Viennese Masters concert program

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In order to arrive at creative solutions to the many challenging questions facing us in today’s complex world, we must first open our minds and begin to listen. At PwC, we believe that listening is an art that helps us to fine tune our ideas and find the right notes. That’s why we’re proud to be the Principal Innovation Partner of the ACO.

Is listening the first step to understanding?

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NATIONALTOUR PARTNER On behalf of BNP Paribas, I’m delighted to welcome you to

the 2010 Viennese Masters Tour by the Australian Chamber Orchestra.

At BNP Paribas, we have a long tradition of supporting performing arts around the world and encouraging those, such as the ACO, who embody our core values of ambition, creativity and commitment.

As the ‘Bank for a Changing World’ BNP Paribas is constantly evolving, and this is something we have in common with the ACO. Each year that we continue to support the ACO, we are inspired by their individuality, unique artistic style and creative vision. For this reason we have been a proud National Tour Partner of the ACO since 2006 and this year, we are pleased to sponsor the Viennese Masters Tour.

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We are delighted to bring you this ACO tour. With a repertoire including Schubert, Brahms and Beethoven, wetrust that you will enjoy it immensely.

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AUSTRALIAN CHAMBER ORCHESTRA 3

SPEED READ

The 19th century was a time of unparalleled development in the technology of instrument making, and this program — from Beethoven at the beginningof the century to Brahms at the end — gives us some insight into that evolution.

Schubert’s Rondo Brilliante is hardly known today, although it was one of only three of his chamber works that he saw in print. Paganini had introduced the notion of the travelling virtuoso and Slavík, for whom the Rondo was written, had been hailed “a second Paganini”. It’s probably the closest Schubert got to conceiving a violin concerto, and this arrangement for violin and instruments brings it one step closer.

Beethoven complained that the great popularity of the Septet overshadowed all his other works; ironically, the Septet is now almost entirely eclipsed in fame by his orchestral compositions. It is a vastly different Beethoven from that of the 5th or 9th Symphonies, however. The Septet was one of the last works he wrote before his deafness began to take hold, and it is airy, exuberant and light-hearted.

Brahms famously came out of retirement to compose his Clarinet Quintet, a work consciously modelled on Mozart’s similar work of just over a century earlier. His close friend Clara Schumann hailed it a work of genius: “It is a really marvellous work, the wailing clarinet takes hold of one; it is most moving. And what interesting music, deep and full of meaning!”

TOUR SIXVIENNESE MASTERS

Th e Australian Chamber Orchestra reserves the right to alter scheduled

programs or artists as necessary.

ADELAIDE

Town Hall

Tue 28 Sep 8pm

BRISBANE

QPAC

Mon 4 Oct 8pm

CANBERRA

Llewellyn Hall

Sat 25 Sep 8pm

MELBOURNE

Town Hall

Sun 26 Sep 2.30pm

Mon 27 Sep 8pm

PERTH

Concert Hall

Wed 29 Sep 8pm

SYDNEY

Angel Place

Tue 5 Oct 8pm

Wed 6 Oct 7pm

Sat 9 Oct 8pm

SYDNEY

Opera House

Sun 10 Oct 2.30pm

WOLLONGONG

IPAC

Th u 7 Oct 7.30pm

Approximate durations (minutes):

15 • 40 • INTERVAL • 33

Th e concert will last approximately two hours.

SCHUBERT (arr. Ross)Rondo Brilliante in B minor, D895

BEETHOVENSeptet in E fl at major, Op.20

Adagio – Allegro con brio

Adagio cantabile

Tempo di Menuetto

Tema con variazione: Andante

Scherzo: Allegro molto e vivace

Andante con moto alla Marcia – Presto

INTERVAL

BRAHMSClarinet Quintet in B minor, Op.115

Allegro

Adagio

Andantino – Presto non assai

Con moto


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PREPARE IN ADVANCERead the program before the concert. A PDF version of the program will be available at aco.com.au and on the ACO iPhone app one week before each tour begins, together with music clips and podcasts.

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ACO ON THE RADIO

2MBS FM

Wed 10 Nov, 12pmInterview with an artist from the Kreutzer vs. Kreutzer tour.

NEXT TOUR

KREUTZER VS. KREUTZER

11 — 24 Nov

MESSAGE FROM THE GENERAL MANAGER

Th e ACO has just returned from our most ambitious

international tour ever. Not only did this tour traverse two

continents with a Beethoven-sized orchestra of 40 musicians,

it also encompassed an extraordinary range of performance

venues, from the Le Poisson Rouge nightclub in New York to

the recently reconstructed baroque Frauenkirche in the heart

of Dresden; from the ancient fort overlooking the Croatian

port city of Dubrovnik to the near perfect acoustics of a

converted malthouse near Aldeburgh; and from the gently

undulating lawns of Tanglewood to the restrained Edwardian

elegance of London’s Cadogan Hall. While the architecture

and acoustics of the spaces varied enormously, the reactions

of the audiences were decidedly consistent – cheering,

stomping, standing ovations at the conclusion of every

concert.

Th e reviews have been equally glowing; “Th e ACO is a crack

ensemble” Th e Guardian, “Th e fi nest concert of the summer”

Th e Arts Desk, “Tognetti and his badass classical band don’t

play New York nearly often enough” Time Out New York.

Our National Touring Partner BNP Paribas has enabled us

to bring much great music to audiences across the whole

country for many years and this month we proudly present

a program of Viennese classics in which so many individual

musicians of the ACO have the chance to shine. While

Assistant Leader Satu Vänskä is often seen “holding the fort”

while Richard steps into the solo spotlight, in this concert

the roles are reversed, Satu taking the limelight in Schubert’s

Rondo Brilliante with Richard in the supporting role.

Response to the recently launched ACO 2011 National

Concert Season has been wonderfully enthusiastic with

thousands of subscribers rushing to secure their seats for

another year of great music. If you haven’t received a 2011

season brochure, you can request one online or download it

directly from aco.com.au.

TIMOTHY CALNIN

GENERAL MANAGER, ACO

6 AUSTRALIAN CHAMBER ORCHESTRA

It is a quirk of cultural history, perhaps, but

as empires go into decline the arts in their

capitals seem to fl ourish. We might think of

Venice in the late 16th century, Paris after its

defeat by the Prussians in 1871, or London

in the 1960s. All were cities aware of their

declining political infl uence, but which

were also enjoying a remarkable outburst

of creativity across all the arts. Above all,

however, we might think of Vienna, whose

own empire seemed to go gently into that

good night throughout the long 19th century

(before coming to a catastrophic end at the

conclusion of the First World War). During

this time, notwithstanding the fact that the

musical economies of Paris, London, and

New York were at least quantitatively more

signifi cant, Viennese musical culture became

essentially synonymous with Western

music itself. Th e ‘First Viennese School’

of Mozart, Haydn and Beethoven came

to defi ne how we expect classical music

should sound, and codifi ed the standard

genres – symphony, string quartet, piano

trio, etc. – through which we should expect

to hear it. To be sure, 19th-century Europe

was also characterised by musical evolution,

experimentation, and occasional revolution,

but such change occurred under a most

extraordinary anxiety of infl uence whose

wellspring was in Vienna.

Why that should have been the case

remains something of a puzzle for historians

and musicologists alike, but one aspect

of Viennese musical culture that stands

out is the cultivation, particularly by the

aristocratic class, of an interest in what we

might call ‘musical seriousness’. By this we

mean music that was valued above all for its

perceived intrinsic, purely ‘musical’, qualities,

such as an adherence to principles of motivic

unity and internal structural coherence. Such

music typically rejected virtuosic display

for its own sake, or the inclusion of crude

extra-musical themes. It instead strove to

be elevated, refi ned, and sublime, conveying

aesthetic values that an aristocratic class, in

particular, would have seen as particularly

‘aristocratic’. Indeed, a prominent serious

musical culture in Vienna seems to have

acted as a kind of cultural defensive position

for an aristocracy which was, by the early

19th century, under the very real threat

of annihilation by the force of Napoleon’s

armies.

Th e exemplary form of serious music of the

day was without doubt the genre we now

know as ‘chamber music’. Th e term has its

origins in descriptions of music written for

performance under domestic circumstances

or for performance in a drawing-room or

‘chamber’ before an audience of limited size,

or indeed, without the need for listeners

at all. Today, however, chamber music is

rarely heard (perhaps lamentably) in such

circumstances, and even in early 19th-

century Vienna it was becoming increasingly

common to hear chamber works such as

string quartets and piano trios as part of

public subscription concerts. It is more

accurate, then, to defi ne chamber music as

fi rst and foremost a type of music that is

composed using intimate musical resources

but with high aesthetic ambition. Above

all, chamber music is music that uses the

possibility of close dialogue between a small

number of solo instruments to foreground

the importance of ‘pure’ musical argument.

PETER TREGEAR

© ACO 2010

CHAMBER MUSIC


SCHUBERT (arr. Graham Ross)

Rondo Brilliante, D895

(Composed 1827; arranged for solo violin and septet 2010)

It was not just Napoleon’s armies that caused Vienna’s

aristocratic patrons of the arts to adopt a defensive

aesthetic position in the early 19th century. Another cause

of concern for them was the rise of a mass musical culture.

Second to the popularity of Italian opera, especially the

works of Rossini, the most prominent sign of this was the

emergence of the travelling virtuoso, a fi gure who would

come to dominate public musical life in the 19th century

in a manner not dissimilar to a rock star in the latter half of

the 20th.

