ACTEWAGL
LLEWELLYN
SERIES
PIANO
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through the Australia Council, its arts funding and advisory body
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Photograph courtesy of The University of Melbourne Archives 2008.0045.0601
ACTEWAGL
LLEWELLYN
SERIES
PIANO
Wednesday 29 March &
Thursday 30 March, 2017
Llewellyn Hall, ANU
7.30pm
Conductor Jessica Cottis
Soloist Daniel de Borah
Trumpet Rainer Saville
-----
RAUTAVAARA: Cantus Arctucus op. 61 (Concerto for Birds and Orchestra)
1. Suo (The Marsh) 6'
2. Melankolia (Melancholy) 4'
3. Joutsenet muuttavat (Swans Migrating) 6'
SHOSTAKOVICH: Piano concerto No.1 in C minor, op.35
1. Allegro moderato 6'
2. Lento 8'
3. Moderato – Allegro con brio 8'
INTERMISSION
17012
Cover photo by Sarah Walker
BEETHOVEN: Symphony No. 6 in F major op.68 (Pastoral)
1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande
(Awakening of cheerful feelings upon arrival in the countryside): Allegro ma non troppo 9'
2. Szene am Bach (Scene by the brook): Andante molto mosso 12'
3. Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro 5'
4. Gewitter, Sturm (Thunder. Storm): Allegro 4'
5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd's song;
cheerful and thankful feelings after the storm): Allegretto 9'
Please note: this program is correct at time of printing, however it is subject to change without notice.
SEASON 2017
ActewAGL Llewellyn Series:
Piano, Cello, Horn, Violin
“Music begins where
the possibilities of
language end.”
Sibelius
----Recital Series:
Daniel de Borah,
Clerici,
!
TUmberto
OLD OU Harry Bennetts
HectorSMcDonald,
----Saturday Series:
CSO Opera Gala,
Canberra Weekly Matinee Magic:
VEGAS!
----Australian Series:
Companion Pieces, Musical Portraits,
Forgotten
Curated by Matthew Hindson AM,
performed at the National Portrait Gallery
-----
On sale now
Single tickets and multi-concert packages
available.
Call CSO Direct 6262 6772 or visit
cso.org.au for more information.
cso.org.au
Welcome
Thank you for joining
us for the Canberra
Symphony Orchestra’s
first concert in the 2017
ActewAGL Llewellyn
Series. We are delighted
to share this evening of
beautiful and evocative
music with you, and we
thank ActewAGL for their
generous support which
brings us together.
In addition to this being the orchestra’s
first concert in Llewellyn Hall for the year,
tonight is also an occasion of other ‘firsts’.
Conductor Jessica Cottis makes her debut
on the CSO stage, and we are thrilled to
welcome her. Jessica studied music in
Canberra but is now a resident of the
world, conducting on major stages across
the globe. This evening also marks our first
performance of Rautavaara’s Cantus Arcticus
and we bring you this extraordinary piece
in honour of the master Finnish composer,
who passed away late last year.
Returning by popular demand, Daniel
de Borah (piano) will be joined by the
CSO’s own Rainer Saville (trumpet) for
Shostakovitch’s Piano Concerto No 1, before
we conclude with one of Beethoven’s most
beloved works, Symphony No 6 (Pastoral).
Another recent ‘first’ was the inaugural
CSO Australian Series concert which is
the result of an innovative collaboration
between the National Portrait Gallery and
the CSO. Curated and compered by eminent
Australian composer Dr Matthew Hindson
AM, the CSO Australian Series offers cutting
edge classical music in the contemporary
setting of the NPG. There are two more
concerts in 2017 and you can find out more
at www.cso.org.au
As ever, the CSO is very grateful to our
partners and donors, whose generosity
makes it possible for us to share this
music with you tonight. The support
we receive from the ACT Government
through artsACT and the Australian
Government through the Australia Council
for the Arts, allows us to connect with the
wider community through over 90 other
activities each year. This includes the
CSO Education series Noteworthy which is
free to all schoolchildren; CSO Ensemble
activities including concerts at the Canberra
Hospital, Aged Care facilities and Special
Schools; Painting with Parkinsons, and our
Rediscovering Music program for people with
hearing impairment. I know you join me
in thanking these government agencies for
enabling the benefits of music to reach far
and wide into our community.
Why is this important? Tonight’s concert
is a perfect example. CSO Chief Conductor
and Artistic Director Nicholas Milton
AM has created a unique concert that
intertwines the beauty of nature and music,
and reminds us that both offer us relief from
that harsh discord of the current world.
Tonight we offer you shelter from the
storm, as we are reminded that there is great
joy and harmony to be shared. We hope you
leave feeling refreshed and inspired to pay it
forward in the coming days.
