Beethoven9 Program Website

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AUSTRALIAN CHAMBER ORCHESTRA 1
NATIONAL
TOUR PARTNER
As the Founding Partner of the Australian
Chamber Orchestra for over three decades
we have learnt much from our partnership.
Beyond investing in one of Australias most
powerful forces of creativity, our partnership
works because it is based on a mutual desire
for innovation and progress.
The ACO pushes the boundaries of musical
excellence looking for new ways to connect
with audiences. It is these characteristics that
IBM nds inspiring and valuable to our own
work.
The ACO reminds us that at the heart of
innovation and excellence is creativity,
dynamic people and fresh thinking and the
result is extraordinary.
ANDREW STEVENS
MANAGING DIRECTOR,
IBM AUSTRALIA AND NEW ZEALAND
NATIONAL TOUR AND
FOUNDING PARTNER
nfrastructure pioneers
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Cover photo: Maxime Bibeau Jon Frank
TOUR FIVE
BEETHOVEN 9
RICHARD TOGNETTI Conductor and Lead Violin
LUCY CROWE Soprano
FIONA CAMPBELL Mezzo Soprano
ALLAN CLAYTON Tenor
MATTHEW BROOK Bass
CHOIR OF CLARE COLLEGE, CAMBRIDGE
(Graham Ross Director)
Te Australian Chamber Orchestra reserves the right to alter scheduled
artists or programs as necessary.
Approximate durations (minutes):
10 5 7 INTERVAL 65
Te concert will last approximately two hours including a
20-minute interval.
ADELAIDE
Town Hall
Tue 14 Aug, 8pm
BRISBANE
QPAC
Mon 6 Aug, 8pm
CANBERRA
Llewellyn Hall
Sat 4 Aug, 8pm
MELBOURNE
Arts Centre Melbourne
Sun 12 Aug, 2.30pm
Mon 13 Aug, 8pm
PERTH
Concert Hall
Wed 15 Aug, 7.30pm
SYDNEY
Opera House
Sun 5 Aug, 2pm
Tu 9 Aug, 8pm
City Recital Hall Angel Place
Tue 7 Aug, 8pm
Wed 8 Aug, 7pm
Sat 11 Aug, 7pm
MESSIAEN
Prayer of Christ ascending towards his Father,
from LAscension
BRAHMS (arr. Gardiner)
Geistliches Lied, Op.30
BEETHOVEN
Calm Sea and Prosperous Voyage, Op.112
I NTE RVAL
BEETHOVEN
Symphony No.9 in D minor Choral, Op.125
SPEED READ
Heir to the classical tradition of his
great predecessors Haydn and Mozart,
Beethoven raised instrumental music
to a pinnacle of expressivity hitherto
unimagined. Admirers of his symphonic,
piano and chamber compositions
heard in the music almost as eloquent
as speech, music that posed the
ultimate question: can instruments
sing? In his titanic Choral Symphony,
Beethoven answers unexpectedly in
the negative. In 1824, for the rst time
in its history, a concert symphony
bursts through its instrumental
frontiers to nd expression through
the human voice. Beethoven conceived
his disarmingly simple tune for
Friedrich Schillers ode To Joy as a
song of the people, and since 1972 it
has been the anthem of the European
Union. The newly porous borders
Beethoven opened between Music
and the Word, Simplicity and
Sophistication, subtly transformed
art music.
Balancing the Ninths sheer mass
in the second half of the program,
the Choir of Clare College joins the
ACO in the rst half to explore the
borderlands in which instrumentality
and song continue to come together.
Messiaens celestial Prayer of Christ
ascending towards his Father
presents an apocalyptic instrumental
vision of the nal ecstatic union
of esh and spirit. In his Spiritual
Song, Brahms nds consolation
for bereavement and loss not in
showy sentimentality but in placid
understatement. In Beethovens lovely
choral setting of Goethes poems
Calm Sea and Prosperous Voyage,
we return for a moment to the
composers middle-period and the
natural world of the Pastoral Symphony.
Because they believe it matters,
Richard Tognetti and the ACO go
the extra yard, performing on
instruments as close as practical to
those performed during Beethoven
and Brahmss lifetime. Beethoven
usually has to make do with modern
instrumental technology, and Messiaen
will have to submit for once to a
reimagining in the opposite direction.
Graeme Skinner
4 AUSTRALIAN CHAMBER ORCHESTRA
MESSAGE FROM
THE GENERAL MANAGER
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ACO ON THE RADIO
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8 August, 7pm
Direct to air:
Beethoven 9 concert
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PRE-CONCERT TALKS
Free talks about the concert take
place 45 minutes before the start
of every concert at the venue.
In 1981, when IBM rst came on board as the major
supporter of the ACO, a national tour of Beethovens
Ninth Symphony would have been unthinkable. Back
then, the ACO was a part-time, Sydney-based ensemble
with a short subscription season in Sydney, some regional
touring and an occasional international tour. Tirty-one
years later, the ACO is the countrys only truly national
performing arts company, with concerts this year in all
States and Territories, subscription series in eight cities,
extensive reach into regional Australia, a ourishing
education program and two international tours each year.
Tis kind of growth would have been impossible without
the long-standing support of our Founding Partner IBM
and this huge tour of Beethovens Ninth Symphony is
the ideal opportunity to celebrate this wonderful
partnership.
We are thrilled to present the Choir of Clare College,
Cambridge on this national tour. Te Choir enjoys a
distinguished reputation in the UK and when it tours
internationally, and we are very grateful to long-time
ACO supporter Daryl Dixon, himself an alumnus of
Clare College, for generously underwriting the Choirs
travel costs.
At the end of August, the ACO heads to Europe for a tour
which includes a performance at the Edinburgh Festival,
a concert in London with Dawn Upshaw and a ten-day,
action packed residency in the 2012 European Cultural
Capital, Maribor in Slovenia.
Just before boarding the plane to Edinburgh, we will
be announcing our 2013 season. We have all been very
excited as the 2013 programs have evolved over the last
eighteen months and we hope that you will be inspired to
join us on many occasions during that season.
TIMOTHY CALNIN
GENERAL MANAGER
AUSTRALIAN CHAMBER ORCHESTRA
WHY PERFORM
ON PERIOD WINDS?
GEORGES BARTHEL Flute
Combined with a musical education dedicated to historical
performance practice, the particular acoustic aspects of
performing on a period instrument lead the player to a
totally new approach towards music-making. Tis is of
course true for Renaissance or Baroque repertoire, where
using authentic instruments has now become a necessity.
However, this change is no less fundamental when playing
Romantic symphonies. Since the bigger size of the
orchestra especially the wind section allows for endless
combinations of sound colours, the dierence in sonorities
to be heard between early 19th-century instruments and
modern ones is simply stunning. In the case of Beethovens
compositions, using 19th-century instruments also helps us
to understand how demanding the composer was with the
performers of his time, and how aware he was of the latest
improvements in instrument making. His Ninth Symphony
pushes the ute (and the autist!) to its very limits, asking for
extreme dynamics and exceptional virtuosity.
MARK BAIGENT Oboe
Although we now come to playing period instruments from
a modern perspective in sound, intonation and style, the
qualities of these older instruments still ring through. Tey
enable the player to approach music in a fresh way and give
a sense of excitement and struggle that modern players dont
have, in producing what was cutting-edge music for the time.
NIGEL CROCKER Trombone
In the 1960s, Decca changed the way orchestras were
recorded, including putting a microphone on every
instrument. Tis high delity audio revolution continued,
following technological advances through the 70s into the
digital world of the 80s. We suddenly could hear orchestras
from the inside out, which was thrilling and electrifying but
very di cult to reproduce on the concert hall stage without
completely dominating the orchestra. Along with Hollywood
lm scores, where they now sometimes have as many as
fourteen trombones playing in surround sound on the big
budget blockbusters, I believe these developments have
heavily inuenced the way modern orchestral brass sections
interpret the repertoire.
Since plunging into period performance, I have had that sound
world turned on its head. Te narrow bore and small bell
Gut strings
At his general store at Maitland,
NSW, in 1850, William Liscombe
advertised English and
Roman violin stringsstrong
enough to tether a donkey!
Like those the ACOs string
players have tted to their
instruments for this concert,
they would have been made of
twined gut; though not, despite
the common belief, feline.
Possibly, the word catgut
derived from kit-gut, kit
being a word for the ddle.
The sound of catgut is audibly
different less constant,
suggestible, occasionally even
threatening to be unreliable
from the, quite literally, steelier
modern synthetic wired
strings. Yet it was gut that
produced the sounds that poor
deaf Beethoven imagined,
and arguably too the sort of
sounds that the solo baritone
is protesting against (No, not
those sounds!) at the outset of
the Ninths choral nale!
Gut was one casualty of the
so-called progress of musical
technology toward that blended
massed orchestral sound we
know so well from late-20th-
century recordings. So too
the quirkier, uneven, harder-
to-handle winds and brass.
German utes were made of
wood not silver, clarionets
had fewer keys, and
hautboys (oboes) produced
a sound that, according to
one eighteenth-century
dictionary, was Majestical
and Statelynot much Inferior
to the Trumpet. Meanwhile,
the trumpets and horns that
Beethoven scored for had yet to
acquire sophisticated modern
valve systems; to produce a
scale required careful lipping,
and to play in more than one
key demanded changes of
crooks (added sections of
tubing, of various lengths,
that altered the instruments
fundamental pitch).
of the sackbut and classical trombone create a completely
natural blend with voices, strings and winds. Here we
become an organic extension of the orchestral palette, rather
than a big, bold, bright colour leaping out of the painting
jumping up and down shouting Look at me! Tis has
inuenced my approach even when playing this repertoire
on modern trombone.
ANNEKE SCOTT Horn
For this tour, our section will be playing on four natural, or
hand, horns. From a distance they look closer to hunting
horns, their forefathers, than modern horns. Tey are called
natural horns because they have no valves and so we use
a mixture of our lips, which buzz faster or slower to pick
out the notes of the harmonic series, and our left hands
(hence hand horn) which we manipulate in the bell of the
instrument in such a way that we bend the harmonic series
to create more notes. Tis is a wonderful technique but in
some ways were restricted by the length of the instrument
which dictates the key and therefore selection of notes at
our disposal. To get around this we can change the length
of the instruments by adding crooks: coils of tubing
which youll be able to see hanging o our music stands.
Each crook has a subtly dierent sound which composers,
such as Beethoven, knew how to exploit. In many ways
this combination of dierent crooks and the use of hand
technique creates a wider range of colours and textures than
the modern instrument.
About the instruments on stage
Flute: Made by Rudolf Tutz, Innsbruck, Austria (2007).
Copy of a ute from the rst quarter of the 19th century by
maker Wilhelm Heinrich Grenser of Dresden, Germany.
Oboe: Made by Dick Earle, Lewes, UK (2005). Copy of a 9-keyed
Floth oboe of 1807.
Clarinets: All three are modern copies of instruments by
Heinrich Grenser, Dresden, Germany (1810). Clarinet in B at by
Peter van der Poel (2006), Bunnik, The Netherlands. Clarinet in A
by Joel Robinson (1998), New York, USA. Clarinet in C also by
Joel Robinson (1995).
Bassoon: Original 7-keyed bassoon by Bhner and Keller,
Strasbourg (c. 1809).
Horns: Three made by Andreas Jungwirth, Austria; copies of
an original instrument by Josef Wenzel Lausmann, Linz, Austria
(late 18th century). One made by Englebert Schmid, Germany;
copy of an instrument by Ignaz Lorenz, Linz, Austria (c. 1830).
Trumpets: Made by Mathew Parker. London (1992), based on
an instrument by J.L.Ehe II of Nrnberg (c. 1700).
Trombones: Copies of classical trombones, made by Ewald
Meinl, Germany (2010).
Timpani: A belt-driven copy of German Baroque styled copper
timpani with calf heads, made by Lema, Germany, in 1998.
MESSIAEN
Prayer of Christ ascending towards his Father
from LAscension
(Composed 1932)
Debussys music is like waterstill, unmoving; but as soon
as you throw a pebble in it, there is a shock wave where the
stone hits, and the water is set in motion. Debussys music
is just like thatthere are stops, and then suddenly it moves.
It was those stops that seized my imagination.
Olivier Messiaen
No other musical work exercised the young Messiaens
imagination so much as Debussys opera Pellas et
Mlisande. He was 10 years old when his teacher placed,
as he later recalled, this bomb in the hands of a mere
child. Te evanescent, dream-like world of Debussys opera
(whose entire score he learned to play at the piano from
memory) and of piano pieces like the same composers
Te Sunken Cathedral guided Messiaens search for his
own musical language. By the time he completed his decade
of formal studies at the Paris Conservatoire in 1930 during
which his composition lessons with Paul Dukas (composer
of the famous Te Sorcerers Apprentice) were another
key inuence he was ready, aged 22, to put his singular
aesthetic sense to the test in a series of orchestral works.