It was for such a virtuoso that Schubert’s Rondo Brilliante

was composed, in this case the Czech violinist and child

prodigy Josef Slavík. He, and Schubert’s close friend, the

pianist Karl Maria von Bocklet, gave the fi rst performance

of this work at the residence of the music publishers

Artaria & Co. in early 1827 and it was Artaria who gave it

the sobriquet “brilliant”. Brilliant, indeed, it is. Slavík was

later described by Frédéric Chopin as “a great and inspired

violinist – a second Paganini”, and there is no doubt that

Schubert composed this piece with the desire to exploit

Slavík’s particular abilities in mind.

Th is Rondo therefore has something of the character of

a piece of ‘public’, as opposed to ‘chamber’, music. Th e

composer signals this to us from the very opening bars

where the portentous double-dotted rhythm in the piano

and the rising fl ourish in the violin suggest that we’re not

so much in a drawing room as a theatre or symphonic

hall. It is no surprise, then, that the piano accompaniment

lends itself particularly well to the kind of arrangement

prepared for today’s performance. We err, however, if we

conclude that, because of this, the work itself must per se

be of an inferior quality. Reviewing an early performance,

the Wiener Zeitschrift für Kunst of 7 June 1829 declared:

“Th ough brilliant on the whole, the work owes its

existence not merely to those fi gures that leer at us from

so many compositions in thousand-fold gyrations to tax

the spirit. Here, the mind of the inventor has often spread

Franz Schubert(b. Vienna, 1797 — d. Vienna, 1828)

Schubert transformed our understanding of the art song, but in life he was considered largely a domestic composer; indeed, he was a master of all forms of chamber music. His fame increased after his premature death, however, and he is now one of the most highly-regarded composers.

ABOUT THE MUSIC


Allegro “fast and lively” or “fast and bright”.

rondo a form of composition where a main theme or section is returned to throughout, in the manner of a chorus or refrain.

its wings with considerable force and carries us along with

him.”

Th e reviewer was perceptive; the work encompasses a

remarkable range of poetic moods, and is also formally

quite unusual. Th e slow introduction is followed by an

Allegro which includes several passages that extend in a

manner reminiscent not so much of a rondo but a fantasy.

Certainly, Slavík’s rendering of the work so impressed

Schubert that he was inspired to compose his Fantasie for

Piano and Violin in C major, D934 the following year, and

dedicate it to the violinist.


Ludwig van Beethoven(b. Bonn, 1770 — d. Vienna, 1827)

Beethoven is the archetypal troubled genius, a composer whose nine symphonies remain at the pinnacle of what can be achieved in that form. In 1810 the critic E.T.A. Hoffman named him as “one of the three great Romantic composers”. Now, most critics would hail him the greatest.

BEETHOVEN

Septet in E fl at major, Op.20

(Composed 1799)

Adagio – Allegro con brio

Adagio cantabile

Tempo di Menuetto

Tema con variazione: Andante

Scherzo: Allegro molto e vivace

Andante con moto alla marcia – Presto

Many of the works upon which Beethoven built his fame

during his lifetime are today considered mere curio pieces,

if not entirely forgotten; works like the oratorio Christ on

the Mount of Olives, or the ‘battle’ symphony Wellington’s

Victory, or his incidental music to Th e Ruins of Athens.

Without an awareness of just how successful these works

were, however, it is easy to develop quite erroneous

ideas about the early reception of Beethoven’s music. For

instance, ask someone which of his nine symphonies they

think was the most performed in the fi rst half of the 19th

century, the usual answer will be one of 3, 5, 7, or 9. It

was, however, his Symphony No.1, Op.21. As it happens

this Symphony was premiered at the same concert, on

20 December 1799, as Beethoven’s Septet. It too was to

become one of Beethoven’s most successful and beloved

compositions, and it too seems to have lessened in

signifi cance today.

In part, this is because the Septet also had origins away

from the core of the chamber music tradition. Here it was

the genre of music we have come to know, especially from

works by Haydn and Mozart, as ‘divertimento’. A local

resident recalled in a Viennese almanac of the day that it

was common – especially in the Summer – for musicians

to play divertimenti as a form of outdoor serenading (today

we would probably call it busking!). “On fi ne summer

nights you may come upon serenades in the streets at

all hours. Th ey are not, as in Italy, a mere matter of a

singer and a guitar. Here serenades are not meant for

declarations of love, for which the Viennese have better

opportunities. Such night music may be given by a trio

or a quartet of wind instruments, and works of some

extent may be played… and however late a serenade is

given, all windows are soon fi lled and in a few minutes the

musicians are surrounded by an applauding crowd.”

Wind instruments were particularly eff ective in an outdoor

setting, and the Viennese especially enjoyed music


written, or arranged, for consorts of winds. Beethoven’s

comparative indiff erence to the peculiar scoring of his

Septet was apparent from the outset, however, when he

suggested to the publisher Hofmeister that “the 3 wind

instruments, namely bassoon, clarinet, and horn, might

for common use be replaced by an additional violin, an

additional viola and an additional cello”. Yet in the same

letter he was also at pains to note that “I can write nothing

that is not obbligato for I came into the world with an

obbligato accompaniment”. By this he meant that the

work also had pretensions to high musical value, that is,

pretensions to chamber music no less. Indeed, in 1803

Beethoven published an arrangement of the Septet for a

more typical ‘chamber’ ensemble of piano, clarinet, and

cello.

Certainly, Beethoven took some care to ensure the

Septet had structural coherence. Both the fi rst and last

movements have slow introductions, which, apart from

‘bookending’ the work, also means that it proceeds as a

neat succession of eight slow and fast sections across six

movements. Th e Minuet also borrows its main theme

from Beethoven’s Piano Sonata in G major, Op.49/2 (an

earlier work despite its higher opus number). But for all

this care and attention, it nevertheless says much about

the emerging musical culture of the day that the great

success of this work actually became the cause of some

embarrassment to him late in life. From our (hopefully

more nuanced) perspective, we might not so much be

troubled as rejoice in the fact that the commonplace and

sublime might so easily co-habit as they do here.

ACO Performance History

Beethoven’s Septet for strings and winds has been played previously in only one ACO national tour — 11 performances in 2002.

obbligato literally “obligatory”, used to denote a musical line that is not only indispensable but is also in some way special or unusual.


falling third think of the Beatles’ “Hey Jude”.

One of the great Romantics, Brahms wrote masterpieces in every form of composition except opera. He was a dedicated student of earlier music, but was a true innovator as well as a nostalgist, and he proved highly infl uential well into the 20th century.

Johannes Brahms(b. Hamburg, 1833 — d. Vienna, 1897)

BRAHMS

Clarinet Quintet in B minor, Op.115

(Composed 1891)

Allegro

Adagio

Andantino – Presto non assai

Con moto

We should not be surprised to learn that it was as a

chamber music performer and composer that Brahms fi rst

introduced himself to his Viennese audiences when he

moved there from Germany in 1862. He did not, however,

write chamber music specifi cally for the clarinet until late

in life; indeed the circumstances by which he came to do

so have become the stuff of musical legend.

Ostensibly retired from composing, in 1891 Brahms

happened to be introduced to the playing of Richard

Mühlfeld, and was so greatly impressed that he determined

to come out of retirement and compose a work worthy

of what was obviously a remarkable talent. His model

was Mozart’s Clarinet Quintet K.581, itself composed for

a particular clarinetist, Anton Stadler. In so consciously

composing a work after such an example, Brahms

produced what many critics believe to be his greatest piece

of chamber music.

No mere quartet-plus-clarinet, Brahms presents an

integrated musical texture throughout and the work

is unifi ed musically through the recurrence across

all movements of an interval of a falling third. As it

happens, a scientifi c study published just this year has

demonstrated that we tend to use the interval of a minor

third (whether we are musically trained or not), to

express sadness, and there is no doubt this work conveys

an overarching character of melancholy. In part this is a

facet of the clarinet itself as an instrument that can sound

both extremely quiet and plaintive, but it also refl ects the

contemplative, retrospective character of the work as a

whole. As noted by the reviewer of its London premiere in

1892, the key, B minor, “is hardly departed from during the

whole work”.

Furthermore, the last movement is a theme and variations

without the thematic transformation typical of the late

19th century. Instead, Brahms composes variations in

the style we might more ordinarily associate with Mozart

or Haydn, that is, simple decorations of a stable melody.

We are given no musical expression of triumph over fate,


rather the work remains resolutely in B minor to the very

end. Th is is, unquestionably, music of resignation.

Towards the end of the second movement adagio,

however, there is a section, marked più lento (a little

slower) in which Brahms breaks away from the strictly

‘chamber music’ character of the work. For a moment

we are presented with a musical texture that sounds

more like a work for solo clarinet and strings. It has been

suggested that this section is an allusion to Brahms’ fi rst-

hand experience of Hungarian gypsy bands, in which

the clarinet would often feature prominently as a soloist.

Th is it may well be, but it might also be an exploitation by

Brahms of the peculiar poetic potential a slow movement

has, as the elegiac ‘heart’ of a multi-movement work, to

express something precisely from the heart, something

very personal. Here, it is as if the clarinet has paused the

musical journey and is trying, literally, to speak to us, but

just cannot fi nd the words.

Th is, of course, is a particularly powerful expressive

gesture made possible precisely because of the elevated

character of chamber music, its concern with innate

musical problems and solutions. As is true of the best

Romantic music, it enables the composer to highlight his

own subjectivity in bold relief.

PROGRAM NOTES BY PETER TREGEAR

© ACO 2010

adagio literally “at ease” (Italian: “ad agio”) and usually used to mean slowly


ABOUT THE WIND INSTRUMENTS

In this program, the three guest artists are playing historic versions of the instruments with which the composers of the three pieces would have been familiar. Here each of them gives a brief explanation of what this entails.