Sarah Kimball
Chief Executive Officer
[1]Perfect Imperfect dinner of eggplant, lamb and red wine at
Monster kitchen and bar. Shot by U-P.
Great things are done by a series
of small things brought together.
Vincent Van Gogh
[3]Ken Neale drinking his coffee in the Monster
kitchen and bar Salon. Shot by Lee Grant.
[2]Re-enactment of Le Corbusier’s daily ritual of calisthenics in Creative
room number 105. Shot by Lee Grant.
Hotel
Hotel
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25 Edinburgh Ave
Canberra
+612 6287 6287 — T
[email protected]
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Jessica Cottis Conductor
Hailed in the UK music
press as “one to watch”,
Jessica Cottis possesses
intellectual rigour,
innate musicality and
an easy authority; she is
a charismatic figure on
the podium who brings
dynamism, intensity and
clarity of vision to all her
performances.
Frequently in demand as
guest conductor, highlights
of recent seasons include performances
with the Sydney Symphony Orchestra,
London Philharmonic Orchestra, BBC
Symphony Orchestra, Orchestra of the Royal
Opera House, BBC National Orchestra of
Wales, BBC Concert Orchestra, l’Orchestre
Philharmonique de Monte-Carlo, RTV
Slovenia Symphony Orchestra, Bit20
Ensemble Bergen, the Queensland and
Adelaide Symphony Orchestras, New
Zealand Symphony Orchestra, the National
Youth Orchestra of Great Britain, and
recording with the BBC Scottish Symphony
Orchestra. This season, she will make a
welcome return visit to many of the above
orchestras and makes her Royal Albert Hall
debut for the 2016 BBC Proms.
Her international career was launched
through close working relationships with
mentors including Vladimir Ashkenazy,
Charles Dutoit, and Donald Runnicles.
From 2009 to 2011 she was the first Fellow
in Conducting at the Royal Conservatoire
of Scotland and Assistant Conductor at the
BBC Scottish Symphony Orchestra, and
from 2012 to 2014 Assistant Conductor of
the Sydney Symphony Orchestra where she
conducted over thirty concerts per year with
the orchestra, being lauded in the Australian
press as “one of the big hopes for change”.
In 2014 Jessica Cottis was appointed
Principal Conductor of the Glasgow
New Music Expedition.
Born in Australia and a dual BritishAustralian citizen, Jessica Cottis was awarded
a first class honours degree in organ, piano
and musicology from the Australian National
University and continued her studies as
an organist with Marie-Claire Alain in
Paris, winning awards from the Royal
Philharmonic Society and Royal College
of Organists. A wrist injury subsequently
halted her playing career and after reading
Law, she began conducting studies in 2006,
studying with Colin Metters and Sir Colin
Davis on the postgraduate conducting course
at the Royal Academy of Music. Cottis was
awarded the Academy’s top conducting
prizes upon graduation in July 2009, the
same month she was appointed to her
positions at the BBC SSO and RCS, and also
Manson Fellow in Composition at the Royal
Academy of Music.
In recent years, Jessica Cottis has become
a frequent contributor to BBC radio
programmes. In 2013 she taught Dame Jenni
Murray the basics of conducting for a BBC
Woman's Hour special, and has returned
to the programme to speak about Verdi's
heroines. She has commented on issues
faced by women in music for the World
Service and Woman's Hour, and most
recently contributed to Trevor Cox's BBC
radio 4 special on concert hall acoustics, to
the Today programme, discussing Brahms,
and on Proms Extra for the 2016 Proms,
for BBC2 television. In 2012 Jessica Cottis
appeared on the BBC2 series ‘Maestro at
the Opera’ as conducting mentor to DJ
Trevor Nelson. In the same year she was
a jury member for the finals of the BBC
Young Musician Competition; in 2014 she
continued her association as a juror for the
semi-finals.
In 2015 she was appointed Associate Member
of the Royal Academy of Music (ARAM), an
honorary award for former students who
have made a significant contribution to the
music profession.
Jessica Cottis makes her home in Glasgow
and London.
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Daniel de Borah Piano
Daniel de Borah has
emerged in recent years as
one of Australia’s foremost
musicians, consistently
praised for the grace, finesse
and imaginative intelligence
of his performances. His
busy performance schedule
finds him equally at home as
concerto soloist, recitalist and
chamber musician.
Since his prize-winning
appearances at the 2004
Sydney International Piano Competition,
Daniel has given recitals on four continents
and toured extensively throughout the
United Kingdom and Australia including
return visits to London’s Wigmore Hall
and Southbank Centre, the Sydney Opera
House and the Melbourne Recital Centre.
