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ABOUT THE PROGRAM
© Helen White
By Richard Tognetti
There are many aspects of Christmas that I find irritating: the
commercial hysteria, the focus on material greed, the way the
holly creeps into shops a little bit earlier every year…Yet even
a humbug like me has to admit that some extraordinary music
has been written to celebrate this overhyped festival.
Strangely enough, the piece of Christmas music that moves me
most is one I’ve never played – Bach’s Christmas Oratorio. The
Australian Chamber Orchestra last performed this dauntingly
massive oratorio on the early 1980s. Back then it was seen as a
daring alternative to Handel’s Messiah, the seasonal offering of
choice in Anglo-Saxon speaking countries – and still is today.
Richard Tognetti
Director and Violin
Perhaps it’s simply that Messiah is easier to digest: it’s in
English and it’s got easier access points via all those heraldic
tunes. People get hooked on the music and end up thinking,
“Oh, it’s Christmas, we’ll just do the Messiah.” Yet in Germany
the situation is reversed. A musician friend remarked to me
recently that she would be playing it ten times around Germany
this year.
The Christmas Oratorio was written in 1734, ten years before
Messiah. These oratorios were not concert pieces, but sacred
congregational events which lasted many hours, interspersed
with sermons and hymns. If you think sitting through a concert
is arduous, these events pretty much went on all day. And the
Christmas Oratorio was actually written to be performed
over six days, with one part on each day. Almost like a nativity
mini-series.
One of the aspects that made such a long time in church more
convivial (read: bearable) for the audience is that they did more
than just sit and listen. Bach’s chorales were sing-along events.
The audience would have recognised chorales in the Christmas
Oratorio that are also used in the St Matthew Passion, many
of which derive from folk tunes. So the Christmas Oratorio
was not entirely new music; it contained melodies the audience
of the day was familiar with, like our Silent Night.
The Christmas Oratorio tells the familiar Nativity tale, but it’s
much more ad hoc than St Matthew Passion, where you’ve
got a linear story which a narrator is belting out at you. Nor
is it very similar to Bach’s other large-scale masterpiece, the
B Minor Mass, which can rend you apart emotionally. The
Christmas Oratorio is more ephemeral, more exquisite, more
comforting.
Edited from an original article, courtesy of Limelight Magazine.
2 AUSTRALIAN CHAMBER ORCHESTRA
TOUR TWELVE
CHRISTMAS ORATORIO
RICHARD TOGNETTI Director & Violin
CHOIR OF LONDON
NICHOLAS MULROY Evangelist
J.S. BACH Christmas Oratorio
Cantata BWV248/1: For the First Day of Christmas
Jauchzet, frohlocket, auf, preiset die Tage
Cantata BWV248/2: For the Second Day of Christmas
Und es waren Hirten in derselben Gegend
Cantata BWV248/3: For the Third Day of Christmas
Herrscher des Himmels, erhöre das Lallen
INTERVAL
Cantata BWV248/4: For the Feast of the Circumcision of Christ
Fallt mit Danken, fallt mit Loben
Cantata BWV248/5: For the First Sunday of the New Year
Ehre sei dir, Gott, gesungen
Cantata BWV248/6: For the Feast of Epiphany
Herr, wenn die stolzen Feinde schnauben
Approximate durations (minutes): 25 – 27 – 21 – INTERVAL – 22 – 22 – 24
The concert will last approximately three and a half hours including a one hour interval.
CANBERRA
SYDNEY
MELBOURNE
Llewellyn Hall
Sun 15 Dec, 6.30pm
Opera House
Mon 16 Dec, 6.30pm
Arts Centre
Thu 19 Dec, 6.30pm
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
AUSTRALIAN CHAMBER ORCHESTRA 3
ACO.COM.AU
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ACO ON THE RADIO
ABC CLASSIC FM:
Christmas Oratorio: Live to air
Thu 19 December, 6.30pm
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MESSAGE FROM
THE GENERAL MANAGER
Our great friend and former colleague Michael Stevens,
who is now Head of Programming for the Melbourne
Festival, has assembled a stellar ensemble of British
consort singers to form The Choir of London. Michael’s
extensive experience as a chorister in such esteemed
groups as the Monteverdi Choir has given him a profound
knowledge of singers trained in the unique British choral
tradition. One of the most impressive features of the
Choir of London is its composition from which exquisite
vocal soloists step forward for arias and recitatives before
resuming their place in the body of the ensemble.