Craig Hill writes:

Th e clarinets used in this program represent three distinct phases in the development of the clarinet in the late 18th & 19th centuries, beginning with its simplest and perhaps purest form with just six keys (in the Beethoven), progressing to 12 keys which operate separately (Schubert), and fi nally to the elaborate system of integrated keys known as the Baermann – Ottensteiner system (Brahms).

Georg Ottensteiner (1815- 1879) was perhaps the most advanced instrument builder of his era, while Carl Baermann (1810-1885), one of the greatest German clarinet teachers and virtuosi of the 19th century, was one of Ottensteiner’s earliest supporters. During the 19th century, it was Ottensteiner’s clarinets that were favoured by leading players in Germany. My clarinet is a copy of the Ottensteiner clarinet played by Brahms’ famous collaborator, Richard Mühlfeld, which is now preserved at the Meiningen Schloss Museum.

Technically, the Ottensteiner clarinet is a study in balancing extreme parameters, existing on the very fringe of what is possible in clarinet design. At a time when other makers were experimenting with denser woods from Africa such as grenadilla (which, stained black, is still used for the best modern clarinets), Ottensteiner retained the traditional European boxwood, which is lighter and softer to turn on the lathe, and which produces a lighter sound with a more evenly distributed harmonic spectrum, but with less power than grenadilla.

At 15mm, the diameter of the bore of Ottensteiner’s clarinet is almost as wide as acoustically possible, and helps produce the breadth and warmth of tone we might imagine is suitable for Brahms. Th e tone holes on the Ottensteiner clarinet are radically fl ared as they meet the inside bore (think cartoon nuclear- reactor shaped), smoothing the airfl ow as the tone hole meets the bore, and creating a melting legato which is unequalled by any modern designs. Th ese attributes, which in themselves might lead to an overly spread and unfocussed sound, are counterbalanced by a small, slender mouthpiece with a narrow opening, which requires great fi nesse in blowing.

Th e keywork of the Ottensteiner clarinet is of greater complexity than found on most clarinets today, while still permitting the cross fi ngerings and subtle fi nger shadings used on the previous generation of clarinets. Th e exact adjustment of the keys is critical and has to be recreated by trial and error. I have been most fortunate to be able to work with Jason Xanthoudakis, a dedicated instrument technician in Melbourne who in addition hand crafted each leather pad in 19th-century style. Th is kind of engagement with the nuts and bolts aspect of playing the clarinet would have been very much the experience of 19th-century players; indeed the whole century is characterized by relentless experimentation and innovation.

If at fi rst glance it seems like a lot of trouble to master so many diff erent instruments, reeds, mouthpieces and techniques, then I am encouraged and inspired by the words from Carl Baermann’s method which hang over the entrance to my study:

Whoever would dedicate themself to playing the clarinet should carefully examine himself to see whether he possesses the mental fortitude and patience to learn this diffi cult instrument. Th e physical requirements are these: good health, a strong, solid chest and healthy strong teeth, at least the front teeth must be in perfect condition. Th e mental requirements are the same as those of every artist,


namely, soulfulness, poetic imagination and a true deep sensitivity, enthusiasm for the beautiful in art, perceptiveness, a fi nely tuned ear, unbiased examination and understanding of one’s own abilities, acknowledgement and appropriate honour of the merits of other artists and the force of will for an endless striving and struggle towards perfection.

Instruments:Beethoven: Clarinet in Bb by Joel Robinson after Heinrich Grenser, Dresden 1800 Boxwood with six brass keys.Schubert: 12 key Clarinet in A by J. Robinson after H. Grenser, Dresden 1810Brahms: Clarinet in A by Schwenk & Seggelke after Georg Ottensteiner, Munich 1875.

© CRAIG HILL 2010

Darryl Poulsen writes:

Although the natural horn is generally thought of as being a simple horn without valves, it is important to note that there are two diff erent natural horns, the Baroque horn and the Classical hand-horn. Whilst both are simple, unsophisticated, coiled lengths of tubing, their sounds and playing techniques are nonetheless distinctly diff erent.

Th e Baroque horn is played with the bell held high and without the hand being inserted into it. Th e resultant sound is bright and penetrating. Th e Classical horn, by contrast, has the right hand inserted into the bell, and hence its name, the hand-horn. Th is change in the manner of holding the instrument came about after the renowned Dresden horn player Anton Josef Hampl discovered, circa 1740, that by placing the hand in the bell he was able to change the pitch of the instrument. Importantly, this meant that he was able to produce non-harmonic notes thus completing the diatonic scale, something that was not possible on the earlier Baroque horn. One of the side eff ects of this new found chromaticism of the Classical horn was that the sound had now become darker, broader and more mellow– and therefore eminently suited to its new role of blending in the homophonic textures of the nascent Classical period.

Th e instrument used in this program is a modern replica of a Bohemian Classical horn by J. A. Laussman of Graslitz (c.1790) made by Andreas Jungwirth in Plank am Kamp, Austria.

© DARRYL POULSEN 2010

Jane Gower writes:

Th e bassoon I am playing is a copy of one built in 1806 by the Alsatian instrument atelier Bühner & Keller. Th e six or seven keyed bassoons of the early 19th century possess completely diff erent sound qualities and technical considerations than the intricate machinery that is today’s Heckel system bassoon. Th e latter has been redesigned and fi nessed over the centuries for maximum technical facility as well as evenness and homogeneity of tone across its entire range. On the earlier bassoons, each chromatic note, for which there is a specifi c key on the modern bassoon, has to be fi ngered by means of complicated cross-fi ngering patterns, each having its own specifi c tone-colour and attack. Th e composers of the day were well aware of these characteristics and exploited them to full musical eff ect rather than attempting to cover them up as faults of the instrument. Playing a bassoon of the period may be more risky in a purely technical sense, but also reveals all the variations in colour, dynamic and articulation distinctive to the instrument; and thus to the music itself.

© JANE GOWER 2010

These and many other recordings featuring the Australian Chamber Orchestra are available to purchase online at aco.com.au/shop or by telephone 02 8274 3800.

JS BACH VIOLIN WORKS ABC CLASSICS - ABC4766168

Tognetti’s 3-time ARIA award-winning Bach. All the sonatas, partitas and concertos for violin in one specially-priced set. 5-CD Box Set.

ENJOY THE ACO AT HOME:Selected CDs and DVDs

TANGO JAM MULBERRY HILL MHRC001

Quintets by Astor Piazzolla.

VIVALDI - FLUTE CONCERTOSEMI - 3472122

Includes Vivaldi’s six Opus 10 Flute Concertos with Emmanuel Pahud.

JS BACH - KEYBOARD CONCERTOSHYPERION – VOL 1 CDA67307 / VOL 2 CDA67308

Gramophone CD of the Month 2005

The complete Bach keyboard concertos with Angela Hewitt.

MOZART – ELGAR – GRIEG – BACHSONY – SK53356

Orchestral favourites by four great composers.

CARNIVAL OF THE ANIMALS MACMILLAN 0732910706

Music by Saint-Saëns with a book of poems and images by Michael Leunig, with narration by Peter Garrett.

SONG OF THE ANGEL CHANDOS - CHAN10163

Works by Astor Piazzolla.

MUSICAL RENEGADESABC CLASSICS ABC476102-6

2-CD set containing live performances of music featured in the documentary. Also available on DVD.

BEETHOVEN & MOZART ABC CLASSICS ABC465425-2

Beethoven’s Violin Concerto and Mozart’s Symphony No.40.

CLASSICAL TROMBONE CONCERTOS BIS-CD-1248

Christian Lindberg plays trombone concertos by Michael Haydn, Wagenseil Albrechtsberger and Leopold Mozart. Also available: Christian Lindberg – A Composer’s Portrait II and Baroque Trombone.

CELEBRATING 20 YEARSABC CLASSICS – ABC4763304

2-CD compilation celebrating Richard Tognetti's 20th Anniversary with the ACO.

MUSICA SURFICA DVD AND CD

Richard Tognetti and surfing virtuoso Derek Hynd bring together a unique gathering of classical musicians and top surfers.

THE MUSIC FROM CLASSICAL DESTINATIONS IISONY BMG – 88697359472

The soundtrack for acclaimed music/ travel series Classical Destinations II. Also available on DVD.

LUMINOUS DVDOVATION - 198896

The ACO’s collaboration with Bill Henson and Katie Noonan filmed live.


‘You’d have to scour the universe hard to fi nd another band like the ACO.’ THE TIMES, UK

‘The energy and vibe of a rock band with the ability of a crack classical chamber group.’WASHINGTON POST

To be kept up to date with ACO tours and recordings, register for the free e-newsletter at aco.com.au.

Select Discography

Bach Violin ConcertosABC 476 5691

Vivaldi Flute Concertoswith Emmanuel PahudEMI 3 47212 2

Bach Keyboard Concertoswith Angela HewittHyperion SACDA 67307/08

Tango Jamwith James CrabbMulberry Hill MHR C001

Song of the AngelMusic of Astor Piazzollawith James CrabbChandos CHAN 10163

Sculthorpe: works for string orchestra including Irkanda I, Djilile and Cello DreamingChandos CHAN 10063

Giuliani Guitar Concertowith John WilliamsSony SK 63385

These and more ACO recordings are available from our online shop: aco.com.au/shop or by calling 1800 444 444.