As a concerto soloist he has appeared with
the Royal Philharmonic Orchestra, English
Chamber Orchestra, the London Mozart
Players, Australian Chamber Orchestra and
the Sydney, Melbourne, Adelaide, Canberra
and Auckland Symphony Orchestras.
Daniel has partnered many leading soloists
and ensembles including Baiba Skride,
Li-Wei Qin, Nicolas Altstaedt, the Navarra
and Australian String Quartets. His festival
appearances include Musica Viva’s Sydney
and Huntington Estate Music Festivals
and the Australian Festival of Chamber
Music in Townsville. In 2015 Daniel joined
the Australia Piano Quartet, ensemble-inresidence at the University of Technology,
Sydney.
During his studies Daniel won numerous
awards including 3rd Prizes at the 2004
Sydney International Piano Competition,
the 2001 Tbilisi International Piano
Competition and the 2000 Arthur
Rubinstein in Memoriam Competition
in Poland. In 2005 he was selected for
representation by the Young Classical
Artists Trust, London. Daniel is also a past
winner of the Australian National Piano
Award and the Royal Overseas League
Competition Piano Award in London.
Born in Melbourne in 1981, Daniel studied
at the Liszt Academy of Music in Budapest,
the St. Petersburg State Conservatoire and
the Royal Academy of Music, London. His
teachers have included Zsuzsa Eszto, Mira
Jevtic, Nina Seryogina, Tatyana Sarkissova
and Alexander Satz. Daniel currently
serves on the faculty of the Queensland
Conservatorium, Griffith University.
Photos by Martin Ollman
TOMMY BALOGH Beacon
2015 photo-luminescent media on plexiglass,
125 x 245cm (detail). Photo by Sarah Walker
“This being the first concert
I wasn’t sure what to
expect, but it was most
enjoyable and there was a
special atmosphere due, in
part, to our close proximity
to the players.
What are people saying
about the CSO’s
Australian Series?
“As relative “novices” to
CSO activities, we weren’t
really sure what to expect.
In short, it was
magnificent!”
“I didn’t know what to
expect, but was pleasantly
surprised by the concert.
It’s not the style I would
normally like but found it
quite exhilarating.”
You don’t need to have expectations to have them blown away. Join us for the
Australian Series at the National Portrait Gallery, and let us expand your arts experience.
cso.org.au
/canberrasymphonyorchestra
/canberrasymphonyorchestra
@cbr_symphony
The CSO is assisted by the Commonwealth Government
through the Australia Council, its arts funding and advisory body
Rainer Saville Trumpet
Rainer Saville was born and raised
in Sydney, Australia. He is a
graduate of the Sydney
Conservatorium of Music, where
he studied with Leanne Sullivan.
He also studied at the Australian
National Academy of Music in
Melbourne with Dave Elton and
Tristram Williams. Mr. Saville
performs regularly as a musician
with the Sydney Symphony
Orchestra and Melbourne Symphony, and is
a member of the Australian Brandenburg
Orchestra, where he performs on period
instruments. In 2014, he participated and
was a semi-finalist in the International
Trumpet Competition Cittá Di Porcia
in Pordenone, Italy. Rainer has toured
internationally with the Mahler Chamber
Orchestra and the Australian Chamber
Orchestra. In 2016, he was a participant
of the Pacific Music Festival, working
alongside members of the Berlin
Philharmonic and San-Francisco
Symphony. This year, he was a
Global Academy fellow—performing
with the New York Philharmonic
throughout January.
HAYDN
Overture to L'isola disabitata
SCHUMANN
Cello Concerto in A minor
SCULTHORPE
String Sonata No.3 (Jabiru Dreaming)
BRAHMS
Symphony No.3 in F major
WEDNESDAY 17 &
THURSDAY 18 MAY
LLEWELLYN HALL,
ANU, 7.30PM
Photo by Sarah Walker
Conductor Stanley Dodds
Cello Umberto Clerici
Pre-concert talk 6.45pm
ACTEWAGL
LLEWELLYN
SERIES
CELLO
cso.org.au
/canberrasymphonyorchestra
/canberrasymphonyorchestra
@cbr_symphony
The CSO is assisted by the Commonwealth Government
through the Australia Council, its arts funding and advisory body
MUSIC NOTES
Einojuhani Rautavaara (1928–2016)
Cantus arcticus (Concerto for Birds
and Orchestra) op.61
Suo (The Marsh)
Melankolia (Melancholy)
Joutsenet muuttavat (Swans Migrating)
Cantus Arcticus was commissioned by
the ‘Arctic’ University of Oulu (Finland)
for a graduation ceremony (following a
tradition of which Brahms’ Academic
Festival Overture is the best-known
example). Rather than produce the kind of
stirring anthem often associated with these
events, the composer sought something
more personal. He went bird-watching
in the bogs of Liminka, inside the Arctic
Circle, and taped what he heard. Using
these sounds as both a core element (the
‘soloists’, if you like) and as inspiration,
Rautavaara produced a strikingly original
concerto for birds and orchestra. Since its
premiere in Oulu on 18 October 1972 (with
the Oulu Symphony Orchestra, conducted
by Stephen Portman), it has become one of
Rautavaara’s most-performed works.