2013 has been an enormous year for the musicians of
the ACO, encompassing 97 main-stage concerts in
Australia and performances in Hong Kong and the USA.
We have collaborated with artists as diverse as pianist
Jeremy Denk, Barry Humphries, the Sydney Dance
Company and cinematographer Jon Frank, and we
launched ACO VIRTUAL, our immersive, interactive
digital installation.
We are hugely grateful to audiences around the country
for attending our concerts throughout the year and, with
the joyous, resounding flourishes of Bach’s Christmas
Oratorio, we wish you all a very happy Christmas and
look forward to seeing you in a music-filled year in 2014.
TIMOTHY CALNIN
GENERAL MANAGER
AUSTRALIAN CHAMBER ORCHESTRA
PRE-CONCERT TALKS
Free talks about the concert take
place 45 minutes before the start
of every concert at the venue.
PRE-CONCERT SPEAKERS
Canberra
Sydney
Melbourne
Sun 15 Dec
Mon 16 Dec
Thu 19 Dec
Michael Stevens
Michael Stevens
John Weretka
J.S. BACH
Christmas Oratorio, BWV248
(Composed 1733–1734)
BACKGROUND
Bach’s cantatas were closely associated with the texts of the
New Testament readings at the main morning service, thus
providing a commentary and reflection on the Scripture
concerned. Most importantly, the music provided a depth of
emotional engagement that no other art could muster. Thus, in
the tradition of Martin Luther’s own supreme regard for both
music and preaching, the cantata was profiled as a focal point
of the service, together with the sermon itself (indeed these
followed one another in the liturgy).
Johann Sebastian
Bach
(b. Eisenach, 1685 — d. Leipzig,
1750)
J.S. Bach is one of the greatest,
if not the single greatest, of all
composers. A working musician
his entire life, his composition
ranges from the deeply spiritual
to the flamboyantly virtuosic,
radiating an irresistible energy
and joy which continues to touch
listeners profoundly.
Cantata: a composite vocal
genre of the Baroque era,
consisting of a succession of
solo arias, duets and other
pieces for various combinations
of solo voices.
Oratorio: an extended musical
drama featuring sung words
based on religious subject
matter.
The Christmas Oratorio, a cycle of six cantatas, is no
exception to this pattern; each of the six cantatas was
performed separately over six successive celebrations during
the Christmas period in 1734–5. However, while much of
the Biblical text in regular cantatas is presented in short
quotations or paraphrased in modern poetry, the Christmas
Oratorio contains the complete Gospel narrative of the
Nativity (Luke 2:1–21 and Matthew 2:1–12), something that
renders the work analogous to other familiar oratorios such
as Part I of Handel’s Messiah.
The Christmas Oratorio’s printed libretto for the Leipzig
congregations (issued towards the end of 1734), shows that the
cycle began with the performance of Part I in both Nikolai and
Thomas churches, with Part II likewise performed twice on
St. Stephen’s day; Part III was performed in the Nikolai church
on 27 December (St John’s Day), Part IV on 1 January in both
churches (to celebrate the feast of the Circumcision); Part V
on the following day (the first Sunday after New Year), in the
Nikolai church; and Part VI on 6 January, in both churches
(for the feast of the Epiphany).
During the Advent season it was not customary to perform
elaborate church music in Leipzig, so Bach had nearly a
month to prepare the six cantatas. When he first arrived in
Libretto: the words sung in an
opera or oratorio.
Nikolaikirche
Thomaskirche
that city some ten years before, in 1723, he composed at a
frenetic rate, producing one cantata every week for at least
three years. However, by the 1730s he seems to have become
accustomed to a much more leisurely rate of composition
(although it was still remarkable by modern standards).