AUSTRALIAN CHAMBER ORCHESTRARICHARD TOGNETTI AO ARTISTIC DIRECTOR

Australia’s national orchestra is a product of its country’s

vibrant, adventurous and enquiring spirit. In performances

around Australia, around the world and on many recordings,

the ACO moves hearts and stimulates minds with repertoire

spanning six centuries and a vitality and energy unmatched

by other ensembles.

Th e ACO was founded in 1975. Every year, this ensemble

presents performances of the highest standard to audiences

around the world, including 10,000 subscribers across Australia.

Th e ACO’s unique artistic style encompasses not only the

masterworks of the classical repertoire, but innovative cross-

artform projects and a vigorous commissioning program.

Under Richard Tognetti’s inspiring leadership, the ACO has

performed as a fl exible and versatile ‘ensemble of soloists’, on

modern and period instruments, as a small chamber group, a

small symphony orchestra, and as an electro-acoustic collective.

In a nod to past traditions, only the cellists are seated – the

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

priceless 1743 Guarneri del Gesù, on loan to him from an

anonymous Australian benefactor. Principal Cello Timo-

Veikko Valve plays on a 1729 Giuseppe Guarneri fi lius

Andreæ cello, also on loan from an anonymous benefactor,

and Assistant Leader Satu Vänskä plays a 1759 J.B. Guadagnini

violin on loan from the Commonwealth Bank Group.

Forty international tours have drawn outstanding reviews at

many of the world’s most prestigious concert halls, including

Amsterdam’s Concertgebouw, London’s Wigmore Hall, New

York’s Carnegie Hall and Vienna’s Musikverein.

Th e ACO has made acclaimed recordings for labels including

ABC Classics, Sony, Channel Classics, Hyperion, EMI,

Chandos and Orfeo and currently has a recording contract

with BIS. A full list of available recordings can be found at

aco.com.au/shop. Highlights include the three-time ARIA

Award-winning Bach recordings and Vivaldi Concertos with

Emmanuel Pahud. Th e ACO appears in the television series

Classical Destinations II and the award-winning fi lm Musica

Surfi ca, both available on DVD and CD.

In 2005, the ACO inaugurated an ambitious national education

program, which includes outreach activities and mentoring

of outstanding young musicians, including the formation of

ACO2, an elite training orchestra which tours regional centres.


RICHARD TOGNETTI AOARTISTIC DIRECTOR AND LEADERAUSTRALIAN CHAMBER ORCHESTRA

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 and in his home

town of Wollongong with William Primrose, and at the

Bern Conservatory (Switzerland) with Igor Ozim, where he

was awarded the Tschumi Prize as the top graduate soloist

in 1989. Later that year he led several performances of the

ACO, and was appointed Leader. He was subsequently

appointed Artistic Director of the Orchestra.

Tognetti performs on period, modern and electric

instruments. His numerous arrangements, compositions

and transcriptions have expanded the chamber orchestra

repertoire and have been performed throughout the world.

Highlights of his career as director, soloist or chamber

music partner include the Sydney Festival (as conductor of

Mozart’s Mitridate); and appearances with the Handel &

Haydn Society (Boston), Hong Kong Philharmonic, Camerata

Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra and

the Nordic Chamber Orchestra. He is Artistic Director of the

Maribor Festival in Slovenia.

As soloist Richard Tognetti has appeared with the ACO and

the major Australian symphonies, including the Australian

premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

He has collaborated with colleagues from various art forms,

including Joseph Tawadros, Dawn Upshaw, James Crabb,

Emmanuel Pahud, Neil Finn, Tim Freedman, Paul Capsis, Bill

Henson and Michael Leunig. In 2003, Richard was co-composer

of the score for Peter Weir’s Master and Commander: Th e Far

Side of the World; violin tutor for its star, Russell Crowe; and

can be heard performing on the award-winning soundtrack.

In 2005, with Michael Yezerski, he co-composed the soundtrack

to Tom Carroll’s surf fi lm Horrorscopes and, in 2008, created

Th e Red Tree.

Richard Tognetti co-created and starred in the 2008 documentary

fi lm Musica Surfi ca, which has won best fi lm awards at surf

fi lm festivals in the USA, Brazil, France and South Africa.

Alongside numerous recordings with the ACO, Richard

Tognetti has recorded Bach’s solo violin repertoire, winning

three consecutive ARIA Awards for Best Classical Album

(2006–8) and the Dvorák Violin Concerto.

Richard Tognetti holds honorary doctorates from three Australian

universities and, was made a National Living Treasure in 1999

and in 2010 was awarded an Order of Australia. He performs

on a 1743 Guarneri del Gesù, made available exclusively to

him by an anonymous Australian private benefactor.

‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’THE DAILY TELEGRAPH (UK) 2006

Select DiscographyAs soloist:

BACH Sonatas for Violin and KeyboardABC Classics 476 59422008 ARIA Award Winner

BACH Violin ConcertosABC Classics 476 56912007 ARIA Award Winner

BACH Solo Violin Sonatas and PartitasABC Classics 476 80512006 ARIA Award Winner

(All three releases available as a 5CD Box set: ABC Classics 476 6168)

Musica Surfi ca (DVD)Best Feature, New York Surf Film Festival

As director:

VIVALDI Flute Concertos, Op.10Emmanuel Pahud, FluteEMI Classics 0946 3 47212 2 6Grammy Nominee

PIAZZOLLA Song of the AngelChandos CHAN 10163

All available from aco.com.au/shop.


BEHIND THE SCENES

EXECUTIVE OFFICE

Timothy Calnin

General Manager

Jessica Block

Deputy General Manager

and Development Manager

Michelle Kerr

Executive Assistant to

Mr Calnin and

Mr Tognetti AO

ARTISTIC

Richard Tognetti AO

Artistic Director

Michael Stevens

Artistic Administrator

FINANCE

Steve Davidson

Chief Financial Offi cer

Shyleja Paul

Assistant Accountant

DEVELOPMENT

Kate Bilson

Events Manager

Tom Carrig

Senior Development

Executive

Vanessa Jenkins

Senior Development

Executive

Lillian Armitage

Patrons Manager

Helen Margolis

Grants Program Manager

Liz D’Olier

Development Coordinator

OPERATIONS

Damien Low

Artistic Operations Manager

Gabriel van Aalst

Orchestra Manager

Erin McNamara

Deputy Orchestra Manager

Vicki Stanley

Education and Emerging

Artists Manager

Sarah Conolan

Education and

Operations Assistant

Jennifer Collins

Librarian

MARKETING

Georgia Rivers

Marketing Manager

Rosie Rothery

Marketing Executive

Chris Griffi th

Box Offi ce Manager

Mary Stielow

National Publicist

Dean Watson

Customer Relations Manager

INFORMATION SYSTEMS

Martin Keen

Systems and Technology

Manager

Emmanuel Espinas

Network Infrastructure

Engineer

ARCHIVES

John Harper

Archivist

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182

Australian Chamber Orchestra Pty Ltd is a not for profi t company registered in NSW.

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000

By Mail: PO Box R21, Royal Exchange NSW 1225

Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801

Box Offi ce: 1800 444 444

Email: [email protected] Website: aco.com.au

BOARD

Guido Belgiorno-Nettis AM (Chairman)

Angus James (Deputy Chairman)

Ken Allen AM

Bill Best

Glen Boreham

Liz Cacciottolo

Chris Froggatt

Janet Holmes à Court AC

Brendan Hopkins

Tony Shepherd

John Taberner

Peter Yates

MANAGEMENT


ABOUT THE ARTISTS

SATU VÄNSKÄVIOLIN

Satu Vänskä studied with Pertti Sutinen at the Lahti

Conservatorium and the Sibelius Academy and was a pupil of

Ana Chumachenco at the Hochschule für Musik in Munich.

Satu studied at the Kuhmo Violin School in Finland attending

masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov

and performing at the Kuhmo Chamber Music Festival.

In 1998 Sinfonia Lahti named her Young Soloist of the Year, in

2000 she was a prizewinner of the Deutsche Stiftung Musikleben

and, from 2001, she played under the auspices of the Live Music

Now Foundation founded by Lord Yehudi Menuhin.

Satu has played with the Munich Philharmonic and Bavarian

Radio Symphony Orchestras, was a tutor with the Young

Bavarian Philharmonic and has performed as soloist in Finland,

Germany, Spain and Canada and as a chamber musician in

festivals in Australia, Slovenia, Finland and Germany.

Satu performs on a 1759 J.B. Guadagnini violin, kindly made

available to her by the Commonwealth Bank Group.

CHRISTOPHER MOOREVIOLA

Christopher Moore originally studied the violin with Suzuki

teachers, Marjorie Hystek and Harold Brissendon. He completed

his Bachelor of Music in Newcastle with violinist and pedagogue

Elizabeth Holowell.

After working with the Adelaide and New Zealand Symphony

Orchestras as a violinist, Chris decided to take up a less highly-

strung string instrument and moved his musical focus and

energy to the viola. He played as a rank and fi le violist with the

Melbourne Symphony Orchestra for one and a half years before

becoming Associate Principal Viola with the same orchestra.

During his association with MSO, Chris performed regularly as a

chamber musician.

In 2006 Chris appeared as Guest Principal Violist with the ACO

and then successfully auditioned for the ACO’s Principal Viola

position.


MAXIME BIBEAUDOUBLE BASS

Maxime studied at the Conservatoire de Musique du Québec

à Montréal with René Gosselin and at Rice University with

Timothy Pitts and Paul Ellison, where he was awarded a full

university scholarship as well as grants from the Canada Arts

Council and the Canadian Research Assistance Fund. Maxime

has been Principal Double Bass of the ACO since 1998.