The composer himself had the following to
say:
The first movement, Suo (The Marsh), opens
with two solo flutes. They are gradually
joined by other wind instruments and the
sounds of bog birds in spring. Finally, the
strings enter with a broad melody that
might be interpreted as the voice and mood
of a person walking in the wilds.
In Melankolia, the featured bird is the shorelark; its twitter has been [electronically]
brought down by two octaves to make it a
‘ghost bird’.
Joutsenet muuttavat (Swans Migrating) is an
aleatory [chance, or random] texture with
four independent instrumental groups. The
texture constantly increases in complexity,
and the sounds of the migrating swans are
multiplied too, until finally the sound is lost
in the distance.
© Symphony Australia
Reprinted by permission of Symphony
Services International
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MUSIC NOTES
Dmitri Shostakovich (1906–1975)
Piano Concerto No.1 in C minor, op.35
Allegro moderato
Lento –
Moderato – Allegro con brio
The early 1930s were a momentous time.
In Europe, the collapse of entire economies
facilitated the rise of Fascism. In Germany,
Hitler came to power. In the Soviet Union
in 1933, the situation was scarcely less
gloomy. The much-vaunted Five Year Plan
had all but disintegrated under the weight of
its unrealistic production targets, and dayto-day life was taking on an increasingly
surreal aspect as influential people started
to disappear without trace. Soviet life
became a particularly grim affair, with
everybody watching everybody else, and
with the ever-present threat of the ultimate
punishment for those suspected of counterrevolutionary behaviour.
Within the arts, Stalin himself took a
‘hands-on’ approach. He personally rewrote
Afinogenov’s hit play The Lie to remove its
deeply ironic but blatant condemnation of
contemporary Soviet life. Artists deemed
to be lacking in commitment to the
Soviet cause were persecuted, punished,
and forced to toe the party line. In the
midst of the paranoia stood the 27-yearold Dmitri Shostakovich, whose high
profile, compositional genius and parodic
inclinations had been firmly established
with the premiere of his First Symphony
eight years earlier.
One can only speculate about the extent
to which Shostakovich understood
the vulnerability of his position. A
contemporary reported that at this time
Shostakovich’s ‘entire manner seemed
to imply that whatever was taking place
around him was totally devoid of any
serious meaning’. A form of self-defence or
youthful naivety? His behaviour will sustain
debate into the future.
Among Shostakovich’s works from this
period are a Suite for Jazz Band in the
decadent style of Berlin cabaret, the opera
Lady Macbeth of Mtsensk about a triplemurderess, and the outrageously parodic
First Piano Concerto. These undeniably
‘clever’ compositions were hardly the
kind of thing to endear the internationally
successful young composer to a regime bent
on maintaining order at home—at whatever
cost. But the reaction wasn’t to come just
yet. It would build over the next year or
two, awaiting its moment.
In the meantime, the First Piano Concerto
proved a riotous success. In its deliberate
parody of multiple musical styles and
conventions, it resembled the First Piano
Concerto by Prokofiev—while in its
superficially ‘light’, almost divertissement
style, it was surprisingly (and presumably
coincidentally) similar to its contemporary:
Ravel’s Piano Concerto in G. Unlike those
works, Shostakovich’s First Piano Concerto
employs a solo trumpet as a collaborator
with, and sometimes rival to, the piano
soloist. It’s a striking device and the
brilliance of the trumpet adds a real sense of
urgency, not to mention flash of colour, to
the instrumental textures of the piece as a
whole (the orchestra is limited to strings).
Shostakovich himself played the piano
solo at the premiere with the Leningrad
Philharmonic on 15 October 1933. The
trumpet solo was conceived for Alexander
Schmidt, who was a member of the
Leningrad orchestra.
MUSIC NOTES
Because of the deliberately sardonic
character of the piece, it can be fun to
listen to the concerto as a ‘spot-thecliché’ exercise. Chunks of Tchaikovskian
Romantic lushness are juxtaposed with
Rachmaninov-style piano rhapsodies,
while the can-can and even Broadway
musical gestures creep in from time to time.