From the concert premiere of the rst of these, Les orandes
oublies Te forgotten oering, in Paris in February 1931,
it was obvious that French music had acquired a remarkable
new voice, as Messiaen himself described it, half gothic,
half ultra-modern.
As Messiaen also later explained: A number of my works
are dedicated to shedding light on the theological truths
of the Catholic faith. Tat is the most important aspect of
my music. Tis is certainly important in understanding the
largest of his early orchestral works, LAscension, a four-
movement symphonic meditation. In it he presents the
traditional Christian doctrine concerning the moment when
Christ physically ascended into heaven to be reunited with
his Father. But he does so through a lter of occult-sounding
movement titles and apocalyptic biblical quotations
conjuring up endless heavenly vistas, angels, and alleluias;
and (in the case of the extract performed here) in music that
weds a radically pared-back texture with a harmonic palette
of almost Technicolor-like vibrancy.
It is strange yet typical that Messiaen chose to close
LAscension, a work whose previous movements are scored
for a full modern symphony orchestra, with this nal Prire
du Christ montant vers son Pre Prayer of Christ ascending
His mother was symbolist
poet Ccile Sauvage, his
father Pierre would later
translate the complete plays
of Shakespeare into French.
Himself a preciously gifted
pianist, at 11 Messiaen enrolled
at the Paris Conservatoire,
where he later became a
professor. In 1931, at the almost
unprecedentedly young age
of 23, he was appointed titular
organist of one of Pariss
great basilicas, La Trinit. His
apocalyptic Quartet for the
End of Time was composed
while he was a prisoner-of-war
in Nazi Stalag VIII-A. A deeply
personal mystical Catholicism
coloured all his creative work,
extending to his celebration
of the divine gift of human
sexuality in his 1949 orchestral
masterpiece Turangalla
Symphony. From such diverse
sources as birdsong, ancient
Greek and Hindu music,
and Balinese gamelan, he
developed his own systems for
the complex organisation of
melodies, harmonies, timbres,
and rhythms. He is widely
considered the most inuential
20th-century French composer
after Debussy and Ravel.
Olivier MESSIAEN
(b. Avignon, France 1908
d. Paris, France 1992)
towards his Father with just a single instrumental colour.
By classical standards, this strange nale makes for an even
stranger listening experience, one that recalls Messiaens
description of Debussys music as being like water, that
stops, and occasionally moves, but mostly tends toward a
state of shimmering stillness.
Specically avoiding major contrasts of instrumental
colour on oer from winds, brass or percussion, Messiaen
scores it for the homogenised, monochromatic sound
of a large body of well-blended strings, playing almost
unnaturally slowly (even the shortest notes are prolonged
for considerably more than a second), and further directed
to play evenly sostenu (sustained) throughout. A singularity
of texture is no less obsessively observed. For the nearly ten
minutes it takes to perform the ve sparsely-lled pages
of score, all the strings move together as one in perfectly
smoothed-out, impact-less steps, proceeding from one almost
too-luxuriant chord to the next, swelling to fortissimo and
fading back to piano, in complete homophony, without the
merest hint of contrapuntal division. Tis music, for Messiaen,
is a perfect representation of the last stage of Christs ascension
into the heavens, when not merely his spiritual essence but
also his physical, carnal, body breaks free of the earth and is
merged supernaturally back into the godhead.
Tough he is rightly recognised as one of the great musical
mystics of the last century, Messiaen was never drawn to a
life of priestly denial or asceticism. In early summer 1932,
he married fellow musician Claire Delbos, and it was while
on holiday at her familys chateau in the Auvergne in the
south of France that he composed much of LAscension.
Teir happy marriage inspired his 1936 song-cycle Pomes
pour Mi (Mi was Messiaens pet-name for Claire), and
the birth of their son Pascal, in 1937, was inspiration for
a further song-cycle, Chants de terre et de ciel Songs of
earth and of heaven. But his family happiness was tragically
shortlived. After a botched operation, Claire suered
dementia and was conned to institutions until her death
in 1959. In 1961, Messiaen married a former student,
pianist Yvonne Loriod, who was by then the greatest living
interpreter of his music. Among the many enduring legacies
of their partnership, their joint recording of his apocalyptic
two-piano work, Visions of the Amen, remains one of the
greatest musical memorials of a marriage ever.
Ascension
Not just in his organ music for
church performance, but also
in his concert music, Messiaen
dedicated himself to shedding
light on the theological truths
that he believed. The Christian
doctrine of Ascension is based
on gospel accounts of the risen
Christs nal earthly meeting
with his disciples, forty days
after his Resurrection. After
he had spoken with them,
according to Marks gospel,
Jesus rose body and soul
up to heaven. As an epigraph
for his evocation of the
moment at which Christ returns
to God his Father, Messiaen
quotes from Johns gospel
Jesuss earlier prayer for this
nal transformation.
Prire du Christ montant vers son Pre Prayer of Christ ascending towards his Father
Prejai manifest ton nom aux homes FatherI have revealed your name to mankind
Viol que je ne suis dans le monde; mais eux And now I remain no longer in the world; but
sont dans le monde, et moi je vais toi. they are still in the world, and I am coming to you.
Prire sacerdotal du Christ, vangile selon Priestly prayer of Christ, gospel according to
Saint Jean St. John (17: 6, 11)
BRAHMS
Geistliches Lied (Spiritual Song), Op.30
(Composed 1856)
Tough it is eighty years since the 23-year-old Messiaen
composed LAscension, the music and sentiment behind it
remain strange enough for most of us to feel, even now, an
inkling of how confronting it must have seemed at the time.
Going back almost eighty years further still, we meet another
23-year-old, and another religiously themed composition,
that by contrast appears comfortingly familiar. Faced with
such an unassumingly conventional piece as Brahmss little
Spiritual Song, we might well assume that understanding
the motivations and intentions that gave rise to it is a
comparatively straightforward task.
At 23, Messiaen was newly, and happily, married. Brahms,
turning 23 in May 1856, found himself embroiled in the
terminal tragedy of someone elses marriage. While waiting
for his beloved mentor Robert Schumann, to die demented,
he was drawn into a closer intimacy and dependency
both personal and musical with Schumanns wife, Clara.
Schumann nally died on 29 July and, as a necessary recovery
for those most closely concerned, Clara invited Brahms and
his sister to join her for a months holiday in the Rhine Valley
and Switzerland from mid-August to mid-September. At
the end of the trip (on Claras birthday on 13 September),
Brahms presented her with a folio of his recent compositions,
including this newly-composed Spiritual Song.
But Claras birthday also marked the end of the most intimate
stage of their personal relationship. Tere is little doubt that
Brahms adored Clara (he drew beautiful musical portraits of her
in several works round this time), nor that Clara adored the
attention. However, according to her astutely observant
daughter Eugenie, it was Brahmss resistance to being mothered
by Clara that caused him, late in 1856, to opt for independence
and leave the Schumann household for good. Clara would
remain one of the most inuential people in his life, but from
now on at a mutually safe distance. Te birthday gift of
compositions was, thus, both his commitment to their ongoing
friendship and a parting gesture. Clara was touched by what
she called the magnicent surprise. Tough, curiously, she
admitted that this particular piece straightforward and
unassuming as it might seem lled her more with amazement
than comfort.
Te lyrics Brahms chose for the Geistliche Lied had been set
to music, twenty-ve years earlier, by both Felix Mendelssohn
and his sister Fanny, under the title Pilgerspruch Pilgrims
saying. Te author, if not a pilgrim as such, was at least a noted
traveller. Paul Flemming had been a student at St Tomass
School in Leipzig in the mid-1620s, and was forced into
Brahms was just 20 years
old when, in 1853, he met the
composer Robert Schumann.
Six months later, Schumann
attempted to drown himself in
the Rhine, and Brahms returned
to Dsseldorf to help out in the
older composers traumatised
household. Brahms and Clara
Schumann in her own right
one of the greatest concert
pianists of the day came
to depend closely on each
other through the crisis of her
husbands madness and death.
Claras musical and personal
support was to remain one of
the constants in Brahmss life
until, in May 1896, she pre-
deceased him by a little less
than a year.
Johannes BRAHMS
(b. Hamburg, Germany, 1833
d. Vienna, Austria, 1897)
Composed by:
Flemming was a student at St
Thomass School in Leipzig in
the mid-1620s, 100 years before
Bachs tenure as St Thomass
music director. Flemming was
forced into exile during the
Thirty Years War. In 1633, he
joined a mission to the court of
the Czar in Russia, and again in
late-1635 on a second expedition
to the Shah of Persia, with the
dual hopes of promoting trade
and Christianity in Asia. Believed
to have been written en route to
Persia (now Iran), the lyrics of
Flemmings Song is typical of the
very personal, sentimental north
German Protestant spirituality
of the time.
Paul FLEMMING
(b. Hartenstein, Saxony, 1609
d. Hamburg, 1640)
Words by:
exile to nd refuge from the troubles of the Tirty Years
War. In 1633 he joined a mission to the court of the Czar in
Russia, and in late 1635 a second expedition to Persia, with
the dual hopes of promoting trade and Christianity in Asia.
Believed to have been written during this mission into what
is now Iran, Flemmings poem is typical of the very personal,
sentimental north German Protestant spirituality of the time.
Typically, the words are not a conventional prayer addressed
to God, but rather a bereaved believers exhortation to his
own poor heart to put away useless sorrow and surrender
itself joyfully to whatever God has willed.
Geistliche spiritual might just as accurately be
translated as ghostly. And coming so close after Schumanns
death, Brahmss setting of the Song might well be interpreted
as a necessary attempt at laying a ghost. But young Brahms
is surprisingly reticent about wearing his heart on his sleeve.
Te pieces gently contrapuntal melodies and expressive
harmonies might appear to ow naturally in an eortless,
warm procession, but in fact they are the inevitable outcome
of careful planning: whereby for the entire length of the
piece the tenors follow the sopranos, and the basses follow
the altos strictly in canon, note for note, but a bar later
and nine notes lower. Separated out, no component voice
parts are especially melodious or memorable. Rather, only
through their disciplined relationship does beauty arise. It
is as if, as his lyricist tells, Brahms demonstrates musically
that obedience and restraint, rather than wilful displays of
passion, oer better consolation.
Geistliches Lied Spiritual Song
La dich nur nichts nicht Dauern Only let nothing grieve thee,
Mit Trauern, Poor heart,
Sei stille! Be still!
Wie Gott es fgt, Howeer the Lord bereave thee,
So sei vergngt Bow down,
Mein Wille. My will!
Was willst du heute sorgen Why all this useless sorrow
Auf morgen? For the morrow?
Der Eine Will not He
Steht allem fr; Who cares for all,
Der gibt auch dir Whateer befall.
Das Deine. Care, too, for thee?
Sei nur in allem Handel He rules thy fate:
Ohn Wandel, Calmly await
Steh feste! Te Lords behest;
Was Gott beschleut, Who all things sees,
Das ist und heit What he decrees
Das Beste. Must be the best!
Amen. Amen.
Translation: Mme. Davesis de Ponts (1858)
Beethovens compositional
career can be divided into three
periods: early, middle, and late.
In the music of his early period,
reaching its peak around 1800,
he quite audibly takes up where
Haydn and Mozart had left
off. But, in his early thirties,
he began to follow what he
described as a new path,
and entered a middle period
of tempestuous changes in his
music and thinking. Napoleon,
the inspirational republican
hero of the Third Symphony,
dashed Beethovens hopes by
declaring himself emperor, and
tyrannising Europe. Napoleons
nal defeat in 1815 roughly
coincides with the end of
Beethovens middle period and
the emergence of his so-called
late style.
Ludwig van
BEETHOVEN
(b. Bonn, Germany, 1770
d. Vienna, Austria, 1827)
Composed by:
BEETHOVEN
Calm Sea and Prosperous Voyage, Op.112
(Composed 1815)
Himself forcibly becalmed, under strict medical orders, and
in a succession of picturesque Czech health resorts in the
middle of August the hottest month of summer 1812
Beethoven reported to his patron and pupil, the archduke
Rudolph: In Tplitz I heard the military band play four times
every day but thats the only musical report I can oer you.
Otherwise, I spent a good deal of time with Goethe.
In a letter to Goethe a couple of years earlier, a mutual friend,
countess Bettina Brentano von Arnim (17851859), herself a
gifted author and composer, reported Beethovens desire to make
Goethes acquaintance. According to Bettina, Beethoven told her:
Goethes poems have great power over menot only because
of their contents, but also because of their rhythmI am tuned
up and stimulated to compose by his languageand I must
discharge melody in all directionsMusic, I believe, is the
mediator between the intellect and the senses. I should like to
talk to Goethe about this. Would he understand me?