He has performed with the SHIRA International Symphony

Orchestra, Jeunesses Musicales World Orchestra, Sydney

Symphony Orchestra, Montreal Symphony Orchestra and

WDR Symphony Orchestra. He has also appeared in the

Spoleto, Australian Chamber Music, Huntington and Sydney

Festivals and has featured as soloist with the ACO on numerous

occasions.

Maxime has been involved with the AYO National Music Camp,

Sydney Youth Orchestra, University of NSW and Australian

National Academy of Music and is a lecturer at the Sydney

Conservatorium of Music.

TIMOVEIKKO VALVECELLO

Timo-Veikko Valve studied at the West-Helsinki Music Institute,

the Sibelius Academy and in Edsberg. His main teachers were

Heikki Rautasalo, Marko Ylönen, Teemu Kupiainenin, Torleif

Th edéen and Mats Zetterqvist.

Timo-Veikko has performed as soloist with the Helsinki

Filharmonia, Finnish Radio Symphony Orchestra, Sinfonia

Lahti, Tampere Filharmonia and the Ostrobothnian Chamber

Orchestra and appeared as soloist and chamber musician in

Europe, Asia, Australia and the US including appearances at

the Helsinki, Kemiö, Musica Nova Helsinki, Kuhmo Chamber

Music, Lahti Sibelius and Järvenpää Sibelius Festivals.

In 2006 he was appointed Principal Cello of the ACO. He

appears as a soloist with the ACO frequently and is a founding

member of Jousia Ensemble and Jousia Quartet. He performs

regularly with pianist Joonas Ahonen and accordionist Veli

Kujala.

Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri

fi lius Andreae cello, made available to him by an anonymous

benefactor.


ABOUT THE ARTISTS

CRAIG HILLCLARINET

Craig Hill studied with Phillip Miechel at the Victorian

College of the Arts and with Dieter Kloecker at the Freiburg

Musikhochschule. Following his solo debut in 1997, Craig has

come to national recognition for his performances on period

clarinets in repertoire spanning from Telemann to Mozart,

Weber and Brahms. His recording of Mozart’s Clarinet Concerto

with the Australian Brandenburg Orchestra and Paul Dyer has

been released by ABC Classics.

Performance highlights include collaborations with Geoff rey

Lancaster, Bart van Ort, the Australian Bach Ensemble, Elizabeth

Wallfi sch and Lucinda Moon and appearances at festivals

throughout Australia and the United States. Since 2004 Craig has

been guest principal clarinet of the period instrument orchestra

Concerto Copenhagen (under Lars Ulrik Mortensen). In April

2009 he was the artistic director of Concertino Copenhagen,

a mini festival of period instrument chamber music resident at

the newly opened Melbourne Recital Centre, which brought

together musicians from Australia and Europe. Craig has been a

member of the Melbourne Symphony Orchestra since 1992.

DARRYL POULSENHORN

Darryl Poulsen graduated with distinction from the

Conservatoria of Luxembourg and Liège in the horn classes of

Professor Francis Orval. Formerly Professor and Head of Music

at the University of Western Australia he is now Professor and

Associate Dean (Academic) at the Sydney Conservatorium.

For many years Principal Horn with the ACO, Darryl is currently

Principal Horn with the Australian Brandenburg Orchestra, and

he has performed and recorded with the Joshua Rifkin New York

Bach Ensemble, Concertino Copenhagen, Anthony Halstead,

Geoff rey Lancaster, Bart Van Oort, Cantus Cölln, and the Sirius

Ensemble.

His research into classical hand-horn playing has resulted in

the publication of the fi rst English translation of the Méthode

de premier et de second cor by Heinrich Domnich, the most

important source on the history of classical horn playing.


Photo © Steven Godbee

JANE GOWERBASSOON

Jane Gower studied at the Canberra School of Music and the

Royal Conservatory in Th e Hague. She has appeared as principal

bassoonist with many of the world’s fi nest period instrument

orchestras. In 2005 she was appointed principal bassoon of Sir

John Eliot Gardiner’s English Baroque Soloists and l’Orchestre

Révolutionnaire et Romantique, and since 2007 has lectured at

the Royal College of Music, London.

Jane founded the quartet for classical bassoon and strings,

Island, which has just recorded its fourth CD. In collaboration

with Torbreck Vintners she launched the Barossa Klassik

chamber music series in 2010. Jane is in demand as soloist

on the historical bassoon and has performed with Concerto

Copenhagen, Les Agrémens, Sirius Ensemble and the Australian

Brandenburg Orchestra. In 2002 she recorded Mozart’s

Bassoon Concerto with Anima Eterna with her cadenzas and

performance practice notes published by Bärenreiter. Her latest

solo recording is of bassoon concertos by Franz Danzi.

Providing a complete service in hospitalityOne call

One contactOne manager to organise the complete event

Corporate launches, office drinks, Christmas occasions, weddings and birthdays.

Katering Pty Ltd has built a reputation that it has maintained for the past 10 years, in providing a complete service with an eye for detail.

Ph: 02 9319 2700Email: [email protected]

www.katering.com.au


ACKNOWLEDGEMENTS

GOVERNMENT SUPPORT

Th e Australian Chamber Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body.

Th e Australian Chamber Orchestra is supported by the

NSW Government through Arts NSW.

VENUE SUPPORT

We are also indebted to the following organisations

for their support:

AEG OGDEN (PERTH) PTY LTD

PERTH CONCERT HALL

General Manager

Andrew Bolt

Deputy General Manager

Helen Stewart

Technical Manager

Peter Robins

Event Coordinator

Penelope Briff a

Perth Concert Hall is managed by

AEG Ogden (Perth) Pty Ltd

Venue Manager for the

Perth Th eatre Trust Venues.

AEG OGDEN (PERTH) PTY LTD

Chief Executive Rodney M Phillips

THE PERTH THEATRE TRUST

Chairman

Dr Saliba Sassine

St George’s Terrace, Perth

PO Box Y3056,

East St George’s Terrace,

Perth WA 6832

Telephone: 08 9231 9900

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM

(Chair)

Ms Catherine Brenner

Rev Dr Arthur Bridge AM

Mr Wesley Enoch

Ms Renata Kaldor AO

Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Dr Th omas Parry AM

Mr Leo Schofi eld AM

Mr Evan Williams AM

EXECUTIVE MANAGEMENT

Chief Executive

Richard Evans

Director, Building Development & Maintenance

Greg McTaggart

Director, Commercial & Operations

Maria Sykes

Director, Finance & Innovation

David Antaw

Director, Marketing & Development

Victoria Doidge

Director, Performing Arts

Rachel Healy

SYDNEY OPERA HOUSE

Bennelong Point

GPO Box 4274, Sydney NSW 2001

Administration: 02 9250 7111

Box Offi ce: 02 9250 7777

Facsimile: 02 9250 7666

Website: sydneyoperahouse.com

LLEWELLYN HALL

School of Music, Faculty of Arts

Th e Australian National University

William Herbert Place (off Childers Street),

Acton, Canberra

ACO CONCERT BOOKINGS

Ticketek: Phone: 132 849; Online: premier.ticketek.com.au

VENUE HIRE INFORMATION

Phone: +61 2 6125 2527 Fax: +61 2 6248 5288

Email: [email protected]


ACKNOWLEDGEMENTS

VENUE SUPPORT

PO Box 3567

South Bank, Queensland 4101

Telephone: 07 3840 7444

Chairman Henry Smerdon AM

Deputy Chairman Rachel Hunter

Trustees

Simon Gallaher

Helene George

Bill Grant

Sophie Mitchell

Paul Piticco

Mick Power AM

Susan Street

Rhonda White

EXECUTIVE STAFF

Chief Executive: John Kotzas

Director – Presenter Services: Ross Cunningham

Director – Patron Services: Helen Jacobs

Director – Marketing & Ticketing: Anne-Maree Moon

Director – Corporate Services: Kieron Roost

Executive Manager – Human Resources: Alicia Dodds

Executive Manager – Production Services: Bill Jessop

ACKNOWLEDGMENT

Th e Queensland Performing Arts Trust is a

Statutory Authority of the State of Queensland and is

partially funded by the Queensland Government

Th e Honourable Anna Bligh MP

Premier and Minister for the Arts

Director-General, Department of the Premier and Cabinet:

Ken Smith

Deputy Director-General, Arts Queensland:

Leigh Tabrett

Patrons are advised that the Performing Arts Centre has

EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM

system and EXIT passageways. In case of an alert, patrons

should remain calm, look for the closest EXIT sign in GREEN, listen

to and comply with directions given by the inhouse trained attendants

and move in an orderly fashion to the open spaces outside the Centre.

A CITY OF SYDNEY VENUE

Lord Mayor

Clover Moore

Managed by

PEGASUS VENUE MANAGEMENT (AP)

PTY LTD

Founder

Christopher Rix

MANAGEMENT AND STAFF

General Manager Bronwyn Edinger

Marketing Manager Gina Anker

Technical Manager Cally Bartley

Functions & Bar Manager Paul Berkeley

Technician Donald Brierley

Marketing Assistant Kim Bussell

Event Coordinator Katie Christou

Venue Services Manager James Cox

Accounts Coordinator Th atsany Geyer

Box Offi ce Assistant Adam Griffi ths

FOH Manager Barbara Keff el

Publicist Cassie Lawton

Operations Manager Graham Parsons

Executive Assistant Rosemary Penman

Operations Assistant Vico Th ai

Box Offi ce Manager Craig Th urmer

Technician Jeff Todd

CITY RECITAL HALL

ANGEL PLACE

2 –12 Angel Place,

Sydney, Australia

GPO Box 3339,

Sydney, NSW 2001

Administration 02 9231 9000

Box Offi ce 02 8256 2222

or 1300 797 118

Facsimile 02 9233 6652

www.cityrecitalhall.com

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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—106 — 16143 — 1/260910

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Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Lang Road, Moore Park NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au


MEDICI PROGRAM

In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support

individual players’ Chairs and assist the Orchestra to attract and retain musicians of the

highest calibre.

