarship and the Kathleen E Armstrong Scholarship.
In 2010, Aurora premiered Australian composer James
Humberstone's Miniature Concerto for Double Bass, which she played
on tour in Europe. Aurora performs with Sydney-based group ‘Salut
baroque!’. She has also worked on movie soundtracks for such films
as The Lego Movie and Mad Max: Fury Road. She regularly performs
with the Sydney and Tasmanian symphony orchestras.
In 2014 Aurora was a Sydney Symphony Orchestra Fellow, touring
with the orchestra to China. Aurora has performed in masterclasses
with internationally-renowned musicians including violinists James
Ehnes and Anthony Marwood, and double bassists Kees Boersma,
Paul Ellison, Hiroshi Ikematsu, Owen Lee and Dominic Seldis.
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EMERGING ARTISTS
& EDUCATION PATRONS
$10,000+
Mr Robert Albert AO
& Mrs Libby Albert
Australian Communities
Foundation – Annamila Fund
Australian Communities
Foundation – Ballandry Fund
Daria & Michael Ball
Steven Bardy
& Andrew Patterson
The Belalberi Foundation
Guido Belgiorno-Nettis AM
Luca Belgiorno-Nettis AM
Andre Biet
Leigh & Christina Birtles
Liz Cacciottolo & Walter Lewin
Rod Cameron & Margaret Gibbs
Mark Carnegie
Stephen & Jenny Charles
The Cooper Foundation
Rowena Danziger AM
& Ken Coles AM
Mark Delaney
Ann Gamble Myer
Daniel & Helen Gauchat
Andrea Govaert & Wik Farwerck
Dr Edward C. Gray
Kimberley Holden
Angus & Sarah James
PJ Jopling AM QC
Miss Nancy Kimpton
Bruce & Jenny Lane
Prudence MacLeod
Anthony
& Suzanne Maple-Brown
Alf Moufarrige
Jim & Averill Minto
Louise & Martyn Myer
Foundation
Jennie & Ivor Orchard
Bruce & Joy Reid Trust
Mark & Anne Robertson
Margie Seale & David Hardy
Tony Shepherd AO
Peter & Victoria Shorthouse
Anthony Strachan
John Taberner & Grant Lang
Leslie C. Thiess
Alden Toevs & Judi Wolf
The Hon Malcolm Turnbull MP
& Ms Lucy Turnbull AO
David & Julia Turner
E Xipell
Peter Yates AM & Susan Yates
Peter Young AM & Susan Young
Anonymous (2)
EMERGING ARTISTS & EDUCATION PATRONS $10,000+
CONTRIBUTIONS
If you would like to consider making a donation or bequest to the ACO, or would like to direct your
support in other ways, please contact Ali Brosnan (02) 8274 3830 or [email protected]
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The ACO would like to thank the supporters of ACO2’s NT, VIC & SA Tour.
In particular, we thank our government and corporate partners, the trusts
and foundations and the many generous patrons of our Emerging Artists’ and
Education Programs who have made this tour possible.
THANK YOU
PATRONS – NATIONAL EDUCATION PROGRAM
TRUSTS AND FOUNDATIONS
Darwin Entertainment Centre
ACO2 is being presented as part of
the 2015 Darwin Festival.
Yarra Ranges Regional Council
The Capital, Bendigo
Lighthouse Theatre, Warrnambool
Country Arts South Australia
Elder Conservatorium, Adelaide
VENUE PARTNERS
GOVERNMENT PARTNERS
Marc Besen AC & Eva Besen AO Janet Holmes à Court AC
Holmes à Court Family
Foundation
The Neilson Foundation The Ross Trust
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INSPIRE THE NEXT G ENERATION OF MUSICIANS
We celebrate the 10th anniversary of our National Education
Program this year and are committed to providing immersive
music education opportunities for children and young musicians
across the country. Thanks to you, our supporters, we are
nurturing the future of Australian music.
It is my vision to continue delivering and expanding our important
programs, introducing more young people to the joys and
benefits of music.
Please join us by supporting our National Education Program.
Richard Tognetti AO
Artistic Director
To donate please visit ACO.COM.AU/SUPPORT/DONATE
For more information please phone Ali Brosnan on (02) 8274 3830
or email [email protected]
SUPPORT OUR FUTURE
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Richard Tognetti AO Artistic Director
Timothy Calnin General Manager
PO Box R21,
Royal Exchange NSW 1225
Opera Quays, 2 East Circular Quay,
Sydney NSW 2000
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