But as one would expect from a composer
of Shostakovich’s abilities, things are never
that simple, and the piece is anything but
a joke.
Its opening is downright magnificent.
After a brief flourish, a big walking figure
in the left hand of the piano introduces
the principal theme, which is then worked
over in a relentless, dashing development
section. The second theme starts out as
lush Rachmaninov, but Shostakovich
quickly ushers in some Parisian nightclub.
The trumpet becomes a flashy Master of
Ceremonies and when the main ‘walking’
theme returns moderato, it’s as if the
revellers have staggered back out onto
the street, a little bewildered perhaps, but
entirely satisfied.
It is typical of Shostakovich that the Lento
which follows is both sentimental and at the
same time angry. In any case, the frivolity
of the opening movement vanishes in this
central slow movement, with its self-pitying
shades of Mahler and continually sardonic
turns.
The third movement is essentially a
Baroque pastiche pivoting around two
piano cadenzas and leading without pause
into the final Allegro con brio. It is almost
as if we are off to the races, with the
trumpet sounding the fanfare at the start
of the various events and everyone else
skittering around to take their places by
the rails. It sounds like a rondo of a kind, a
Keystone-Cops one, with the music driving
on so frenetically that it can only come
to an abrupt and crashing halt. Perhaps
it was a strangely prescient conclusion to
the Concerto, for just two years after its
premiere, an eerily similar thing happened
to Shostakovich’s career itself, with his
emphatic denunciation in Pravda. No party
can last forever.
Martin Buzacott
© Symphony Australia
Reprinted by permission of Symphony
Services International
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after season, the Canberra Symphony Orchestra
is central to the ACT’s vibrant arts community.
Supporting such an inspiring organisation
continues to be our privilege after 20 years.
Photo by Lindi Heap
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MUSIC NOTES
Ludwig van Beethoven (1770–1827)
Symphony No.6 in F, op.68 (Pastoral)
Awakening of pleasant feelings upon arriving in
the country (Allegro ma non troppo)
Scene at the brook (Andante molto mosso)
Peasants’ merrymaking (Allegro) –
The storm (Allegro) –
Shepherds’ hymn of joy and thanksgiving after
the storm (Allegretto)
In October 1808, Beethoven was offered
3,400 florins a year to leave Vienna and
move to Kassel, in Germany, to become
musical director to Napoleon’s brother,
Jerome, newly created ‘King of Westphalia’.
Though he had no intention of going,
he let it be known that he was seriously
considering the offer. Then he set out to
demonstrate how indispensable he was to
Vienna and its musical life by arranging a
pre-Christmas concert, on 22 December,
that included two yet unperformed
symphonies, the Fifth and the recently
completely Sixth. As a bargaining tool, the
concert—his last at the financially troubled
Theater an der Wien—perhaps fell short
of making the perfect impression. It was
very long, also including the Fourth Piano
Concerto, bits of the Mass in C, and, to
give the chorus something else to do, the
purpose-composed Choral Fantasy as a lastminute addition. As usual, the orchestra
was under-rehearsed, and Beethoven’s
own piano playing was, by this time,
often erratic, due to his failing hearing.
Nevertheless, his ploy seems to have
worked. Three of his most long-suffering
supporters, Archduke Rudolph and Princes
Kinsky and Lobkowitz, clubbed together
to pay him an annuity of 4,000 florins on
condition he stay in Vienna.
Perhaps, in a different way, the Sixth
Symphony was another positive attempt on
Beethoven’s part to come to terms with the
dissatisfactions of his life in urban Vienna.
What better panacea than an escape to the
country? The idea of a symphony depicting
country life had been forming in his mind
since as early as 1803, while working on
the Third Symphony, when he sketched a
version of the quirky dance at the centre
of the Peasants’ Merrymaking, and a short
passage ultimately for the second movement
that he marked ‘the murmuring of the
brook’ (‘the larger the stream the deeper
the note’). His only full-scale ‘program’
symphony, he subtitled it ‘Recollections
of country life’, and also devised descriptive
titles for each movement, though he
warned that these were more indications
of feeling than scene-painting.
The composer’s Awakening of pleasant
feelings upon arriving in the country is
immediately audible in the refreshingly
simple opening tune with its rustic
bagpipe-like drone (on violas and
cellos) as accompaniment. But apart
from being more relaxed and expansive
than the openings of the Third or Fifth
symphonies, the movement follows the
traditional symphonic pattern, as well as
fulfilling Beethoven’s pictorial intentions.