MEDICI PATRON

MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS

Richard Tognetti AO

Lead Violin

Michael Ball AM &

Daria Ball

Joan Clemenger

Wendy Edwards

Prudence MacLeod

Helena Rathbone

Principal 2nd Violin

Satu Vänskä

Assistant Leader

Robert & Kay Bryan

Christopher Moore

Principal Viola

Tony Shepherd

Timo-Veikko Valve

Principal Cello

Peter Weiss AM

Maxime Bibeau

Principal Double Bass

John Taberner &

Grant Lang

CORE CHAIRS

Aiko Goto Violin

Andrew & Hiroko Gwinnett

Mark Ingwersen Violin

Alice Evans Violin

Jan Bowen,

Jo McKenzie & Scott Davies,

Th e Sandgropers

Ilya Isakovich Violin

Melbourne Community

Foundation – Connie &

Craig Kimberley Fund

Madeleine Boud Violin

Terry Campbell AO &

Christine Campbell

Stephen King Viola

Philip Bacon AM

Nicole Divall Viola

Ian & Nina Lansdown

Melissa Barnard Cello

Th e Bruce & Joy Reid

Foundation

Julian Th ompson Cello

Th e Clayton Family

GUEST CHAIRS FRIENDS OF MEDICI

Brian Nixon Principal Timpani Mr & Mrs R Bruce Corlett

Mr Robert Albert AO & Mrs Libby Albert


Th e ACO has returned from its adventurous and highly successful Trans-Atlantic Tour, which

spanned the USA and Europe and culminated in two performances at the Maribor Festival,

directed by Richard Tognetti for the third successive year.

Th e ACO would like to pay tribute to the following donors who have supported this exciting

adventure and helped make Richard’s dream a reality:

2010 TRANSATLANTIC TOUR PATRONS

MRS AMINA BELGIORNONETTIS, PATRON

TOUR PATRONS

Mr Barry Humphries AO CBE

Sir Michael Parkinson CBE

LEAD PATRONS $50,000+

Th e Belgiorno-Nettis Family

Th e Bruce & Joy Reid

Foundation

Mrs Janet L Holmes à Court AC

Connie & Craig Kimberley

Jan Minchin

Dame Elisabeth

Murdoch AC DBE

MAJOR PATRONS

$20,000 – $49,999

Mr Robert Albert AO &

Mrs Libby Albert

Philip Bacon AM

Liz Cacciottolo & Walter Lewin

Rowena Danziger & Ken Coles

Mr Peter Hall

Anthony & Sharon Lee

Louise & Martyn Myer

Foundation

Harry Triguboff AO &

Rhonda Triguboff

Ian Wallace & Kay Freedman

Anonymous (1)

ENSEMBLE PATRONS

$10,000 – $19,999Mr Bill & Mrs Marissa Best

Jenny & Stephen Charles

Mr & Mrs Robin Crawford

Martin Dickson AM &

Susie Dickson

Chris & Tony Froggatt

Ann Gamble Myer

Leslie & Ginny Green

Brendan & Bee Hopkins

PJ Jopling QC

Prudence MacLeod

Macquarie Group Foundation

Donald McGauchie

Mr Andrew Messenger

Gretel Packer

peckvonhartel architects

Julien & Michelle Playoust

John Taberner & Grant Lang

Michael & Eleonora Triguboff

Peter Weiss AM

SOLO PATRONS

$5,000 – $9,999

Antoinette Albert

Tony & Carol Berg

Robert & Kay Bryan

Ross & Rona Clarke

Wendy Edwards

Chris & Judy Fullerton

Phillip Isaacs OAM

Wayne N Kratzmann

Ian & Nina Lansdown

Irene Lee

Justice Jane Mathews AO

Carole & Peter Muller

Craig Ng

Graham J Rich

Dr Gillian Ritchie

Vivienne Sharpe

Tony Shepherd

Beverley Trivett

Anonymous (2)

PATRONS $500 – $4,999

Joy Anderson & Neil Th omas

Lord Jeff rey & Lady Archer

Jon & Deb Balderstone

Isla Baring

Mr Marc Besen AO &

Mrs Eva Besen AO

Jan Bowen

Th e Hon. Mr Laurie Brereton &

Th e Hon. Justice Trisha Kavanagh

Morena Buff on & Santo Cilauro

Elizabeth & Nicholas Callinan

Edmund Capon

David & Jane Clarke

Joan Clemenger

Mr & Mrs R L Cliff ord

Jillian Cobcroft

Paul Cochrane

Ann & Bruce Corlett

Terry & Lynn Fern

Bill & Lea Ferris

Brooke Fitzsimons

Ms Kerry Gardner

Alan & Joanna Gemes

Tom Griffi th & Adrienne

Cahalan

Peeyush & Shubura Gupta

Hugo & Julia Heath

Michael & Anna Joel

Ian Learmonth & Julia Pincus

Sue & Peter Lynch

Susan & Garry Rothwell

Carol Schwartz AM &

Alan Schwartz AM

Andrew Sisson

Mary Stephen

Th e Earl & Countess of

Stradbroke

Catherina Toh & Anthony Tobin

David Walsh

John & Cathy Walter

Peter & Susan Yates

Anonymous (3)



Mrs Libby Albert

Mr Michael Ball AM &

Mrs Daria Ball

Steven Bardy

John & Patti David

Pamela Duncan

John Grill

Mrs Janet Holmes à Court AC

Miss Nancy Kimpton

Prudence MacLeod

Drs Alex & Pam Reisner

Christine Rothauser

Ian Wallace & Kay Freedman

Peter Weiss AM

Robert Whyte

Anonymous (1)

EMERGING ARTISTS PATRONS & EDUCATION PATRONS $10,000+

NATIONAL EDUCATION PROGRAM

TRUSTS AND FOUNDATIONS

THE ROSS TRUST THE THYNE REID FOUNDATION

LIMB FAMILY FOUNDATION

THE SUNJOTO FOUNDATION‘The Spirit of Giving’

ACO DONATION PROGRAM

Th e ACO pays tribute to all of our generous donors who support our many activities,

including our National and International touring, recordings, and our National Emerging

Artists and Education Programs.

Th is year, our donors have generously contributed to our Emerging Artists and Education

Programs, which focus on the development of young Australian musicians. Th ese initiatives

are pivotal in securing the future of the ACO and the future of music in Australia. We are

extremely grateful for the support that we receive.

DIRETTORE $5,000 $9,999

Th e Belalberi Foundation

Mr Guido Belgiorno-Nettis AM

& Mrs Michelle

Belgiorno-Nettis

Liz Cacciottolo & Walter Lewin

Elizabeth & Nicholas Callinan

John & Lynnly Chalk

Rowena Danziger & Ken Coles

Ian & Caroline Frazer

Dr & Mrs E C Gray

Maurice Green AM &

Christina Green

Melbourne Community

Foundation – Ballandry

(Peter Griffi n Family)

Fund

Susan Harte


Roger Massy-Greene &

Belinda Hutchinson

Keith Kerridge

Wayne N Kratzmann

Lorraine Logan

Marianna & Tony O’Sullivan

John Rickard

Allan Rogers

Anonymous (3)

MAESTRO $2,500 $4,999

Michael Ahrens

Mr L H & Mrs M C Ainsworth

Jane Allen

Will & Dorothy Bailey Bequest

Virginia Berger

Michael Cameron

Caroline & Robert Clemente &

Gloria Darroch

Kate Dixon



Suellen & Ron Enestrom

Bridget Faye AM

Tony & Chris Froggatt

Andrew & Hiroko Gwinnett

Nereda Hanlon & Michael

Hanlon AM

Don Hart

Lindi & John Hopkins

Stephen & Michele Johns

Eleni & Bob Longwell

Hon Dr Kemeri Murray AO

Sandra & Michael Paul

Endowment

Stephen & Robbie Roberts

Greg Shalit & Miriam Faine

Mrs Carol Sisson

Ms Petrina Slaytor

Dr R & Mrs R Tinning

Alastair Walton

Ralph Ward-Ambler AM &

Barbara Ward-Ambler

Karen & Geoff Wilson

Sir Robert Woods

Anonymous (7)