Goethe, replying to the countess, asked her to encourage
Beethoven to visit him at the Czech resorts where he was
planning to spend the next couple of summers taking the waters,
and meanwhile to send him copies of two songs Beethoven
had recently composed on his poems, most likely including the
simple and lovely Sehnsucht (Longing), published in his Op.83.
When they did nally meet in 1812, Goethe wrote to his wife
that he had seldom met a more focussed, or fervent artist
than Beethoven. To a musical friend, Zelter later young
Mendelssohns teacher Goethe wrote: His talent astounded
me. But unfortunately, he is completely uncontrollablethough
he can be excused, and pitied, for he is losing his hearing. As
it is, he is laconic by nature, and becoming doubly so through
this misfortune.
Meanwhile, according to Bettina, Beethoven reported that he
gave the older man a lesson in egalitarianism. Walking together
through the spa gardens one day, they saw a crowd gathering
as the imperial family strolled by. Goethe, by far the more
eminent of the pair but also a more seasoned courtier, removed
his hat and was promptly ignored along with most others. But
Beethoven, my hat rmly on my headpushed through the
thickest part of the crowd, and archduke Rudolph took o his
hat, while the empress herself was rst to greet me.
Te following spring, 1813, Beethoven began sketching music
for Goethes pair of carefully contrasted poems Meeres Stille
Calm Sea and Glckliche Fahrt Prosperous Voyage. However,
it wasnt until late 1815 that he nally brought this choral setting
to completion, for rst performance at a charity concert on
Christmas Day. In June that year, Schubert had set just the rst
In the history of German
literature, Goethe holds a place
similar to that of Shakespeare
in English. A poet, playwright,
novelist, soldier, politician
and scientist, Goethe spent
most of his productive life as
a courtier at Weimar. He was
deeply inuenced by an artistic
pilgrimage he made to Italy in
the late 1780s. In 1792 he was
among the German monarchist
forces attempting to invade
revolutionary France. He
established what would become
a rm collaborative friendship
with Germanys other great
living poet and dramatist,
Friedrich Schiller, in 1795, the
same year in which he wrote
this pair of poems.
Johann Wolfgang
GOETHE
(b. Frankfurt, Germany, 1749
d. Weimar, 1832)
Words by:
Meeres Stille Calm sea
Tiefe Stille herrscht im Wasser, Silence deep rules oer the waters,
Ohne Regung ruht das Meer, Calmly slumbring lies the main,
Und bekmmert sieht der While the sailor views with
Schier trouble
Glatte Flche ringsumher. Nought but one vast level plain.
Keine Luft von keiner Seite! Not a zephyr is in motion!
Todesstille frchterlich! Silence fearful as the grave!
In der ungeheuern Weite In the mighty waste of ocean
Reget keine Welle sich. Sunk to rest is evry wave.
Glckliche Fahrt Prosperous voyage
Die Nebel zerreien, Te mist is fast clearing,
Der Himmel ist helle, And radiant is heaven,
Und olus lset Whilst Aeolus loosens
Das ngstliche Band. Our anguish-fraught bond.
Es suseln die Winde, Te zephyrs are sighing,
Es rhrt sich der Schier. Alert is the sailor.
Geschwinde! Geschwinde! Quick! nimbly be plying!
Es teilt sich die Welle, Te billows are riven,
Es naht sich die Ferne; Te distance approaches;
Schon seh ich das Land! Beyond, see the land!
Translation: Edward Alfred Bowring (1853)
poem as a solo song, a setting that mirrored the deadly calm in
music of such pared-back simplicity a melancholy chant-like
melody for the voice, and desperately slow, soft chords for the
piano that, for its time, must have seemed almost as eerie a
musical conception as Messiaens Prayer 120 years later.
Beethoven responded to the same text with music hardly less
odd. At the opening strings and voices share almost but not
quite the same music, a technique called heterophony, that
introduces slight variations between the almost mirror-smooth
melody line of the strings, and that of the voices, running
parallel, but articulated by the sung syllables. In this way,
Beethoven disposes of six of Goethes eight lines, in an almost
featureless hush, only then to break out violently in a single
blazing chord, before the music almost instantly closes back
in on itself.
It is not the sinister calm, but the expansive voyage that is the
real focus of Beethovens setting. Ushered in by the swirling
triplet scales of the winds (real and gurative), the hopeful
sailor is carried on what is it is literally a breath of fresh air
until nally brought in sight of the Land.
When he nally published the work in 1822, Beethoven
dedicated the score to Goethe. And perhaps to remind the
poet of their meeting with the imperial family at Tplitz in
1812, he also added an inscription at the head of the music
from Homers Odyssey (8: 479-81):
For above all mortals, singers claim the lions share
Of honour and respect, since the Muse has taught them
Her tales, and she cherishes their republic of song.
BEETHOVEN
Symphony No.9 in D minor Choral, Op.125
(Composed 1822-24)
On 7 May 1824, in answer to Beethovens request, most
of Viennas available leading musicians professional
and amateur gathered in the Krnthnerthor Teatre, to
premiere the Ninth Symphony. In a note he wrote that day,
Beethoven called it Fracktag Tails Day complaining,
petulantly, that he was, as usual, expected to dress up like a
court jester for his own show.
Profoundly deaf, he was long past being competent to
conduct, though he stood at the side of the leaders,
indicating the speed at which the theatres resident
conductor, Michael Umlauf should wave the baton, and
leader Ignaz Schuppanzigh wield his bow. At the end so
the contralto soloist Caroline Ungher later remembered
he was completely unaware when the applause started, a
fact that became so obvious to the audience that when she
tugged his sleeve to turn him around, it acted like an
electric shock on all present; and a volcanic explosion of
sympathy and admiration followed, which seemed as if it
would never end.
From eyewitness accounts of the premiere, and a repeat
performance two weeks later, it is di cult to say whether
the applause was for the work, or for the composer. Less
likely is that the performance drew much praise. Two full
rehearsals were insu cient to ensure that all the performers
held their parts in what was, anyway, the most di cult
piece of concerted music theyd ever encountered. Winds
and brass, in the hands of the crme of the imperial band
players, probably held together. But when the demands of
the music became too extreme, some rank-and-le violins
and chorus sopranos simply stopped playing and singing
completely.
Nevertheless, according to one review, the opening
Allegro came across as bold and deantingeniously put
together and worked out with truly athletic energy. Tere
is sustained suspense from the rst chord onward, growing
into the colossal theme that emerges out of it Twenty
years later, Richard Wagner, preparing for a performance
he conducted in Dresden, pictured it in clearly political
terms as a titanic struggle of an individual against the
veto of hostile powers, which range themselves between
us and earthly fullment. Sustaining the progress of
the movements large-scale, fteen-minute design, the
strategically placed returns of this opening idea are
underpinned by the almost ssile energy produced by the
sheer mass of scraping, blowing, and drumming activity.
Richard Tognetti
on interpreting
Beethoven
Sometime ago a lady was
overheard commenting after
hearing one of our Bach
Brandenburg concertos, that
she prefers her Bach slower.
She lives with her own traditions.
Dont we all?
I dont care at all for tradition,
said Pierre Boulez I like to
establish my own tradition!A
tradition is just an accumulation
of mannerisms andimitations.
The real approach is just to
take the score, a personal
relationship with it, and try to
give that to the audience.
In our attempt to perform
Beethovens Ninth Symphony
on instruments approximating
those from the composers
lifetime (possibly an Australian
rst), Id like to bring to your
attention some issues that vex
all keen interpreters and note
that our re-appraisal may cause
an unexpected bearing on the
way in which you react to your
Beethoven.
In the 3/4 presto that leads into
the fully born theme Ode to
Joy, played by the celli/bassi,
you are possibly used to hearing
the two nal notes (preceding
the theme) played with an
imperial ritardando, followed by
Continued P. 14
Never before, in the relatively self-contained sixty-year
history of the concert symphony, had sounds of such
sustained violence been imagined, let alone produced
by instruments. In his 1882 study of the Ninth, George
Grove, the English musical encyclopaedist and educator,
said something worth keeping in mind as the rest of the
symphony unfolds: despite the persuasive beauty of the
following two movements, and the indelibly melodious
nale, it is the music of the rst Allegro that remains the
generating essence of the work.
If Wagner saw individual will as the motivating force behind
rst movement, for the second he borrowed images from
Goethes Faust to picture the same individual taking time out
to indulge in a Bacchanalian riot of carnal pleasures; but as
Faust discovered, the gifts that the demon Mephistopheles
oers amount to nothing more than empty gratication, a
meaningless dance that spins endlessly on. While its motoric
force is certainly compulsive, there is no suggestion that
Beethoven thought of his Scherzo as mindless. Far from it;
its overowing energy is subject to his meticulous control
and channelling, not least when the predominant four-bar-
triple beat is suddenly jerked into three-bar periods.
Hector Berlioz, writing on the Adagio, found that it so little
observed the principle of unity that it might better be regarded
as two distinct pieces than as one. Te rst melody is in B at,
and in common four-in-a-bar time, and is succeeded by
another melody, absolutely dierent from it, in triple- time,
in D. Yet in the subsequent interweaving of this unlikely
pairing of ideas, Berlioz heard such sentiments of melancholy
tenderness, passionate sadness, and religious meditation
as to be beyond the capacity of mere words to describe.
Everyone in the rst Vienna audience in May 1824 must
have known that something extraordinary was about to take
place. Certainly, the London press intimated well in advance
of the British premiere a year later: In the last movement
is introduced a song! Schillers famous Ode to Joy which
forms a most extraordinary contrast with the whole, and
is calculated to excite surprise, certainly, and perhaps
admiration. But what nobody, then or later, has been able
to explain entirely satisfactorily, is why Beethoven took
the unprecedented decision of tting out an instrumental
symphony with a vocal nale.
Beethoven had toyed, for the past ve or six years, with
at least two distinct ideas for an instrumental symphony
with added chorus. In 1818 he made very preliminary
sketches for a symphony in ancient modes and on ancient
Greek religious themes that was to include both a choral
adagio, and a bacchanalian possibly choral nale (an
instrumental vestige of its spirit perhaps survives in the
a pause imposed for revelation
and grandeur. You may also be
used to hearing the stentorian
cello/bassi recitative played
in echt Wagnerian tradition
with majestic affectation. The
problem interpreters face is
that Beethoven doesnt indicate
these things in his meticulously
marked score, hence many
peoples personal relationships
with these passages are at odds
with the score:
There is no pause before
the Ode to Joy theme,
indeed the very syncopation
generates one of the emblems
of the motif, movement,
symphony, and ipso facto the
world (it is where the word
Al-le falls later on when
sung).
And contrary to the
traditional slow rubato tempo
of the recitative, Beethoven
writes that these passages
are to be played in tempo.
The indicated tempi of the
music, incontrovertibly given to
us by the composer and humbly
accepted by this interpreter, are
more than mere proposals of
playing speeds, but rather offer
us the structural proportions for
the whole symphony. Interpret
one tempo at your own pace and
run the risk of upsetting those
environmental scopes. The rst
movement is set at crotchet=88,
why argue? The initial notes are
A and E we dont have cause
to dispute those do we?
But for the conundrum of the
stringendo leading to the trio
with an erroneous marking, the
second movements metronome
marking should also be taken
without disagreement. For this
performance youre hearing
the proportion of dotted half
note becoming trio half note
as apprehended by Heinrich
Schenker and agreed as the
most acceptable solution by the
editor of this performing edition,
Jonathan Del Mar.
Ninths Scherzo). But by 1822, he was considering what he
called a German symphony, sketches for which already
involved a chorus singing Schillers To Joy, though set to an
entirely dierent tune.
Whether he had in mind two dierent choral symphonies,
or more likely two diverging schemes for one symphony,
remains uncertain. However, by 1824, one resulting
work had to full at least two purposes. In 1822, he had
accepted a commission for a new symphony from the
Philharmonic Society of London. Despite the commissions
clear understanding that it had been expressly composed
by Beethoven, with a view to London, his equally clear
preference for a premiere on home-ground took on
among his Austrian and German supporters a distinct
nationalistic tinge. Friends of German music were invited
to gather for the Vienna premiere to celebrate and oer
recognition to the national master, while France and
England will envy us the opportunity of paying personal
homage to Beethoven, who is acknowledged to be the
supreme master in the entire world.
To Adolph Bernhard Marx a music historian whose
later writings did more than any other to enshrine
Beethoven as supreme master, and Germany as the centre,
of the nineteenth-century European cult of music
Beethovens earlier symphonies seemed to be suggesting
that instrumental music was capable of an eloquence even
greater than that of words. Yet, from the nales opening
moments, Marx believed, Beethoven demonstrated that this
was not, nally, so:
He who had devoted his lifes purest and fullest power to
the world of instrumental soundsonce again summons
all his forces for the boldest and most gigantic eort. But
behold! the mystic, mythic life of unreal instrumental
voices no longer satises his aspirations, which draw him
irresistibly back toward the human voice and to the word.