Likewise, the Scene at the brook is a formally
conventional slow movement—at least until
the coda, with its unaccompanied bird calls
(marked as such in the score): a flute as
nightingale, oboe as quail, and clarinet as
cuckoo. For the rest of the work, Beethoven
does modify conventional symphonic
layout, with three more movements
(instead of two), but run together without
a break. Peasants’ merrymaking is the
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MUSIC NOTES
obvious pretext for a scherzo. The dancing
is brought to a stop, literally, by The storm
for which Beethoven introduces a piccolo
and a pair of trombones, instruments
then still more usually used for opera
and other staged spectacles than in
concert symphonies. They add a suitably
portentous colouring. Finally, the storm
passes as the shepherds sing their Hymn of
thanksgiving.
because of the genial titles—and the
simple story they plot­—that this accessible
symphony remained his most generally
popular well into the recording era, and
until as late as the Second World War, when
it was finally overtaken by the Fifth.
Graeme Skinner © 2014
Reprinted by permission of Symphony
Services International
Beethoven himself also said: ‘Anyone who
has an idea of life in the country can divine
for himself the composer’s intentions
without a lot of titles.’ But it was precisely
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A boutique hotel and functions centre with onsite
restaurant, café and bar - University House offers
exceptional accommodation, dining and function
facilities, all conveniently located on the ANU campus,
minutes away from Canberra’s top attractions.
The classic 1950s building has been carefully
preserved with rooms offering the perfect blend of
heritage decor and modern facilities.
MEET • CELEBRATE • STAY
1 BALMAIN CRES, ACTON ACT 2601
-
02 6125 5211
-
UNIHOUSE.ANU.EDU.AU
Dr Nicholas Milton AM
Chief Conductor and Artistic Director
Artistic Patronage ActewAGL
Concertmaster Barbara Jane Gilby
Concertmaster Emeritus Tor Frømyhr
The Orchestra
ActewAGL Llewellyn Series, Piano
Violin
Barbara Jane Gilby
Doreen Cumming
Leanne Bear
Tahni Chan
Jack Chenoweth
Lauren Davis
Armine Gargrtsyan
Jenny Higgs
Michelle Higgs
Valerie Jackson
Jocelyn James
Liam Keneally
Erin Patrick
Claire Phillips
Pip Thompson
Tim Wickham
Matthew Witney
Viola
Tor FrØmyhr
Anthony de Battista
Nicole Greentree
Robert Harris
Iska Sampson
Cello
Patrick Suthers
Joseph Eisinger
Samuel Payne
Lindy Reksten
Alex Voorhoeve
Flute
Vernon Hill
Teresa Rabe
Kiri Sollis
Trombone
Jessica Buzbee
Michael Bailey
Oboe
Megan Pampling
Julie Igglesden
Clarinet
Alan Vivian
Rachel Best Allen
Bassoon
Greg Taylor
Kristen Sutcliffe
Double Bass
Kyle Daniel
Dave Flynn
Caroline Ryvers
Daniel Dean
Timpani
Andrew Heron
Percussion
Veronica Bailey
Harp
Meriel Owen
Celeste
Alan Hicks
French Horn
Neil Favell
Robert Gladstones
Trumpet
Rainer Saville
Justin Lingard
Alexander Ross
please note:
strings seating is rotational
CHAIR SPONSORS
Virginia Taylor
Samuel Payne
Andrew Heron
Lindi Reksten
Rainer Saville
Flute
Cello
Timpani
Cello
Trumpet
Betty Beaver AM
Cello Chair
RA David
Campbell
hotel-hotel.com.au
The CSO is delighted
to work with Kitchen
Witchery as our official
caterer for the Shell
Prom Concert and our
concert VIP Receptions.
it’s the little things that
make the difference
t 02 6162 1258
[email protected]
www.qote.com.au
CSO print partner
CSO Board & Administration
CSO Board
Chair Air Chief Marshal
Sir Angus Houston AK, AFC (Retd)
Deputy Chair Melanie Kontze
Treasurer Alan Bunsell
Secretary & Public Officer Bob Clark
Members
Chris Faulks
Lucille Halloran
Paul Lindwall
John Kalokerinos
Elizabeth McGrath
John Painter AM
CSO Artistic
Chief Conductor
& Artistic Director
Dr Nicholas Milton AM
Artistic patronage ActewAGL
CSO Administration
Chief Executive Officer Sarah Kimball
Bookkeeper* Jeanette Simpson
Brand & Design Rachel Thomas
Education & Ensembles* Meriel Owen
Finance* Peter Bayliss
Logistics & Events Nicole Hoffman
Media & Audience Engagement* Jolene Laverty
Orchestra & Operations Andrew Heron
Partnerships* Frances Corkhill
Philanthropy* Tim Langford
Ticketing & Administration* David Flynn
CSO Volunteers
Dianna Laska
Gail Tregear
Vicki Murn
Peyton Butler
John & Anne Rundle
Alison Gates
*Indicates part-time position
Contact us
Level One
11 London Circuit
(entrance off Farrell Place)
Canberra City
GPO Box 1919
Canberra ACT 2601
CSO Direct (ticketing)
02 6262 6772 weekdays 10am–3pm
Administration 02 6247 9191
cso.org.au
/canberrasymphonyorchestra
@cbr_symphony
“ActewAGL’s partnership with the Canberra Symphony Orchestra began in 2001, and we have continued
to proudly support the talented musicians and creative team who provide exceptional musical experiences
for the Canberra region. We are honoured to be the artistic patron of CSO Chief Conductor and Artistic
Director, Nicholas Milton AM, and we are especially proud of our involvement with the CSO’s innovative
education and community programs which connect people of all ages and backgrounds through music.”