VIRTUOSO $1,000 $2,499

Annette Adair

Peter & Cathy Aird

Andrew Andersons

Sibilla Baer

Doug & Alison Battersby

Th e Beeren Foundation

Ruth Bell

Bruce Beresford

Victoria Beresin

Patricia Blau

Sally Bufé

Neil Burley & Jane Munro

Mark Burrows & Juliet

Ashworth

Gerard Byrne & Donna

O’Sullivan

Bruce Caldwell

Drs James & Margaret

Cameron

Sandra Cassell

Ann Cebon-Glass

Alex & Elizabeth Chernov

John Colvin

Leith & Darrel Conybeare

P Cornwell & C Rice

K Croft

Judith Croll

Betty Crouchley

Diana & Ian Curtis

Marie Dalziel

Michael & Wendy Davis

Design by Sergio Pty Ltd

Christopher & Kathryn Dibden

Jennifer Dowling

Ari & Lisa Droga

G & L Dunn

Professor Dexter Dunphy

Professor Peter Ebeling &

Mr Gary Plover

Leigh Emmett

Anne-Maree Englund

Peter Evans

H E Fairfax

Elizabeth Finnegan

Nancy & Graham Fox

Anne & Justin Gardener

Colin Golvan SC

Aiko Goto

Warren Green

Elizabeth & Peter Harbison

Carrie & Stanley Howard

Pam & Bill Hughes

Phillip Isaacs OAM

David Iverach

Andrew Johnston

Angela James & Phil McMaster

Warren & Joan Johns

D & I Kallinikos

John Landers & Linda Sweeny

Bronwyn & Andrew Lumsden

Alison & Malcolm Mackinnon

Clive Magowan

Mr & Mrs Greg & Jan Marsh

Deidre & Kevin McCann

Brian & Helen McFadyen

Judith McKernan

Fran & Tony Meagher

P J Miller

Donald Morley

Nola Nettheim

Th e Hon Mr. Justice Barry

O’Keefe AM & Mrs Janette

O’Keefe

Jennie & Ivor Orchard

Anne & Christopher Page

Patagonian Enterprises

Pty Ltd

James & Diane Patrick

peckvonhartel architects

Th e Purcell Family

Ralph & Ruth Renard

Mark Renehan

Warwick & Jeanette Richmond

In Memory of Andrew

Richmond

Em Prof A W Roberts

Julia Champtaloup & Andrew

Rothery

Harry & Leigh Rundle

D N Sanders

Tony Shepherd

Edward Simpson

Diana & Brian Snape AM

Maria Sola & Malcolm Douglas

Dr Charles Su & Dr Emily Lo

Leslie C Th iess

Alden Toevs & Judi Wolf

Colin & Joanne Trumble

Ngaire Turner

Kay Vernon

Mrs M W Wells

Audrey & Michael Wilson

Nick & Jo Wormald

William Yuille

Dr Lawrie Zion

Anonymous (17)

CONCERTINO $500 $999

Antoinette Ackermann

Ross Adamson

A Annand

Bruce & Diane Bargon

Greg Baxter

Andrew & Margaret Birchall

Brian Bothwell

Denise Braggett

D J Brown

Arnaldo Buch

Colleen & Michael Chesterman

Stephen Chivers

Dr B Clubb

John & Christine Collingwood

Angela & John Compton

Michael Cook

Alan Fraser Cooper

Mrs Julie Ann & Mr Laurie

Cox

Money Warehouse

Lindee Dalziell

Anouk Darling



Mari Davis

Lucio Di Bartolomeo

Jane Diamond

Martin Dolan

In Memory of Raymond Dudley

M T & R L Elford

Michael Elsley & Susan

Richardson

Farago Hill Wines

Mr & Mrs R J Gehrig

Mirek Generowicz

Brian Goddard

Steve Gray

Anthony Grigg & Paul

Williamson

Richard W Gulley

William & Robin Hall

Matthew Handbury

Dr I J Hardingham QC

Lesley Harland

Annie Hawker

Tim Hemingway

John Hibbard

Dr & Mrs Michael Hunter

Stephanie & Michael

Hutchinson

Philip & Sheila Jacobson

Davina Johnson

Mrs Angela Karpin

Bruce & Natalie Kellett

David & Angela Kent

Margaret Kyburz

Len La Flamme

Alf Lester

Drew Lindsay & Karl Zebel

Greg Lindsay AO & Jenny

Lindsay

Joanne Frederiksen & Paul

Lindwall

Penelope Little

Sydney & Airdrie Lloyd

Ashley Marshall

Peter Mason AM

Donald C Maxwell

Adrian McDonald

John Mitchell

Marie Morton

Helen & Gerald Moylan

Sharyn Munro

Ian Murray

Ken Nielson

J Norman

Graham North

Robin Offl er

Graham & Glynn O’Neill

Josephine Paech

Leslie Parsonage

Deborah Pearson

Professor David Penington AC

Mr Kevin Phillips

Andrew & Deirdre Plummer

Jan Power

Keith & Joan Presswell

John & Virginia Richardson

Michael Ryan

Manfred & Linda Salamon

Garry E Scarf & Morgie Blaxill

Jeff Schwartz

Alison Scott

Mr Ted Springett

In memory of Dr Aubrey

Sweet

IT

Phillip & Brenda Venton

Pat & John Webb

G C & R Weir

Nick & Helen Withers

Dr Gwen Woodroofe

Woodyatt Family

Michael & Susan Yabsley

Don & Mary Ann Yeats

Anonymous (24)

CONTINUO CIRCLE

BEQUEST PROGRAM

Th e late Kerstin Lillemor

Andersen

Dave Beswick

Sandra Cassell

Mrs Sandra Dent

Th e late Colin Enderby

Suzanne Gleeson

Lachie Hill

Th e late Mr Geoff

Lee AM OAM

Mrs Judy Lee

Richard & Dawn Searle

Mr Peter Weiss AM

Margaret & Ron Wright

Mark Young

Anonymous (10)

LIFE PATRONS

IBM


Mrs Libby Albert

Mr Guido Belgiorno-Nettis AM

Mrs Barbara Blackman

Mrs Roxane Clayton

Mr David Constable AM

Mr Martin Dickson AM &

Mrs Susie Dickson

Mr John Harvey AO

Mrs Alexandra Martin

Mrs Faye Parker

Mr John Taberner &

Mr Grant Lang

Mr Peter Weiss AM

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 Lillian Armitage

on 02 8274 3835 or at

[email protected].


ACO CAPITAL CHALLENGE

INSPIRE THE FUTURE…Th e ACO Capital Challenge is a secure fund, which will permanently strengthen the ACO’s future.

Revenue generated by the corpus will provide funds to commission new works, expose international

audiences to the ACO’s unique programming, support the development of young Australian artists and

establish and strengthen a second ensemble.

We would like to thank all donors who have contributed towards reaching our goal and in particular pay

tribute to the following donors:

CONCERTO $250,000 – $499,000Mr Guido Belgiorno-Nettis AM &

Mrs Michelle Belgiorno-Nettis

Mrs Barbara Blackman

OCTET $100,000 – $249,000Mr Robert Albert AO & Mrs Libby Albert

Mrs Amina Belgiorno-Nettis

Th omas Foundation

QUARTET $50,000 – $99,000Th e Clayton Family

Mr Peter Hall

Mr & Mrs Philip & Fiona Latham

Mr John Taberner & Mr Grant Lang

Mr & Mrs Peter & Susan Yates

SONATA $30,000 – $49,999Mr Martin Dickson AM & Mrs Susie Dickson


Mr John Leece OAM & Mrs Anne Leece

Ilma Peters

Mrs Patricia Reid

Mr Timothy Samway

Steve Wilson

ACO COMMITTEES

Chair – Bill Best

Ken Allen AMSenior AdvisorUBS Investment Bank

Guido Belgiorno-Nettis AMChairman ACO &Joint Managing DirectorTransfi eld Holdings

Liz CacciottoloSenior AdvisorUBS Australia

Ian DavisManaging DirectorTelstra Television

Chris Froggatt

Brendan HopkinsCEOAPN News & Media

Tony O’SullivanManaging PartnerO’Sullivan Partners

Tony ShepherdChairmanTransfi eld Services

John TabernerConsultantFreehills

SYDNEY DEVELOPMENT COMMITTEE

EVENT COMMITTEES Bowral

Elsa AtkinMichael Ball AM (Chairman)Daria BallLinda HopkinsKaren MewesKeith MewesTh e Hon Michael Yabsley

Brisbane

Ross ClarkeSteffi HarbertElaine MillarDeborah Quinn

Sydney

Deb BalderstoneMar BeltranCreina ChapmanGuillaume ChesneauSuzanne CohenPatricia ConnollyJudy Anne Edwards

Marella GibsonElizabeth HarbisonBee HopkinsSarah JenkinsPenny McDonaldJo McKenzieKatherine RevelasMary Stollery

MELBOURNE DEVELOPMENT COUNCIL Chair – Peter YatesChairman Royal Institution of Australia andPeony Capital

Libby Callinan

Stephen Charles

Paul CochraneInvestment AdvisorBell Potter Securities

Tom Griffi thDirector/Co-FounderEmma & Toms

Jan MinchinDirectorTolarno Galleries

Susan NegrauDevelopment & Corporate Relations Manager Melbourne International Arts Festival

Craig NgPartnerMaddocks Lawyers


ACO PARTNERS

CHAIRMAN’S COUNCIL

Th e Chairman’s Council is a limited membership association of high level executives who

support the ACO’s international touring program and enjoy private events in the company

of Richard Tognetti and the Orchestra.