As the orchestra introduces, in succession, brief ashbacks
to each of the rst three movements, the cellos and basses
attempt an unlikely recitative:
All these dreamy imaginings vanish, when the string
basses laboriously and painfully work themselves into an
ungainly imitation of human speech; and when they begin
to hum timidly the simple human tune and then hand it
over to the rest of the orchestra, we see that, after all,
the needs of mankind reach beyond the mysteries of the
enchanted world of instruments. And in the end Beethoven
nds no satisfaction but in the chorus of humanity itself.
So that, nally, as if despairing of instruments feeble eorts,
the solo baritone announces:
The other tempo issue which
relies upon the interpreters
personal relationship rather
than plain observance of the
score is in the alla marcia in
the last movement, which
has previously been taken
at a strangely considered
slow march due to another
specious metronome marking
(possibly due to a copyists
slip). This, however, appears
as nonsensical and is at odds
with the Allegro assai vivace
marking. Established by many
musicologists (Clive Brown,
J. Del Mar, etc.), the speedier
84 BPM to a bar makes most
sense and works well.
Id like to thank our wind, brass
and timpani players for providing
insight into the instruments you
will hear in this performance.
I praise these players
commitment and strongly
believe that these instruments
offer us the best sense of
balance and sonic textures that
serve to bring this re-appraisal
of Beethovens Symphony No.9
to life.
Beethovens late style
From around 1815 until his
death, Beethoven not only
produced musical works that
can safely be described as
late the Missa Solemnis
and Ninth Symphony the
largest among them but also
something much harder to
pin down, what some music
historians identify as a late
style, a mode of musical
communication that reects
an aging, deaf composers
increasing alienation from
mainstream society. In
Beethovens music, it is seen
as producing works that
juxtapose great complexity
with extreme simplicity
music that, like the composer
himself, is losing patience with
living in the half-light of the
middle-ground
Baritone recitative
O Freunde, nicht diese Tne! O friends! Not these sounds!
sondern lat uns angenehmere But let us join in more
anstimmen, pleasant
und freudenvollere. and more joyful sounds!
Freude! Joy!
Quartet and chorus
Freude, schner Gtterfunken, Joy, bright spark of the gods,
Tochter aus Elysium, Daughter of Elysium,
wir betreten feuertrunken, We enter, re-drunk,
Himmlische, dein Heiligtum! Heavenly One, your holy shrine!
Deine Zauber binden wieder, Your magic rebinds
was die Mode streng geteilt; where faction and custom
divided us;
alle Menschen werden Brder, all humanity become brothers
wo dein sanfter Flgel weilt. beneath your gentle wings.
Wem der groe Wurf Whoever has made the great
gelungen, attempt
eines Freundes Freund zu sein, to be a friend to a friend,
wer ein holdes Weib errungen, whoever has won a loving
heart,
mische seinen Jubel ein! they may share in this rejoicing,
Ja, wer auch nur eine Seele Even if you hold only one soul
sein nennt auf dem Erdenrund! your own on this wide earth!
Und wers nie gekonnt, But whoever never could:
der stehle shrink away
weinend sich aus diesem Bund. alone, weeping, from our joyful
band.
Freude trinken alle Wesen Joy, all creatures drink your
drafts
an den Brsten der Natur; from natures breast;
alle Guten, alle Bsen all good, and all bad people
folgen ihrer Rosenspur. alike have access to her rosy
delights.
Ksse gab sie uns und Reben, She gives us kisses, and wine,
einen Freund, geprft im a true friend, faithful to
Tod; death:
Wollust ward dem Wurm Pleasures given equally to the
gegeben, worm,
Und der Cherub steht vor and to the cherubim standing
Gott! before God!
Tenor solo and chorus (Allegro assai vivace)
Froh, wie seine Sonnen iegen Joyous, like suns ying
Durch des Himmels prchtgen round the heavens glorious
Plan, orbit,
laufet, Brder, eure Bahn, so brothers, run your own
course,
Schiller was 26 years old
when he wrote An die Freude
(Ode to Joy) in 1785, during a
summer vacation at Gohlis near
Leipzig. This idealistic
invocation was to become
for the next generation of
writers, philosophers, political
reformers, secularists, and
freemasons a rallying call to
the egalitarian cause of
universal brotherhood, whose
realisation it was hoped
would usher in an age of
enlightenment, not unlike
expectations in the 1960s of
a coming Age of Aquarius.
Schillers friend, amateur
composer Gottfried Krner
composed the rst of many
musical settings of the hymn,
and there is evidence that
Beethoven had written an
earlier setting of it as a solo
song around 1799. Schiller
excluded To Joy from an
1800 edition of his poems,
complaining that already
it had dated, and its simple
aspirations now seemed to
him politically nave. However,
after protests from friends,
he reinstated it in a later
edition.
Friedrich SCHILLER
(b. Wrtemburg 1759
d. Weimar, 1809)
Words by:
freudig, wie ein Held zum joyfully, as a hero to victory
Siegen.
Freude, schner Gtterfunken, Joy, bright spark of the gods,
Tochter aus Elysium Daughter of Elysium
Chorus (Andante maestoso)
Seid umschlungen Millionen. Be embraced, you millions!
Diesen Ku der ganzen Welt! Tis kiss is for the whole world!
Brder! berm Sternenzelt Brothers, above the starry
canopy
mu ein lieber Vater wohnen. there must dwell a loving
Father
(Adagio ma non troppo, ma divoto)
Ihr strzt nieder Millionen? Do you bow in worship,
O Millions?
Ahnest du den Schpfer, Do you know your Creator,
Welt? World?
Such ihn berm Sternenzelt! Seek him above the starry
rmament,
ber Sternen mu er wohnen. for above the stars must he
must dwell.
(Allegro energico)
Freude, schner Gtterfunken Joy, bright spark of the gods
Tochter aus Elysium Daughter of Elysium
ALL PROGRAM NOTES BY GRAEME SKINNER
2012
Beethoven performances in Australia
Beethovens Calm Sea and Prosperous Voyage was the
rst of his choral-and-orchestral works to be performed in
Australia. It was given its local premiere in March 1860 by
the Philharmonic Society of Melbourne. But it took the slowly
growing Australian musical community almost sixty years
before it was ready for the Ninth. As the Melbourne Argus
reported the morning after: The morning of Wednesday, the
27th December, 1882, at the Exhibition-building, will be for
ever memorable in Australia as having witnessed here the
rst representation in public of Beethovens Ninth or Choral
Symphony. We leave this performance with a mind oppressed
with the magnicence of the work astounded at the
genius of the composer with a feeling that to describe this
wonderful creation of musical genius would be impossible
RICHARD TOGNETTI AO
ARTISTIC DIRECTOR
AUSTRALIAN CHAMBER ORCHESTRA
Select Discography
As soloist:
BACH Sonatas for Violin and
Keyboard
ABC Classics 476 5942
2008 ARIA Award Winner
BACH Violin Concertos
BACH Solo Violin Sonatas and
Partitas
(All three releases available as
a 5CD Box set:
ABC Classics 476 6168)
Musica Surca (DVD)
Best Feature, New York Surf Film
Festival
As director:
VIVALDI Flute Concertos, Op.10
Emmanuel Pahud, Flute
EMI Classics 0946 3 47212 2 6
Grammy Nominee
PIAZZOLLA Song of the Angel
Chandos CHAN 10163
All available from aco.com.au/shop.
Australian violinist, conductor and composer, Richard Tognetti
has established an international reputation for his compelling
performances and artistic individualism. He studied at the
Sydney Conservatorium with Alice Waten, in his home town
of Wollongong with William Primrose, and at the Berne
Conservatory (Switzerland) with Igor Ozim, where he was
awarded the Tschumi Prize as the top graduate soloist in 1989.
Later that year he was appointed Leader of the Australian
Chamber Orchestra (ACO) and subsequently became Artistic
Director. He is also Artistic Director of the Maribor Festival
in Slovenia.
Tognetti performs on period, modern and electric instruments.
His numerous arrangements, compositions and transcriptions
have expanded the chamber orchestra repertoire and been
performed throughout the world.
As director or soloist, Tognetti has appeared with the Handel
& Haydn Society (Boston), Hong Kong Philharmonic, Camerata
Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra,
Orchestre Philharmonique du Luxembourg, Nordic Chamber
Orchestra, YouTube Symphony Orchestra and the Australian
symphony orchestras. He conducted Mozarts Mitridate for
the Sydney Festival and gave the Australian premiere of
Ligetis Violin Concerto with the Sydney Symphony.
Tognetti has collaborated with colleagues from across various
art forms and artistic styles, including Joseph Tawadros, Dawn
Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil
Finn, Tim Freedman, Bill Henson and Michael Leunig.
In 2003, Tognetti was co-composer of the score for Peter
Weirs Master and Commander: Te Far Side of the World;
violin tutor for its star, Russell Crowe; and can also be heard
performing on the award-winning soundtrack. In 2005,
he co-composed the soundtrack to Tom Carrolls surf lm
Horrorscopes and, in 2008, co-created Te Red Tree, inspired
by illustrator Shaun Tans book. He co-created and starred in
the 2008 documentary lm Musica Surca, which has won
best lm awards at surf lm festivals in the USA, Brazil, France
and South Africa.
As well as directing numerous recordings by the ACO,
Tognetti has recorded Bachs solo violin repertoire for ABC
Classics, winning three consecutive ARIA awards, and the
Dvok and Mozart Violin Concertos for BIS.
Richard Tognetti was appointed an O cer of the Order of
Australia in 2010. He holds honorary doctorates from three
Australian universities and was made a National Living
Treasure in 1999. He performs on a 1743 Guarneri del Ges
violin, lent 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)

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LUCY CROWE
SOPRANO
Lucy Crowe has established herself as one of the leading
lyric sopranos of her generation. Described as having a
voice of bell-like clarity with an impeccable vocal technique
and powerful stage presence she has since performed and
recorded with many of the worlds greatest conductors.
Lucys concert engagements include the Mozarts Requiem
with the Philadelphia Orchestra under Yannick Nzet-
Sguin, Haydns Die Schpfung and Die Jahreszeiten with
the Monteverdi Choir and Orchestra under John Eliot
Gardiner, Mozarts Exsultate jubilate under Sir Charles
Mackerras, Mendelssohns Elijah under Nzet-Sguin, and
Haydns Il ritorno di Tobia with the Orchestra of the Age of
Enlightenment under Roger Norrington.
In the 2010/11 season, Lucy made her US opera debut to
critical acclaim as Iole (Hercules) for the Chicago Lyric Opera.
She made her debut at the Royal Opera House, Covent Garden
as Belinda in Dido and Aeneas. Other operatic engagements
include the title role in Te Cunning Little Vixen for the
Glyndebourne Festival, Gilda (Rigoletto) for the Royal
Opera, Sophie (Der Rosenkavalier) for the Royal Opera, the
Bayerische Staatsoper, Munich, the Deutsche Oper Berlin
and Scottish Opera; Dorinda (Orlando) in Lille, Paris and
Dijon; Poppea (Agrippina) and Drusilla (Te Coronation of
Poppea) for ENO; and Te Fairy Queen with William Christie
for the Glyndebourne Festival and in Paris and New York.
Future engagements include European tours with the
Monteverdis under John Eliot Gardiner, and with the CBSO
under Andris Nelsons, Susanna at the Royal Opera House,
Gilda at the Deutsche Oper Berlin, and she will make her
debut at Te Metropolitan Opera, New York as Servilia in
La Clemenza di Tito.
FIONA CAMPBELL
MEZZO SOPRANO
Australian-born mezzo soprano Fiona Campbell is an
accomplished international performer, recitalist and
recording artist. Winner of the national Limelight Award
for Best Solo Performance 2011, with the ABO in their
Haunting Handel concert series, Vocal category winner of
the ABC Young Performer of the Year Award and the Opera
Awards, in the prestigious Australian Singing Competition,
Fiona has consistently received wide, critical acclaim for her
powerful performances and exquisite musicianship.
Fiona has appeared as a principal artist with the all the
major ensembles in Australia as well as overseas including
Brodsky Quartet, Tokyo Philharmonic, Glyndebourne
Festival Opera, Opera Australia, Pinchgut Opera, Australian

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Chamber Orchestra and Australian Brandenburg Orchestra,
to name a few. She has collaborated on directing a special
program with the Australian String Quartet with the
Queensland Festival, and appeared as a broadcaster with
ABC Classic FM.
Career highlights include singing several concerts with the
legendary tenor Jos Carreras in Japan and Korea and as
his special guest artist in Australia. Fiona has also been a
touring favourite with Barbara Bonney, making her debut
at Suntory Hall in Tokyo and Cadogan Hall in London with
renowned soprano.