Michael Costello, Chief Executive Officer, ActewAGL
CSO Partners
Thank you for supporting us and our community
Government Partners
Department of Communications and the Arts
Powerhouse Partner
Yarramundi Partner
Cultural Partner
hotel-hotel.com.au
Honorary Solicitors
Murrumbidgee Partners
Australian Series
We would love to talk with you about how partnering with the CSO can assist your organisation
through brand alignment, collaborative marketing campaigns and premium corporate hospitality benefits.
Frances Corkhill—Partnerships
[email protected]
M: 0428 272 817
Cotter Partners
Martin Ollman
Photography
kitchen witchery catering
Digital
Accommodation
Media Partners
IT Support
Print
Wine
University
Philanthropy
In the lead up to the Shell Prom Picnic
concert I was in contact with many
organisations that provide services to those
in need—all manner of need—through our
HeartStrings program. So touched were they
to receive donated tickets, they thanked
us. I pointed out that it is the CSO family
who donate concerts tickets who should
be thanked. It is through their generosity
that the CSO can help the many local and
national organisations dedicated to making
difficult lives a little easier.
If you must make a donation RIGHT NOW,
you can do that through our website at
www.cso.org.au/private-giving but we
urge you not to distract yourself or your
neighbour while listening to
Daniel de Borah, and do it during
the interval.
If you’re not inclined to donate
electronically, we’ll be in touch in April
about our annual Tax Appeal and you can
fill out forms the old fashioned way.
---
So, while it’s enormously gratifying to
receive thanks and praise, I pass it on to all
who’ve donated to the HeartStrings program.
Ta, muchly!
And yes, you can donate to the HeartStrings
program now.
YOWIE MAN
Poll posit
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KLAUS MOJ
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OCTOBER 1, 2016
JULY 30,
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Tim Langord—Philanthropy
[email protected]
6247 9191
cso.org.au
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Proudly supporting the Canberra Symphony Orchestra for over 15 years
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CSO private giving
We thank all supporters for their commitment and generosity.
The Kingsland Fellowship
Program
Founding Donors
The late Sir Richard &
Lady Kingsland & Family
Marjorie Lindenmayer
Anonymous 1
Gifts and Bequests
Betty Beaver AM
Dr Pamela Rothwell
Anonymous 2
In Memoriam
Don Beazley
Janice Beveridge
Heather Eastwood
Ann & Liam Kearns
Instrument Fund
Prof Brian Anderson AC
& Dianne Anderson
Shane Baker &
Linda Pearson
Boronia Gift
Joan Boston
Prof Robert Crompton
& Helen Crompton
The Flynn Family
Anthony Hedley AM
Geoffrey White OAM
Sally White OAM
In Memoriam
Leonie Voorhoeve
Virtuosi Member
Above $10000
Mandy Westende &
Lou Westende OAM
Anonymous 1
Maestro Membership
$4000-$9999
Betty Beaver AM
RA David Campbell
Sue Daw OAM
Ross & Sue Kingsland
Marjorie Lindenmayer
Noela McDonald
David McDonald
Muriel Wilkinson
Anonymous 4
Education Giving Circle
Virginia Berger
Joan Boston
Mandy Westende &
Lou Westende OAM
Anonymous 1
Principal Member
$1000-$3999
Prof Brian Anderson AC &
Mrs Dianne Anderson
Halina Barrett
Joanne Blackburn
Max & Lynne Booth