Mr Guido Belgiorno-Nettis AMChairmanAustralian Chamber Orchestra &Joint Managing DirectorTransfi eld Holdings

Mr Michael Andrew Australian ChairmanKPMG

Mr Philip Bacon AMDirectorPhilip Bacon Galleries

Mr Brad BanducciChief Executive Offi cerCellarmasters Group

Mr Jeff BondGeneral ManagerPeter Lehmann Wines

Mr Glen Boreham Managing DirectorIBM Australia and New Zealand

Mr Robin BowermanHead of RetailVanguard InvestmentsAustralia

Ms Barbara ChapmanGroup Executive,HR & Group ServicesCommonwealth Bank of Australia

Th e Hon. Stephen Charles QC & Mrs Jenny Charles

Mr David Constable AMConstable Estate VineyardsSupervised Investments Australia Limited

Mr & Mrs Robin Crawford

Ms Anouk DarlingManaging DirectorMoon Communications Group

Mr Craig DrummondChief Executive Offi cer and Country HeadBank of AmericaMerrill Lynch Australia

Dr Bob EveryChairmanWesfarmersMr Robert ScottManaging DirectorWesfarmers Insurance

Mr Angelos FrangopoulosChief Executive Offi cerAustralian News Channel

Mr John GrillChief Executive Offi cerWorleyParsons

Mr & Mrs Simon & Katrina Holmes à CourtObservant Pty Limited

Mr Brendan HopkinsChief ExecutiveAPN News & Media

Mr Robert Johanson, Mr John Sharkey & Mr Robert SymonsDirectorsRobert Salzer Foundation

Mr Mark JohnsonSenior Partner & CEOPricewaterhouseCoopers

Mr Warwick JohnsonManaging DirectorOptimal Fund Management

Ms Catherine Livingstone AOChairmanTelstra

Mr Steven Lowy AMGroup Managing DirectorWestfi eld Group

Mr Didier MahoutCEO Australia & NZBNP Paribas

Mr Michael Maxwell &Mrs Julianne Maxwell

Mr Geoff McClellanChairmanFreehills

Mr John MeacockManaging Partner NSW Deloitte

Ms Naomi Milgrom AO

Ms Jan MinchinDirectorTolarno Galleries

Mr Clark MorganChief ExecutiveUBS Wealth Management Australia

Mr Alf Moufarrige OAMChief Executive Offi cerServcorp

Mr & Mrs James & Diane PatrickManaging DirectorsWiltrans International Pty Ltd

Mr Scott PerkinsHead of Global BankingDeutsche Bank Australia/New Zealand

Mr Oliver RoydhouseManaging DirectorInlink

Mr Tim SamwayInstitutional BusinessDirectorHyperion Asset Management

Mr Peter SchiavelloManaging DirectorSchiavello Group

Mr Glen SealeyGeneral ManagerMaserati Australia & New Zealand

Mr Michio (Henry) TakiManaging Director & CEOMitsubishi Australia Ltd

Mr Michael Triguboff Managing DirectorMIR Investment Management Ltd

Ms Vanessa WallaceDirector Booz & Company

Mr Kim Williams AMChief Executive Offi cerFoxtel

Mr Peter YatesChairmanRoyal Institution of Australia & Peony Capital


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.

ACO PARTNERS

ACO2 PRINCIPAL PARTNERFOUNDING PARTNER

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.

ACO PARTNERS

PRINCIPAL INNOVATION PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

ACO is supported by the NSW Government through

Arts NSW

GOVERNMENT SUPPORT ACCOMMODATION AND EVENT SUPPORT

BAR CUPOLA SWEENEY RESEARCH

CONCERT AND SERIES PARTNERS

PREFERRED TRAVEL PARTNER

OFFICIAL AIRLINE

PERTH SERIES AND WA REGIONAL TOUR PARTNER

QLD/NSW REGIONAL TOUR PARTNER


STACCATO: ACO NEWS STACCATO: ACO NEWS

For more information about donating to the ACO, please phone Lillian Armitage on

(02) 8274 3835 or email [email protected].

DONOR PROFILE: EDWARD GRAY

Queenslander Ted Gray comes

from a musical family and was

a violinist himself, until the end

of his secondary school years. A

strong supporter of live orchestral

performances, his fi rst exposure to

the ACO was on the radio. It was

the ACO’s consistent excellence and

the lightness, joyousness and the

disciplined enthusiasm of the ACO’s

music which inspired Ted and his wife to become

ACO subscribers around seven years ago.

Ted has generously supported the ACO’s Capital

Challenge Campaign and has been a consistent

and generous supporter of the ACO’s Emerging

Artists and Education Programs. For Ted,

supporting these programs follows on naturally

from his own experiences during three years of

struggle with fi ve children in tow at

the University of California, Berkeley

Campus from 1968 to 1971.

Ted has lived in Papua New Guinea,

the USA, Canada and Fiji and has

travelled extensively in Great Britain,

Europe, India and Sri Lanka. His

travels have taken him to numerous

concert halls outside Australia and

have aff orded him the opportunity to hear many

orchestras including the London Philharmonic,

Toronto Symphony, Hamilton Philharmonic, and

the San Francisco Symphony Orchestras, but as

Ted says, “None better than the ACO!”

It has been a privilege for the ACO to have Ted’s

support and we are extremely grateful to him.

ACO EVENTS

ANNUAL DINNERS SYDNEY AND MELBOURNETh e ACO’s Annual Dinners, held in late July

in Melbourne and Sydney, thanked the ACO’s

Chairman’s Council members, Medici Patrons,

lead International Patrons and Major Patrons for

their invaluable contribution to, and support of,

the Orchestra.

In Melbourne, this event was generously hosted

by Andrew and Shadda Abercrombie, who

opened their glorious home to seventy of the

ACO’s major patrons. Richard Tognetti and

the Orchestra performed a beautiful program,

crafted especially for the occasion.

In Sydney, this event was hosted by Park Hyatt

Sydney. Eighty loyal supporters of the Orchestra

enjoyed a delectable three course dinner, and a

stirring performance by the ACO.

At both dinners, guests enjoyed Peter Lehmann’s

exquisite wines, which were accompanied by

Taittinger Champagne, generously supplied by

Cellarmasters.

Mark Ingwersen, Penny Buckland and David Buckland

Julianne Maxwell, Alice Evans and Brendan Hopkins

Melissa Barnard and Carol Sroczynski

A glittering crowd gathered at Cadogan Hall

on 31 August for the Australian Chamber

Orchestra’s London concert, sponsored by

Macquarie Group and Global Switch. Th e

audience included Sir Michael and Lady

Parkinson, Barry Humphries and his eternally

elegant mother-in-law, Lady Natasha Spender,

actors Simon Callow and Miriam Margolyes,

conductor Sir Mark Elder, cellist Steven Isserlis

and soprano Dawn Upshaw.

At the end of a heart-racing performance of

Beethoven’s 5th Symphony, Parky brought the

800 strong audience to its feet for fi ve curtain

calls. Th e Orchestra performed the fi nal

movement of Mozart’s Jupiter Symphony as an

encore.

Guests then adjourned for a post-concert party

hosted by His Excellency Mr John Dauth LVO,

High Commissioner for Australia. Guests

including Transfi eld’s Tony Shepherd and APN’s

Brendan Hopkins were treated to a hilarious

oration by Barry Humphries, after which Richard

Tognetti told Humphries that his time had come

– Sir Les for Prime Minister!

Th e ACO gratefully acknowledges the generous

support of all of our 2010 Trans-Atlantic Tour

Patrons, Macquarie Group, Global Switch and

the Australain High Commission, without whom

the tour would not have been possible.

ACO LONDON CONCERT PARKY LEADS THE OVATION

STACCATO: ACO NEWS

For more information about supporting the ACO’s future international touring, please

phone Lillian Armitage on (02) 8274 3835 or email [email protected].

Lady Mary and SIr Michael Parkinson

Brendan, Tor and Bee Hopkins

Sir Michael Parkinson, Satu Vänskä, Barry Humphries


APN News & Media has had a long association with regional Queensland and New

South Wales, so it is a great honour to partner with the Australian Chamber Orchestra

in this signifi cant tour.

As Australia’s leading publisher of regional newspapers and websites, APN has long

championed the growth and development of the country’s provincial centres. Th is

tour by ACO2 recognises the vibrant and creative nature of our communities and will

showcase world-leading talent to an appreciative and knowledgeable audience.

It is indeed a privilege to bring the orchestra to our local towns and schools, where so

many people can benefi t from the skills of this ensemble. For many students, they will

experience a master class unlike any other, from some of Australia’s brightest musical

talents.

As APN News & Media continues to grow in its local markets, it is through partnerships

such as this one with the Australian Chamber Orchestra, that we can expand on the

important cultural and social cornerstone that we hold in our communities.

We are proud to be part of this very special tour of ACO2, showcasing some of Australia’s

fi nest musical talent.

BRENDAN HOPKINSChief ExecutiveAPN News & Media

APN ACO2

NSW/QLD TOURBangalow - A&I Hall

Tue 5 Oct, 7.30pm

Coffs Harbour - Jetty Memorial Theatre

Sat 2 Oct, 8pm

Logan Central - Logan Entertainment Centre

Fri 8 Oct, 8pm

Noosaville - Good Shepherd Lutheran College

Sun 10 Oct, 7.30pm

Tamworth - Capitol Theatre

Fri 1 Oct, 8pm

Toowoomba - Empire Theatre

Wed 6 Oct, 8pm

Parramatta - Riverside Theatres

Tue 28 Sep, 7.30pm

Sydney - Verbrugghen Hall

Wed 29 Sep, 7pm

COX & KINGSOVER 250 YEARS OF DISCOVERY

*Valid for bookings made any time from now until 31 December 2010.To be eligible for the discount, subscribers must provide their ACO membership number at the time of reservations enquiry. Reservations must be made by contacting Cox & Kings on:

[email protected] or 1300 836 764

Cox & Kings, the world’s longest established travel company, is offering ACO subscribers 10% of all Escorted Small Group Journeys of 10 days duration or longer, for travel any time from now until 31 December 2011.

* ‘Business Partner’ is used informally and does not imply a legal partnership. © Copyright IBM Australia Limited 2010 ABN 79 000 024 733 © Copyright IBM Corporation 2010 All Rights Reserved. TRADEMARKS: IBM, the IBM logo, ibm.com, Smarter Planet and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade.shtml IBMNCA0494/MidMarket/ACO

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Documents

Viennese Masters concert program