Fiona has recorded many recitals with national broadcasts.
Her rst solo album Love & Loss was released in 2012 and
her discography includes Baroque Duets, which features
a world premiere recording of Handel (Vexations840),
Classic 100 Opera, Mozarts Idomeneo, Vivaldis Juditha
Triumphans, Early French Cantatas and Just Classics 2
(ABC Classics).
onacampbell.com.au
ALLAN CLAYTON
TENOR
Allan Clayton was a chorister at Worcester Cathedral
before attending St Johns College, Cambridge on a choral
scholarship, and then postgraduate studies at the Royal
Academy of Music. Allan was a BBC New Generation Artist
between 20072009, and was awarded a Borletti-Buitoni
Trust Fellowship in 2008.
Recent concert engagements have included appearances
with the New York Philharmonic, London Symphony
Orchestra, Handel and Haydn Society in Boston, Academy
of Ancient Music, numerous orchestras of the BBC, Te
Philharmonia (London), City of Birmingham Symphony
Orchestra, the Royal Liverpool Philharmonic, Te English
Concert and Britten Sinfonia, with conductors including
William Christie, Giandrea Noseda, Trevor Pinnock,
Richard Egarr, and Paul Kildea.
On stage, Allan has enjoyed critical praise for his Benedict
in Opera Comiques production of Batrice et Bndict,
for his Ferrando in the 2010 revival of Cos fan tutte for
Glyndebourne Festival and most recently for his Camille in
Opera Norths production of Te Merry Widow, as well as
appearances in Purcells King Arthur in France and Death in
Venice at the Royal Festival Hall in London. He performed
the roles of Lysander (A Midsummer Nights Dream) and
Castor (Castor) and Pollux for English National Opera in
2011. Most recently he performed in the world premiere
of George Benjamins new opera Written on Skin at the
Aix-en-Provence Festival.

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Allan has given recitals at the Cheltenham Music Festival,
the City of London Festival, Derry Song Festival, Aldeburgh
Festival, Perth International Arts Festival, Wigmore Hall,
St Johns Smith Square, Kettles Yard in Cambridge and
Cowdray Hall in Aberdeen, appearing with many pianists
including Paul Lewis, Graham Johnson, Simon Lepper and
James Baillieu.
His recordings include Handels Messiah for EMI, recorded
live from Kings College Cambridge, and a live recording of
Handels Joshua for the London Handel Society.
allanclayton.com
MATTHEW BROOK
BASS-BARITONE
Matthew Brook has appeared as a soloist throughout
Europe, Australia, North and South America and Asia,
working extensively with conductors such as Sir John Eliot
Gardiner, Richard Hickox, Sir Charles Mackerras, Harry
Christophers, Christophe Rousset, Paul McCreesh and
Sir Mark Elder, and many orchestras and groups including
the Philharmonia, London Symphony Orchestra, Royal
Philharmonic Orchestra, Freiburg Baroque Orchestra,
Orchestra of the Age of Enlightenment, English Baroque
Soloists, Gabrieli Consort & Players, Te Sixteen, Orchestre
National de Lille, Ensemble Orchestral de Paris, Orchestre
des Champs-lyses, Hall Orchestra, Melbourne Symphony
Orchestra, Tonhalle-Orchester, Zurich, Collegium Vocale
Gent, and the City of London Sinfonia.
Matthews recordings include Counsel in Trial By Jury and
Friar Tuck in Sullivans Ivanhoe with the BBC National
Orchestra of Wales (Chandos Records); a Gramophone
Award-winning recording of Handels original Dublin score
of Messiah, Bachs St Matthew Passion and B Minor Mass,
and Handels Acis and Galatea, all with the Dunedin Consort
(Linn Records); and Il Re di Scozia in Handels Ariodante
with Il Complesso Barocco and Joyce DiDonato in the title
role (EMI/Virgin).
Engagements in 2011/12 include Araspe in Handels Tolomeo
and Il Re di Scozia in Ariodante with Il Complesso Barocco
and Alan Curtis; Seneca in Lincoronazione di Poppea at the
Maggio Musicale Fiorentino; Kouno in Der Freischtz at the
Opra Comique and at the BBC Proms; Joseph in Berliozs
Lenfance du Christ for the Ensemble Orchestral de Paris;
Zuniga in Carmen at Le Grand Ttre de Luxembourg;
and Waltons Belshazzars Feast with the Orches tre
Philharmonique de Strasbourg.

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CHOIR OF CLARE COLLEGE,
CAMBRIDGE
GRAHAM ROSS, DIRECTOR OF MUSIC
Since the founding of a mixed voice choir in 1971, the Choir
of Clare College has gained an international reputation as
one of the leading university choral groups in the world.
In addition to its primary function of leading services three
times a week in the College chapel, the Choir keeps an
active schedule recording, broadcasting, and performing
throughout the United Kingdomand the world. Te Choir
has been fortunate to have had four very ne directors: Peter
Dennison; John Rutter; Timothy Brown; and since 2010,
Graham Ross.
Te Choir has toured widely, including in the United States
of America, Japan, China, Russia, the Middle East and
throughout Europe. In 2000 it became the rst Oxbridge
mixed voice choir to perform at the BBC Proms, singing
Bachs St John Passion.
In addition to live performances, the Choir has produced
an impressive catalogue of recordings. Illumina, an
exploration of the theme of light, was runner-up for a
Gramophone Award, earning such comments as breath-
taking panache, the most fervent rendering I have ever
heard of Rachmaninovs Nunc Dimittis, and one of the most
accomplished choral discs of the year. Te Choirs recording
of John Rutters Requiem was awarded Editors Choice by
Gramophone, CD of the week on Classic FM, gave Naxos
its rst No.1 in the classical charts, and was nominated for
a Classical BRIT Award. A recording of music by Vaughan
Williams, Sacred Choral Music, was hailed as exceptional
by BBC Music Magazine and was acclaimed for its sweeping
energy and rich detail by Classic FM. In 2011 the Choir
began an ongoing relationship with the Harmonia Mundi
label, with a recording of Imogen Holsts choral works due for
release in 2012.
clarecollege.com
GRAHAM ROSS
DIRECTOR
Graham Ross is Director of Music and Fellow of Clare
College, Cambridge, and Principal Conductor of Te Dmitri
Ensemble. Responsible for all practical music-making in
Clare College, he builds on and seeks to enhance
the continued excellence of musicianship of Clares
instrumentalists, composers, conductors, and the Chapel
Choir. He continues to broaden the liturgical repertoire
by commissioning new music, and to develop the Choirs
schedule of concerts, broadcasts and international tours.

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A graduate of Clare College, Cambridge and the Royal
College of Music, London, he held a conducting scholarship
with the London Symphony Chorus, and has served as
Chorus Master for Sir Colin Davies, Ivor Bolton and
Edward Gardner. He guest conducts widely, with recent
projects in the UK at English National Opera, BBC Proms,
Glyndebourne, and Aldeburgh, and abroad in Palestine,
Nigeria, Russia, the US and throughout Europe. He holds a
special relationship with Aalborg Symfoniorkester, Denmark,
where he has appeared many times as guest conductor.
A composer and conductor of a wide range of repertoire,
he has given numerous rst performances as both a pianist
and conductor of a very broad spectrum of composers.
He has conducted acclaimed premiere recordings of works
by James MacMillan, Judith Bingham and Giles Swayne
(all for Naxos) and discs of previously-unrecorded works
by Vaughan Williams (Albion Records) and Imogen Holst
(Harmonia Mundi).
Performances of his works have been given in the UK by,
among others, Aurora Orchestra, BBC Concert Orchestra,
City of London Sinfonia, National Youth Choir of Great
Britain and Solstice Quartet. He has arranged numerous
works for the Australian Chamber Orchestra, including
a full program with comedian Barry Humphries, and he
is delighted to bring the Choir of Clare College to tour
Australia with this orchestra.
grahamross.com
Sopranos
Clara Betts-Dean
Rachael Darlinson
Gabrielle Haigh
Sophie Horrocks
Helen Lilley
Maud Millar
Lois Salem
Madeleine Seale
Hermione
Tompson
Anna Wagner
Altos
Janneke Dupre
Oliver El-Holiby
Abigail Gostick
Eva Smith Leggatt
Hlose Werner
Tenors
Peter Harrison
Philip Kennedy
Stefan Kennedy
Christopher Loyn
Alexander Peter
Sapumal Jaliya
Senanayake
Basses
William Cole
Nicolas Haigh
Nicholas Mogg
Magnus Maharg
Jack Lawrence-
Jones
Charles Littlewood
Hugo Popplewell
Dominic Sedgwick
Nicholas Mogg Choir Administrator
CHOIR OF CLARE COLLEGE, CAMBRIDGE
Graham Ross, Director of Music
MUSICIANS ON STAGE Photos: Paul Henderson-Kelly, Helen White
Players dressed by
AKIRA ISOGAWA
Richard Tognetti plays a 1743 Guarneri del Ges violin kindly on loan from an anonymous Australian private
benefactor.
*
Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.
Satu Vnsk plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.
# Julian Tompson plays a 1721 Giuseppe Guarneri lius Andr cello kindly on loan from the Australia
Council.
RICHARD TOGNETTI AO
Artistic Director
Chair sponsored by Michael Ball AM &
Daria Ball, Joan Clemenger, Wendy Edwards,
and Prudence MacLeod
SATU VNSK
Principal Violin
Violin
Chair sponsored by Robert & Kay Bryan
HELENA RATHBONE*
Principal Violin
Chair sponsored by Hunter Hall Investment
Management Limited
MADELEINE BOUD
Violin
Chair sponsored by Terry Campbell AO &
Christine Campbell
ALICE EVANS
Violin
Chair sponsored by Jan Bowen, Te Davies &
Te Sandgropers
REBECCA CHAN
Violin
Chair sponsored by Ian Wallace &
Kay Freedman
AIKO GOTO
Violin
Chair sponsored by Andrew & Hiroko
Gwinnett
ILYA ISAKOVICH
Violin
Chair sponsored by Australian Communities
Foundation Connie & Craig Kimberley Fund
MARK INGWERSEN
Violin
Chair sponsored by Runge
MUSICIANS ON STAGE Photos: Paul Henderson-Kelly, Helen White
Violins
CAMERON HILL
HOLLY PICCOLI
SHARON ROFFMAN
KAREN SEGAL
1
RACHEL SMITH
CLAIRE STERLING
INKERI VNSK
Violas
THOMAS CHAWNER
CERIDWEN DAVIES
STEFANIE FARRANDS
STUART JOHNSON
7

Cellos
ROBIN MICHAEL
Guest Principal
LEAH LYNN
7
EVE SILVER
8
Basses
ERIC CHAPPELL
4
STEVEN LARSON
7
Flutes
GEORGES BARTHEL
MANUEL GRANATIERO
Piccolo
LAMORNA NIGHTINGALE
Oboes
MARK BAIGENT
BELINDA PAUL
Clarinets
CRAIG HILL
3
ASHLEY SUTHERLAND
Bassoons
PETER WHELAN
5
JULIEN DEBORDES
Contrabassoon
KARL NIELER
Horns
ANNEKE SCOTT
JOSEPH WALTERS
JORGE RENTERIA CAMPOS
MARTIN LAWRENCE
Trumpets
RICHARD FOMISON
RICHARD THOMAS
Trombones
NIGEL CROCKER
ROS JORGENSON
Bass Trombone
BRETT PAGE
2
Timpani
BRIAN NIXON
Percussion
RICHARD GLEESON
JOHN DOUGLAS
DARYL PRATT
6
1
Courtesy of Amsterdam Sinfonietta
2
Courtesy of Australian Opera and Ballet
Orchestra
3
Courtesy of Melbourne Symphony Orchestra
4
Courtesy of Orchestra Symphonique de Montral
5
Courtesy of Scottish Chamber Orchestra
6
Courtesy of Sydney Conservatorium of Music
7
Courtesy of Sydney Symphony
8
Courtesy of West Australian Symphony Orchestra
MAXIME BIBEAU
Principal Bass
Chair sponsored by John Taberner &
Grant Lang
DANIEL YEADON
Cello
JULIAN THOMPSON
#
Cello
Chair sponsored by the Clayton Family
VERONIQUE SERRET
Violin
NICOLE DIVALL
Viola
Chair sponsored by Ian Lansdown
CHRISTOPHER MOORE
Principal Viola
Chair sponsored by Tony Shepherd
AUSTRALIAN CHAMBER
ORCHESTRA
ACO MUSICIANS
Richard Tognetti Artistic Director
and Lead Violin
Helena Rathbone Principal
2nd Violin
Satu Vnsk Assistant Leader
Madeleine Boud Violin
Rebecca Chan Violin
Alice Evans Violin
Aiko Goto Violin
Mark Ingwersen Violin
Ilya Isakovich Violin
Christopher Moore Principal
Viola
Nicole Divall Viola
Timo-Veikko Valve Principal
Cello
Melissa Barnard Cello
Julian Thompson Cello
Maxime Bibeau Principal
Double Bass
Part-time Musicians
Zo Black Violin
Veronique Serret Violin
Caroline Henbest Viola
Daniel Yeadon Cello
Australias national orchestra is a product of its countrys
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 unmatched by other
ensembles.