Dr Chris Bourke
Miles & Ann Burgess
Peter Carrigy-Ryan
Christopher & Rieteke
Chenoweth
Peter & Asha Clarke
Dianne Constable
Dudley & Helen Creagh
Prof Robert Crompton &
Helen Crompton
Fay Cull
Helen Douglas
Sue Dyer
Elizabeth Morrison & John
Mulvaney
Raydon & Alison Gates
Fair Go Australia Foundation
J P Gordon
James Grieve
Beatrice Guppy
Allan Hall AM
Barbara Hall OAM
Donald Harris AM &
Glenys M Harris
Anthony Hedley AM
Colin & Enid Holmes
Stephanie &
Mike Hutchinson
Paul & Jan Kriedemann
Jim & Heather Leedman
Paul Lindwall
Raymond Macourt OAM
Garth Mansfield OAM
Margaret Mansfield OAM
David & Sheila Middleton
Margaret Oates
Paris '99
Carolyn Philpot
Katharine Pierce
Margaret Reid AO
Robyn Robertson
Penelope Layland
Muriel Wilkinson
Anonymous 10
Associate Member
$500-$999
Miles & Ann Burgess
Anne Burhop
Mr Brian Cant
AK & JE Cooper
Dr Catherine Drummond
Christine Dwyer
John Fitzgerald
Anthony Hayward
Helen White & Bob
Richardson
Dr Marian Hill
Louise Hodgman
Mary Elspeth Humphries
John & Ros Jackson
Patricia Jones
Dr Gerard Joseph
John Kalokerinos
N Landau
Henry & Dianna Laska
J. Norman
John & Elizabeth Oliver
Margaret Payne
Mary Porter AM MLA
Ann & Liam Kearns
David Shelmerdine
Haddon Spurgeon
Michael & Emily Reed
Ursula Reid
Kerry Truelove
Dr Margot Woods &
Arn Sprogis
Anonymous 7
Supporting Member
$100-$499
Michael Allam
Beverley Allen
Judith Andrews
Margaret Aston
Dr John Azoury
Pamela Weiss &
Trevor Bainbridge
Allan Baxter
Tim Beckett
NC & JE Bedloe
Daryl & Hermina Blaxland
Robyn Boyd
Mary Boyle
Mary Brennan
Bern Brent
C & R Brock
Dr Peter Brown AM
Pauline & Kevin Bryant
Louise Butler
Helen Catchatoorian
Elizabeth Anne Coupland
Don Coutts & Julie Campbell
Merrilyn Crawford
Vicky Cullen
Yole & Bill Daniels AM
Margaret Duncan
Vicki Dunne MLA
M N Falk
Dr Miriam Fischer
T & W Fitzgerald
Colleen Flynn
Margaret Frey
Greg George
Kate Gilbert
Geoff & Lynette Gorrie
Goyne Family
Mark Goyne
Gillian & Ian Graham
Elizabeth Grant AM
Helen & John Grant
Rosemary Greaves
Marlene Hall
Isobel Hamilton
B Hammond
Colin Harmer
Malcolm & Rhondda Hazell
Peter & Heather Henderson
Louise Hodgman
Catherine Hook & Paul
Carmen
June Howard
Douglas Hurditch
Rod Hurley
Ian Ingle
Margaret & Peter Janssens
Frank Kelly
David & Rosemary
Kennemore
Helga Klippan
Melanie Kontze
Susanne Koerber
Bjarne Kragh
Denise Kraus
N Landau
Judith Lindgren
Richard & Penny Lloyd Jones
John & Jinnie Lovett
Sue Ludwig
Patricia Makeham
Slawomir Makula
Dr Heloisa Mariath
Kathleen Marshall
Paul & Betty Meyer
Diana Mildern
Louise Muir
Bruce Neindorf
Kate Nockels
Ann Northcote
Marie Oakes
Pamela O'Keeffe
John & Elizabeth Oliver
Helen Pampling
Susan Pidgeon
Paul & Mary Pollard
Anna Prosser
Sandra Purser
Bill Rhemrev
Helen White & Bob
Richardson
Wayne & Linda Roberts
Jennifer Rowland
Valerie Russell
Adrian Burton &
Divya Sharma
Beryl Stewart
John Sutton
Andrea Szabo
Pamela & Graham Thomas
Dr Susan Thomson
Leonard Tuohy
Stewart & Sheila Turner
Suzanne Vaisutis-White
Gary Watson
Mike & Ros Welch
Don Whitbread OAM
Rosslyn Wiley
Ernst & Mary Louise
Willheim
Dr Anthony Willis
Capt W Graham Wright
Anonymous 49
WE’LL ALWAYS
WORK IN HARMONY
WITH OUR ORCHESTRA.
ActewAGL Retail ABN 46 221 314 841 a partnership of AGL ACT Retail Investments Pty Ltd ABN 53 093 631 586
and Icon Retail Investments Limited ABN 23 074 371 207.