Te 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. Te ACOs unique artistic style encompasses not
only the masterworks of the classical repertoire, but innovative
cross-artform projects and a vigorous commissioning
program.
Under Richard Tognettis inspiring leadership, the ACO has
performed as a 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 ACOs principal musicians perform with
spectacularly ne instruments. Tognetti plays a 1743 Guarneri
del Ges violin, on loan to him from an anonymous Australian
benefactor. Principal Cello Timo-Veikko Valve plays on a 1729
Giuseppe Guarneri lius Andre cello, on loan from Peter
Weiss AM. Principal 2nd Violin Helena Rathbone plays a 1759
J.B. Guadagnini violin on loan from the Commonwealth Bank
Group. Assistant Leader Satu Vnsk plays a 1728/29
Stradivarius violin owned by the ACO Instrument Fund,
through which investors participate in the ownership of
historic instruments.
Fifty international tours have drawn outstanding reviews at
many of the worlds most prestigious concert halls, including
Amsterdams Concertgebouw, Londons Wigmore Hall, New
Yorks Carnegie Hall and Viennas Musikverein.
Te ACO has made acclaimed recordings for labels including
ABC Classics, Sony, Channel Classics, Hyperion, EMI and
Chandos 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 the complete set of Mozart Violin
Concertos. Te ACO appears in the television series Classical
Destinations II and the award-winning lm Musica Surca.
In 2005, the ACO inaugurated an ambitious national education
program, which includes outreach activities and mentoring
of outstanding young musicians, including the formation of
A
C
O
2
, an elite training orchestra which tours regional centres.
Te Australian Chamber Orchestra is assisted by
the Commonwealth Government through the
Australia Council, its arts funding and advisory body.
Te Australian Chamber Orchestra is supported
by the NSW Government through Arts NSW.
AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182
Australian Chamber Orchestra Pty Ltd is a not for prot 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 O ce: 1800 444 444 Email: aco@aco.com.au Website: aco.com.au
ACO 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 &
OPERATIONS
Luke Shaw
Head of Operations and
Artistic Planning
Alan J. Benson
Artistic Administrator
Erin McNamara
Tour Manager
Elissa Seed
Travel Coordinator
Jennifer Powell
Librarian
EDUCATION
Vicki Norton
Education and
Emerging Artists
Manager
Sarah Conolan
Education Assistant
FINANCE
Steve Davidson
Chief Financial O cer
Cathy Davey
Senior Accountant
Shyleja Paul
Assistant Accountant
DEVELOPMENT
Alexandra
Cameron-Fraser
Corporate Relations and
Public Aairs Manager
Tom Tansey
Events Manager
Tom Carrig
Senior Development
Executive
Lillian Armitage
Philanthropy Manager
Sally-Anne Biggins
Patrons Manager
Stephanie Ings
Investor Relations
Manager
Julia Glass
Development
Coordinator
MARKETING
Georgia Rivers
Marketing & Digital
Projects Manager
Rosie Rothery
Marketing Executive
Chris Gri th
Box O ce Manager
Ali Brosnan
Box O ce Assistant
Mary Stielow
Publicist
Dean Watson
Customer Relations
Manager
David Sheridan
O ce Administrator &
Marketing Assistant
INFORMATION
SYSTEMS
Ken McSwain
Systems & Technology
Manager
Emmanuel Espinas
Network Infrastructure
Engineer
ARCHIVES
John Harper
Archivist
ADMINISTRATION STAFF
Bill Best
Liz Cacciottolo
Chris Froggatt
Janet Holmes Court AC
Andrew Stevens
John Taberner
Peter Yates AM
BOARD
Guido Belgiorno-Nettis AM Chairman
Angus James Deputy Chairman
Richard Tognetti AO
Artistic Director
ACKNOWLEDGEMENTS
Te Australian Chamber Orchestra is assisted
by the Commonwealth Government through
the Australia Council, its arts funding and
advisory body.
Te Australian Chamber Orchestra is
supported by the NSW Government
through Arts NSW.
GOVERNMENT SUPPORT
VENUE SUPPORT
We are also indebted to the following organisations for their support:
QUEENSLAND PERFORMING ARTS CENTRE
PO Box 3567, South Bank, Queensland 4101
Tel: (07) 3840 7444
Chair Henry Smerdon AM
Deputy Chair 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 Marketing Leisa Bacon
Director Presenter Services Ross Cunningham
Director Development Jacquelyn Malouf
Director Corporate Services Kieron Roost
Director Patron Services Tony Smith
ACKNOWLEDGMENT
Te Queensland Performing Arts Trust is a
Statutory Authority of the State of Queensland and is
partially funded by the Queensland Government
Te Honourable Rachel Nolan MP
Minister for Finance, Natural Resouyrces and Te Arts
Director-General, Department of the Premier and Cabinet
John Bradley
Deputy Director-General, Arts Queensland
Leigh Tabrett PSM
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.
LLEWELLYN HALL
School of Music
Australian National University
William Herbert Place (o Childers Street)
Acton, Canberra
VENUE HIRE INFORMATION
Phone: +61 2 6125 2527 Fax: +61 2 6248 5288
Email: music.venues@anu.edu.au
AEG OGDEN (PERTH) PTY LTD
PERTH CONCERT HALL
General Manager Andrew Bolt
Deputy General Manager Helen Stewart
Technical Manager Peter Robins
Event Coordinator Penelope Bria
Perth Concert Hall is managed by
AEG Ogden (Perth) Pty Ltd
Venue Manager for the
Perth Teatre Trust Venues.
AEG OGDEN (PERTH) PTY LTD
Chief Executive Rodney M Phillips
THE PERTH THEATRE TRUST
Chairman Dr Saliba Sassine
St Georges Terrace, Perth
PO Box Y3056, East St Georges Terrace,
Perth WA 6832
Telephone: 08 9231 9900
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A City of Sydney Venue
Clover Moore Lord Mayor
Managed by
PEGASUS VENUE MANAGEMENT (AP)
PTY LTD
Christopher Rix Founder
Bronwyn Edinger General Manager
CITY RECITAL HALL ANGEL PLACE
2 12 Angel Place, Sydney, Australia
GPO Box 3339, Sydney, NSW 2001
Administration 02 9231 9000
Box O ce 02 8256 2222 or 1300 797 118
Facsimile 02 9233 6652
Website www.cityrecitalhall.com
VENUE SUPPORT
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams am
(Chair)
Ms Catherine Brenner
Ms Helen Coonan
Mr Wesley Enoch
Ms Renata Kaldor ao
Mr Robert Leece am rfd
Mr Peter Mason am
Dr Tomas (Tom) Parry am
Mr Leo Schoeld am
Mr John Symond am
EXECUTIVE MANAGEMENT
Acting Chief Executive O cer Jonathan Bielski
Director, Teatre & Events David Claringbold
Director, Marketing, Communications & Customer Services
Victoria Doidge
Director, Building Development & Maintenance
Greg McTaggart
Director, Venue Partners & Safety Julia Pucci
Chief Financial O cer Claire Spencer

SYDNEY OPERA HOUSE
Bennelong Point
GPO Box 4274, Sydney NSW 2001
Administration: 02 9250 7111
Box O ce: 02 9250 7777
Facsimile: 02 9250 7666
Website: sydneyoperahouse.com
ACO MEDICI PROGRAM
In the time-honoured fashion of the great Medici family, the ACOs 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 Vnsk
Assistant Leader
Robert & Kay Bryan
Christopher Moore
Principal Viola
Tony Shepherd AO
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
Te Davies
Te Sandgropers
Ilya Isakovich Violin
Australian Communities
Foundation Connie &
Craig Kimberley Fund
Madeleine Boud Violin
Terry Campbell AO &
Christine Campbell
Rebecca Chan Violin
Ian Wallace & Kay
Freedman
Nicole Divall Viola
Ian Lansdown
Viola Chair
Philip Bacon AM
Melissa Barnard Cello
Te Bruce & Joy Reid
Foundation
Julian Tompson Cello
Te Clayton Family
GUEST CHAIRS FRIENDS OF MEDICI
Brian Nixon Principal Timpani Mr R. Bruce Corlett AM &
Mr Robert Albert AO & Mrs Libby Albert Mrs Ann Corlett
Te ACO would like to pay tribute to the following donors who supported our highly successful
2011 European Tour.
2011 EUROPEAN TOUR PATRONS
Graeme & Jing Aarons
Samantha Allen
John & Philippa Armeld
Steven Bardy
Isla Baring
Linda & Graeme Beveridge
BG Group
Paul Borrud
Ben & Debbie Brady
Kay Bryan
Massel Group
Terry Campbell AO &
Christine Campbell
Jenny & Stephen Charles
Te Clayton Family
Penny Clive & Bruce Neill
John Coles
Commonwealth Bank
Robin DAlessandro &
Noel Philp
Jennifer Dunstan
Bridget Faye AM
Ann Gamble Myer
Rhyll Gardner
Alan & Joanna Gemes
Tony Gill
Global Switch Limited
Andrew & Hiroko Gwinnett
Peter Henshaw &
Fargana Karimova
Peter & Sandra Hofbauer
Janet L
Holmes Court AC
Catherine
Holmes Court-Mather
Brendan & Bee Hopkins
P J Jopling QC
Lady Kleinwort
Wayne Kratzmann
Prudence MacLeod
Bill Merrick
P J Miller
Jan Minchin
Justin Raoul Mo tt
Alf Moufarrige
Louise & Martyn Myer
Foundation
Sir Douglas Myers
Marianna & Tony OSullivan
peckvonhartel architects
Diana Polkinghorne
Rio Tinto Limited
Gregory Stolo & Sue Lloyd
David Stone
Andrew Strauss
Tim & Sandie Summers
John Taberner &
Grant Lang
Patricia Tomas OBE
Beverley Trivett
Loretta van Merwyk
Malcolm Watkins
Michael Welch
Wesfarmers Limited
Gillian Woodhouse
Ms Di Yeldham
Anonymous (3)
NISEKO PATRONS
Ann Gamble Myer
Foundation
Peter Yates AM & Susan
Yates
NISEKO
SUPPORTERS
A J Abercrombie
Warwick Anderson
Breeze Family
Tim Burke
Simone Carson
Suzy Crittenden
Cathryn & Andrew
Darbyshire AM
Phil & Rosie Harkness
Louise & Bill Henson
Simon & Katrina
Holmes Court
Family Trust
Lorna Inman
Robert Johanson & Anne
Swann
Linda Keyte
Richard & Lizzie Leder
Naomi Milgrom
Clarke & Leanne Morgan
Andrew Myer
James & Catriona Pettit
Jill Reichstein
Schiavello
Peter Scott
John & Nicky Stokes
Oliver Yates
Dr Mark & Mrs Anna
Yates
NISEKO SUPPORTERS
Te ACO would like to pay tribute to the following donors who are supporting our continued
involvement with the Niseko Winter Music Festival.
ACO INSTRUMENT FUND
Te ACO has established its Instrument Fund to oer patrons and investors the opportunity to
participate in the ownership of a bank of historic stringed instruments. Te Funds rst asset is
Australias only Stradivarius violin, now on loan to Satu Vnsk, Principal Violin of the Orchestra.
Te ACO pays tribute to its Founding Patrons of the Fund.
VISIONARY
$1m+
Peter Weiss AM
LEADER
$500,000$999,999
CONCERTO
$200,000$499,000
Naomi Milgrom AO
OCTET
$100,000$199,000
Amina Belgiorno-Nettis
QUARTET
$50,000$99,000
John Leece OAM & Anne Leece
SONATA
$25,000$49,999
ENSEMBLE
$10,000$24,999
Leslie & Ginny Green
SOLO
$5,000 $9,999
PATRONS
$500 $4,999
June & Jim Armitage
Angela Roberts
PETER WEISS AM, PATRON
FOUNDING PATRONS
Guido & Michelle
Belgiorno-Nettis
Bill Best
Benjamin Brady
Steven Duchen
Brendan Hopkins
John Taberner
Ian Wallace & Kay
Freedman
FOUNDING INVESTORS
Edmund & Joanna Capon
Mr R. Bruce Corlett AM &
Mrs Ann Corlett
Leslie & Ginny Green
Katrina Groshinski
Angela Isles
Ian Lansdown in memory of
Nina Lansdown
Mr Anthony & Mrs Sharon Lee
Bernard & Barbara Leser
Ross Steele AM
Victoria Taylor
Evan Williams
ACO RECORDINGS PROGRAM MENDELSSOHN
Te ACO pays tribute to our generous donors who have supported the ACOs 2012 recording
of glorious music by Mendelssohn his Double Concerto for Violin, Piano and Orchestra
featuring Richard Tognetti and renowned Russian pianist, Polina Leschenko; and his renowned
Octet Op.20. Te ACOs recording program preserves the essence of the ACO as it is today
and allows people to hear the ACO again and again, for many years to come.
ACO SPECIAL COMMISSIONS
Te ACO pays tribute to our generous donors who have provided visionary support of the
creative arts by collaborating with the ACO to commission new works in 2011 and 2012.
QINOTH by Paul Stanhope
Steven Alward & Mark Wakely
Ian Andrews & Jane Hall
Janie & Michael Austin
Austin Bell & Andrew Carter
T Cavanagh & J Gardner
Chin Moody Family
Anne Coombs & Susan Varga
Greg Dickson
John Gaden AM
Cathy Gray
Brian Kelleher
Penny Le Couteur
Scott Marinchek & David Wynne
Kate Mills
Janne Ryan
Barbara Schmidt & Peter Cudlipp
Jane Smith
Richard Steele
Peter Weiss AM
Cameron Williams
Anonymous (1)
THE REEF
Jane Albert
Steven Alward & Mark Wakely
Ian Andrews & Jane Hall
Janie & Michael Austin
T Cavanagh & J Gardner
Anne Coombs & Susan Varga
Amy Denmeade
Toni Frecker
John Gaden AM
Cathy Gray
Susan Johnston & Pauline Garde
Brian Kelleher
Andrew Leece
Scott Marinchek & David Wynne
Kate Mills & Sally Breen
Martin Portus
Janne Ryan
Barbara Schmidt & Peter Cudlipp
Richard Steele
Stephen Wells & Mischa Way
LEAD PATRONS
Tony & Michelle Grist
PATRONS
Euroz Charitable Foundation
Don & Marie Forrest
Tony & Rose Packer
Nick & Claire Poll
Gavin & Kate Ryan
Jon & Caro Stewart
Simon & Jenny Yeo
OTHER COMMISSIONS
Jan Minchin
Robert & Nancy Pallin
SPECIAL COMMISSIONS PATRONS
Dr Margot Woods Anonymous (1)
V Graham
ACO DONATIONS PROGRAM
HOLMES COURT FAMILY FOUNDATION THE ROSS TRUST
THE NEILSON FOUNDATION
TRUSTS AND FOUNDATIONS
EMERGING ARTISTS
& EDUCATION
PATRONS $10,000+
Mr Robert Albert AO &
Mrs Libby Albert
Daria & Michael Ball
Steven Bardy
Guido & Michelle
Belgiorno-Nettis
Liz Cacciottolo & Walter
Lewin
John & Janet Calvert-Jones
Darin Cooper Family
John B Fairfax AO
Chris & Tony Froggatt
Australian Communities
Foundation Ballandry
(Peter Gri n Family) Fund
PJ Jopling QC
Miss Nancy Kimpton
Paula Kinnane
Je Mitchell
Alf Moufarrige
John Taberner & Grant Lang
Te Hon Malcolm Turnbull
MP & Ms Lucy Turnbull AO
Peter Weiss AM
E Xipell
Anonymous (1)
DIRETTORE
$5,000$9,999
Te Abercrombie Family
Foundation
Geo Alder
Te Belalberi Foundation
Jenny & Stephen Charles
Ross & Rona Clarke
Leith & Darrel Conybeare
Bridget Faye AM
Ian & Caroline Frazer
Edward C Gray
Annie Hawker
Rosemary Holden
Keith Kerridge
Wayne N Kratzmann
Lorraine Logan
David Maloney & Erin
Flaherty
Hon Dr Kemeri Murray AO
Foundation
Marianna & Tony OSullivan
Sandra & Michael Paul
Endowment
John Rickard
Te Roberts Family
A J Rogers
Paul Salteri
Paul Scho
Ian Wallace & Kay Freedman
Ian Wilcox & Mary
Kostakidis
Cameron Williams
Anonymous (1)
MAESTRO
$2,500$4,999
Michael Ahrens
Jane Allen
Tiany Andrews
Will & Dorothy Bailey
Bequest
Doug & Alison Battersby
Virginia Berger
Patricia Blau
Cam & Helen Carter
Jon Clark & Lynne Springer
Caroline & Robert Clemente
M Crittenden
John & Gloria Darroch
Kate Dixon
Leigh Emmett
Rhyll Gardner
Liangrove Foundation
Goode Family
Maurice & Tina Green
Warren Green
Philip Gri ths Architects
Nereda Hanlon & Michael
Hanlon AM
Liz Harbison
Lindi & John Hopkins
Angela James & Phil
McMaster
David & Megan Laidlaw
Peter Lovell
Alastair Lucas AM
Te Marshall Family
Jan McDonald
Te Michael Family
P J Miller
Donald & Jane Morley
Jennie & Ivor Orchard
S & B Penfold
Patricia H Reid Endowment
Pty Ltd
Ralph & Ruth Renard
D N Sanders
Greg Shalit & Miriam Faine
Petrina Slaytor
Amanda Staord
Kerry Stokes AC & Christine
Simpson
Tom Tawley
Dr & Mrs R Tinning
Laurie Walker
Ralph Ward-Ambler AM &
Barbara Ward-Ambler
Karen & Geo Wilson
Janie & Nev Wittey
Anonymous (2)
VIRTUOSO
$1,000$2,499
Annette Adair
Antoinette Albert
David & Rae Allen
Andrew Andersons
David Arnott
Sibilla Baer
Te Beeren Foundation
Ruth Bell
Victoria Beresin
Kathy Borrud
Ben & Debbie Brady
Vicki Brooke
In memory of Elizabeth C
Schweig
Jasmine Brunner
Sally Buf
Neil Burley & Jane Munro
G Byrne & D OSullivan
Elizabeth & Nicholas
Callinan
J & M Cameron
Michael Cameron
Cannings Communication
Sandra Cassell
Ann Cebon-Glass
Georg & Monika Chmiel
Angela & John Compton
Alan Fraser Cooper
Judy Croll
Betty Crouchley
Diana & Ian Curtis
Marie Dalziel
Lindee & Hamish Dalziell
Mrs June Danks
Michael & Wendy Davis
Anne & Tomas Dowling
Jennifer Dowling
Professor Dexter Dunphy AM
Anne-Maree Englund
Bronwyn Eslick
Peter Evans
Julie Ewington
Helen Elizabeth Fairfax
Elizabeth Finnegan
Nancy & Graham Fox
Joanne Frederiksen & Paul
Lindwall
Colonel Tim Frost
Anne & Justin Gardener
Daniel & Helen Gauchat
Colin Golvan SC
Richard & Jay Gri n
PATRONS NATIONAL EDUCATION PROGRAM
Marc Besen AO & Eva Besen AO
Te ACO pays tribute to all of our generous foundations and donors who have contributed
to our Emerging Artists and Education Programs, which focus on the development of young
Australian musicians. Tese 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.
ACO DONATIONS PROGRAM
Paul Harris
Lyndsey Hawkins
Peter Hearl
Reg Hobbs & Louise
Carbines
Michael Horsburgh AM &
Beverley Horsburgh
Penelope Hughes
Wendy Hughes
Pam & Bill Hughes
Roger Massy-Greene &
Belinda Hutchinson AM
Phillip Isaacs OAM
D & I Kallinikos
Len La Flamme
John Landers & Linda
Sweeny
Mrs Judy Lee
Greg Lindsay AO & Jenny
Lindsay
Sydney & Airdrie Lloyd
Bronwyn & Andrew
Lumsden
Judy Lynch
Jennifer Marshall
Martin Family in memory of
Lloyd Martin AM
Roderick & Leonie Matheson
Jane Mathews AO
Kevin & Deidre McCann
Brian & Helen McFadyen
Ian & Pam McGaw
J A McKernan
Mrs Helen Meddings
G & A Nelson
Nola Nettheim
Glen Hunter & Anthony
Niardone
Anne & Christopher Page
peckvonhartel architects
David Penington AC
Ayesha Penman
Mark Renehan
Dr S M Richards AM &
Mrs M R Richards
Warwick & Jeanette
Richmond In Memory of
Andrew Richmond
David & Gillian Ritchie
Em Prof A W Roberts AM
Julia Champtaloup &
Andrew Rothery
In Memory of H. St. P. Scarlett
Paul Skamvougeras
Diana Snape & Brian
Snape AM
Maria Sola & Malcolm
Douglas
Ezekiel Solomon AM
K W Spence
Cisca Spencer
Peter & Johanna Stirling
Benson
Georey Stirton
Mr Tom Story
John & Jo Strutt
Dr Douglas Sturkey CVO AM
Dr Charles Su & Dr Emily Lo
Rob Tomas
Anne Tonkin
Colin & Joanne Trumble
Ngaire Turner
Loretta van Merwyk
Kay Vernon
Bill Watson
M W Wells
Sir Robert Woods
Nick & Jo Wormald
Anna & Mark Yates
Don & Mary Ann Yeats
Mark Young
William Yuille
Anonymous (19)
CONCERTINO
$500$999
Antoinette Ackermann
Mrs Lenore Adamson
in memory of Mr Ross
Adamson
Peter & Catherine Aird
Elsa Atkin
Jeremy Ian Barth
Max Benyon
Baiba Berzins
Brian Bothwell
Denise Braggett
Diana Brookes
Morena Buon & Santo
Cilauro
Darcey Bussell
Fred & Jody Chaney
Colleen & Michael
Chesterman
Stephen Chivers
John Clayton
ClearFresh Water
Joan Clemenger
Sam Crawford Architects
Professor John Daley
Ted & Christine Dauber
Mari Davis
Dr Christopher Dibden
Martin Dolan
Mike & Pamela Downey
In Memory of Raymond
Dudley
Professor Peter Ebeling &
Mr Gary Plover
M T & R L Elford
Suellen Enestrom
Barbara Fargher
Michael Fogarty
Patricia Gavaghan
Mirek Generowicz
Peter & Valerie Gerrand
Paul Gibson & Gabrielle
Curtin
Brian Goddard
Prof Ian & Dr Ruth Gough
Philip Graham
Katrina Groshinski
Matthew Handbury
Lesley Harland
Mr Ken Hawkings
Virginia Henry
Dr Penny Herbert
in memory of
Dunstan Herbert
M John Higgins & Jodie
Maunder
Peter & Ann Hollingworth
Dr & Mrs Michael Hunter
John & Pamela Hutchinson
Stephanie & Michael
Hutchinson
Philip & Sheila Jacobson
Deborah James
Brian Jones
Caroline Jones
Angela Karpin
Bruce & Natalie Kellett
Tony Kynaston & Jenny Fagg
Robert Leece AM
Megan Lowe
John Lui
Donald C Maxwell
Philip Maxwell & Jane Tam
Dr Hamish & Mrs Rosemary
McGlashan
Patricia McGregor
Mrs Robyn McLay
I Merrick
Jan Minchin
John Mitchell & Carol Farlow
Graeme L Morgan
Julie Moses
Helen & Gerald Moylan
Susan Negrau
J Norman
Graham North
Robin O er
Allegra & Giselle Overton
Selwyn M Owen
Josephine Paech
L Parsonage
Deborah Pearson
Kevin Phillips
Michael Power
Tomasz Rawdanowicz
Larry & Mickey Robertson
Sophie Rothery
Team Schmoopy
Manfred & Linda Salamon
Greg & Elizabeth Sanderson
Robert Savage AM
Garry Scarf & Morgie Blaxill
Je Schwartz
Ken & Lucille Seale
Jennifer Sindel
John Sydney Smith
Dr Fiona Stewart
Prof Robert Sutherland
Shaun Tan
Master William Taylor
Leslie C Tiess
Joy Anderson & Neil
Tomas
David Walsh
John & Pat Webb
G C & R Weir
Gordon & Christine
Windeyer
Mr Hugh Wyndham
Anonymous (29)
CONTINUO
CIRCLE BEQUEST
PROGRAM
Te late Kerstin Lillemor
Andersen
Dave Beswick
Ruth Bell
Sandra Cassell
Te late Mrs Moya Crane
Mrs Sandra Dent
Leigh Emmett
Te late Colin Enderby
Peter Evans
Carol Farlow
Ms Charlene France
Suzanne Gleeson
Lachie Hill
Penelope Hughes
Te late
Mr Geo Lee AM OAM
Mrs Judy Lee
Te late Richard Ponder
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 Lillian.Armitage@aco.com.au.
ACO CAPITAL CHALLENGE
Te ACO Capital Challenge is a secure fund, which permanently strengthens the ACOs
future. Revenue generated by the corpus provides funds to commission new works, expose
international audiences to the ACOs 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 $499,000
Mr Guido
Belgiorno-Nettis AM
& Mrs Michelle
Belgiorno-Nettis
Mrs Barbara Blackman
OCTET
$100,000 $249,000
Mrs Libby Albert
Mrs Amina
Belgiorno-Nettis
Te Tomas Foundation
QUARTET
$50,000 $99,000
Te Clayton Family
Mr Peter Hall
Mr & Mrs Philip &
Fiona Latham

Mr John Taberner &
Mr Grant Lang
Mr Peter Yates AM &
Mrs Susan Yates
ACO INSTRUMENT FUND BOARD MEMBERS
Bill Best (Chairman)
Jessica Block
John Leece OAM
John Taberner
ACO COMMITTEES
Bill Best (Chairman)
Guido Belgiorno-Nettis AM
Chairman ACO &
Executive Director
Transeld Holdings
Leigh Birtles
Executive Director
UBS Wealth Management
SYDNEY DEVELOPMENT COMMITTEE
Liz Cacciottolo
Senior Advisor
UBS Australia
Ian Davis
Managing Director
Telstra Television
Chris Froggatt
Tony Gill
Rhyll Gardner
Tony OSullivan
Managing Partner
OSullivan Partners
Peter Shorthouse
Client Advisor
UBS Wealth
Management
John Taberner
Consultant
Freehills
Peter Yates AM
(Chairman)
Chairman Royal
Institution of Australia
Director AIAA Ltd
MELBOURNE DEVELOPMENT COUNCIL
Debbie Brady
Ben Brady
Stephen Charles
Paul Cochrane
Investment Advisor
Bell Potter Securities
Colin Golvan SC
Jan Minchin
Director
Tolarno Galleries
Susan Negrau
EVENT COMMITTEES
Bowral
Elsa Atkin
Michael Ball AM (Chairman)
Daria Ball
Cam Carter
Linda Hopkins
Judy Lynch
Karen Mewes
Keith Mewes
Tony OSullivan
Marianna OSullivan
Te Hon Michael Yabsley
Brisbane
Ross Clarke
Ste Harbert
Elaine Millar
Deborah Quinn
Sydney
Helene Burt
Liz Cacciottolo (Chair)
Judy Crawford
Dr Dee Debruyn
Di Collins
Judy Anne Edwards
Chris Froggatt
Elizabeth Harbison
Susan Harte
Bee Hopkins
Sarah Jenkins

Vanessa Jenkins
Charlotte Mackenzie
Prue MacLeod
Julianne Maxwell
Marianna OSullivan
Julia Pincus
Amanda Purcell
David Stewart
Tom Tawley
Nicky Tindill
ACO PARTNERS
2012 CHAIRMANS COUNCIL MEMBERS
Te Chairmans Council is a limited membership association of
high level executives who support the ACOs international touring
program and enjoy private events in the company of Richard Tognetti and the Orchestra.
Mr Guido
Belgiorno-Nettis AM
Chairman
Australian Chamber
Orchestra &
Executive Director
Transeld Holdings
Mr Philip Bacon AM
Director
Philip Bacon Galleries
Mr David Basky AO
Mr Brad Banducci
Director
Woolworths Liquor
Group
Mr Je Bond
General Manager
Peter Lehmann Wines
Mr Michael &
Mrs Helen Carapiet
Mr Stephen &
Mrs Jenny Charles
Mr & Mrs Robin
Crawford
Rowena Danziger AM
& Kenneth G. Coles AM
Dr Bob Every
Chairman
Wesfarmers
Mr Robert Scott
Managing Director
Wesfarmers Insurance
Mr Angelos
Frangopoulos
Chief Executive O cer
Australian News Channel
Mr Richard Freudenstein
FOXTEL
Mr Colin Golvan SC &
Dr Deborah Golvan
Mr John Grill
WorleyParsons
Mrs Janet
Holmes Court AC
Mr & Mrs Simon &
Katrina Holmes Court
Observant Pty Limited
Mr John James
Managing Director
Vanguard
Ms Catherine
Livingstone AO
Chairman
Telstra
Mr Andrew Low
RedBridge Grant Samuel
Mr Steven Lowy AM
Westeld Group
Mr Didier Mahout
CEO Australia & NZ
BNP Paribas
Mr David Mathlin
Senior Principal
Sinclair Knight Merz
Ms Julianne Maxwell
Mr Michael Maxwell
Mr Geo McClellan
Partner
Freehills
Mr Donald
McGauchie AO
Chairman
Nufarm Limited
Mr John Meacock
Managing Partner NSW
Deloitte
Ms Naomi Milgrom AO
Ms Jan Minchin
Director
Tolarno Galleries
Mr Jim Minto
Managing Director
TAL
Mr Clark Morgan
Vice Chairman
UBS Wealth
Management Australia
Mr Alf
Moufarrige OAM
Servcorp
Mr Scott Perkins
Head of Global Banking
Deutsche Bank
Australia/New Zealand
Mr Oliver Roydhouse
Managing Director
Inlink
Mr Glen Sealey
General Manager
Maserati Australia &
New Zealand
Mr Ray Shorrocks
Head of Corporate
Finance, Sydney
Patersons Securities
Mr Andrew Stevens
Managing Director
IBM Australia &
New Zealand
Mr Paul Sumner
Director
Mossgreen Pty Ltd
Mr Mitsuyuki (Mike)
Takada
Managing Director
& CEO
Mitsubishi Australia Ltd
Mr Alden Toevs
Group Chief Risk
O cer
Commonwealth Bank
of Australia
Mr Michael Trigubo
Managing Director
MIR Investment
Management Ltd
Te Hon Malcolm
Turnbull MP &
Ms Lucy Turnbull AO
Ms Vanessa Wallace
Director
Booz & Company
Mr Kim Williams AM
News Limited
Mr Geo Wilson
KPMG Australia
Mr Peter Yates AM
Chairman,
Royal Institution of
Australia
Director, AIAA Ltd
ACO CORPORATE PARTNERS
Te ACO would like to thank its corporate partners for their generous support.
FOUNDING PARTNER A
C
O2

PRINCIPAL PARTNER
EVENT PARTNERS
NATIONAL TOUR PARTNERS
CONCERT AND SERIES PARTNERS
Daryl Dixon
Peter Weiss AM
OFFICIAL PARTNERS
PERTH SERIES &
WA REGIONAL TOUR PARTNER
news
ACO NEWS
AUGUST 2012
ANNUAL GIVING CAMPAIGN
20 July Update
Our sincerest thanks to everyone who has made
a donation in our 2012 Annual Giving Campaign,
which supports the vital work of our National
Education Program. We have raised just over
half of our goal of $500,000 to support our
ever-expanding Education Programs which, this
year, visit students in every state, across regional
and metropolitan Australia and at every level of
the education system.
Together we can continue to inspire young
people across Australia.
If you have not already done so, we hope you
will consider supporting our National Education
Programs.
Please visit www.aco.com.au/support
$ 500,000
$ 400,000
$ 300,000
$ 200,000
$ 100,000
$ 0
ANNUAL GIVING CAMPAIGN
Total Donations
$ 294,987
NEW CD
Sharon Bezaly:
Pipe Dreams
We recorded this CD with the extraordinary
ute player Sharon Bezaly when she toured
Australia with us in 2009.
Featuring contemporary South American
and Australian works for ute and chamber
orchestra: Serebriers Flute Concerto with
Tango, Izarras Pitangus Sulphuratus, Vines
Pipe Dreams and Ginastera s Impresiones de la
Puna.
Through July, Richard
Tognetti, members of the
ACO and A
C
O
2
travelled from
Darwin to Perth and Sydney
on The Reef Tour.
Created through Richards
extraordinary vision with
collaborators including
Jon Frank, Mick Sowry and
Iain Grandage The Reef
Tour was made possible
through the support of our
Principal Tour Sponsor,
Wesfarmers Arts.
Through the educational
activities conducted as part
of The Reef Tour, we have
been able to offer once-in-
a-lifetime opportunities for
young people to hear and
enjoy classes with some
of this countrys most
talented and inspirational
artists.
The ACOs association with
Wesfarmers goes back a long
way. Fourteen years ago, with
Wesfarmers assistance, we
expanded the ACOs National
Concert Season to include
Perth on a regular basis.
We are therefore delighted
to have been able to build
on the success of this long-
standing partnership, to
present the extraordinary in
the countrys leading concert
halls as well its community
halls.
WESFARMERS TOUR SUMMARY
Building on success
PERTH SERIES &
WA REGIONAL TOUR PARTNER
ACO Emerging Artists work with school children in Broome.
A
C
O
2
during The Reef tour in Western Austr alia. Richard Tognetti and A
C
O
2
rehearsing for The Reef.

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y

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n
YOUR SAY
Feedback about The Reef
The Reef, Perth: Hypnotic Rapture!
I was transxed and mesmerised for the
full two hours, barely surfacing to catch
my breath between waves... I was glued to
my seat long after the auditorium cleared.
The return to reality was more than I
could bare an audio, visual and sensory
heaven. Thank you so much to the entire
team, crew, visionaries and supporters
who made this magic happen.
Cath Resnick
We have just got home from enjoying the
ACO play The Reef. It is the most fantastic
artistic performance I have ever seen.
The music with the lm with the
didgeridoo with the singing I was
enthralled from start to nish. Such a
talented team of people Jon Frank,
Richard Tognetti, Derek Hynd, Iain
Grandage, Stephen Pigram, Mark Atkins
and all of the others to combine and
bring us this most beautiful of performing
art. Amazing!! Thank you so, so much. If
I could I would denitely go again, and
again! Lee and Richard Stevens
Let us know what you thought about this concert at aco@aco.com.au.
EDUCATION NEWS
July Update
Our National Education
Program is expanding
exponentially and in July
we worked with students
at every level from all over
Australia.
A
C
O
2
made its Sydney Opera
House and Perth Concert
Hall debuts after touring
through regional Western
Australia, performing The
Reef. Along the way, they
worked with local school
children.
Melbourne students came
to hear our rst matinee
concert presented specically
for secondary students at
Melbourne Recital Centre,
hosted by Limelight Magazine
Editor, Francis Merson.
The inaugural ACO Academy
also took place in July, with
27 talented students from
all over Australia playing
alongside us for a week.
The week culminated in a
concert at City Recital Hall
Angel Place with soloist
Emily Sun and the Academy
students playing to a full
house.
We also performed at Our
Lady of Carmel School in
Waterloo, Sydney, for an
audience of primary school
children. This concert was
organised in partnership
with the Australian Childrens
Music Foundation.
Aiko Goto leads the ACO Academy Orchestra.

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Thank you for an amazing concert last
night. Especially the Messiaen...amazing
and very inspirational. Rory Smith
I attended the ACO chamber music
concert in Brisbane last night, featuring
Schuberts Trout Quintet and Messiaens
Quartet for the End of Time. I would like to
congratulate Paul Dean in particular for his
fantastic clarinet performance in Quartet for
the End of Time it was a real revelation.
Geoffrey Trim
I had the great fortune to see the ACO
concert in Sydney yesterday. Thank you so
much for a wonderful time. The Schubert
was very enjoyable, but the Messiaen was
beyond that. It was truly sublime. What an
etherial and transcendent performance! It
was like waking from a dream at the close.
Sue Thorvaldson
Saw this last night and was blown away.
The Schubert was intricate, amboyant
and joyous. The Messiaen could not have
been more different it its intent. Sombre,
stark. The program really put it into
perspective for me. Synathesia, Death
Camp, Revelations the end of time.
The Messiaen clarinet solo and the last
moments of the violin is soul wrenching
given the setting of authoring and rst
performance of this piece. So great.
Job Wallis
YOUR SAY
Feedback about the Trout Quintet & Quartet for the End of Time
Let us know what you thought about this concert at aco@aco.com.au.
Providing a complete service
in hospitality
One call One contact One manager
to organise the complete event
Corporate lunches, offce drinks,
Christmas occasions,
weddings and birthdays
info@katering.com.au (02) 9319 2700 www.katering.com.au
Bringing smarter computing to big data.
90% of the data in the world today has been created in the last two years alone.
Just as data is increasing, so are the possibilities.
We now have the capacity to understand, with greater precision, how our world
actually works. Advanced technologies such as stream computing, can lter
gigabytes of data per second, analyse these while theyre still in motion and decide
on the appropriate action for the data, such as real-time alerts or store an insight
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worldwide. Other company, product and services marks may be trademarks or services marks of IBM or others. A current list of IBM trademarks
is available on the Web at Copyright and trademark information at www.ibm.com/legal/copytrade.shtml. Copyright IBM Australia Limited 2012
ABN 79 000 024 733 Copyright IBM Corporation 2012 All Rights Reserved. IBMNCA0626/SCDATA/ACO
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