Moreover, he often reused earlier music – not necessarily to
save time, but probably as part of a project of perfecting his
music – refining and recasting those pieces which he most
obviously valued.
WORK IN DETAIL
The Christmas Oratorio is largely adapted from four secular
cantatas that Bach had composed in 1733–4. Laßt uns sorgen,
laßt uns wachen (Let us take care, let us watch), BWV213, was
performed on 5 September 1733 to celebrate the birthday of
the Crown Prince, Friedrich Christian of Saxony. The music
for all the choruses and arias except the final chorus was
reused in the Christmas Oratorio: one piece in each of Parts
I–III and three pieces in Part IV.
Tönet, ihr Pauken! Erschallet, Trompeten! (Resound, ye
drums! Ring out, ye trumpets!), BWV214, was written for
the birthday of Maria Josepha, Electress of Saxony and
now (owing to her husband’s election to the throne) Queen
of Poland, on 7 December 1733. Like BWV213, this was
performed by Leipzig’s Collegium Musicum, which Bach
had directed in regular coffee-house concerts since 1729.
Bach used four movements in the Christmas Oratorio, one
movement in each of Parts II and III, and two movements in
Part I. The first movement of Part I, with its opening timpani
solo and trumpet fanfares, clearly fits the original text more
precisely (‘Sound your drums, blow your trumpets’), although
it is hardly inappropriate as a more general expression of
Christian praise, one that makes a particularly effective
opening for the Oratorio as a whole.
Preise dein Glücke, gesegnetes Sachsen (Praise your good
fortune, blessed Saxony), BWV215, celebrating the first
anniversary of the accession of Augustus II as Elector of
Saxony and (soon thereafter) King of Poland, was first
performed on 5 October 1734 in the market place in Leipzig,
in the presence of the royal family. Politically, this might well
have marked the highpoint of Bach’s entire career, since he was
soon to earn the prestigious royal title that he placed before
all others on official documents. Cantata 215 provides a single
movement for the Christmas Oratorio, in Part V (No.47).
The fourth cantata adapted for the Christmas Oratorio is
known only from the incomplete instrumental parts of a lost
cantata catalogued as BWV248a, and this provides much
of the music for Part VI. It seems that Bach used virtually
every movement of this piece, since the parts show very little
alteration.
Recitative: a style of song that
imitates and emphasises the
natural inflections, rhythms and
syntax of speech.
Chorale: a melody to which a
congregational hymn is sung.
Obbligato: a prominent but
largely oranmental accompanying
part such as a countermelody.
Oboe d’amore and oboe da
caccia: See page 23.
Turba: (literally translated to
‘crowd’ in Latin) refers to any
text in the Passion of Jesus
spoken by a group of people.
In musical settings, ‘turba’
refers to any direct address
in the Passion not spoken by
Jesus.
Obviously the recitatives, which propel much of the
Christmas narrative, and the twelve chorales that provide
appropriate commentary from the standard Lutheran
literature, did not belong to the secular models; most were
presumably composed or (in the case of the chorales)
arranged specifically for the Oratorio. Only five movements
remain unaccounted for in earlier works, although it is
possible that the majority of these are parodies of works
that have since been lost. Certainly, the topical Pastoral
Sinfonia to Part II seems to be freshly composed, as does
much of the expressive alto aria with violin obbligato, No.31
from Part III (derived as it is from an abandoned sketch in
Cantata 215).
For Parts I, III and VI the orchestra includes trumpets and
timpani, those instruments particularly associated with
festive, royal occasions. These cantatas both begin and end
with the most festive writing and together frame Part II. This
presents an entirely different orchestral sound, characterised
by an extraordinary band of four ‘non-standard’ oboes (oboes
d’amore and oboes da caccia) which, together with flutes,
evoke the pastoral scene at the manger.
The theologian Robin Leaver notes that Bach links the
Christmas celebration with Passion music and theology
in the last three parts. First, in Part IV, the bass recitatives
(movements which frame the central soprano aria) are
meditations on the name of Jesus which are combined with
the Passiontide chorale Jesu, du mein liebstes Leben (Jesus,
Thou that for me livest). Thus they specifically associate
the first shedding of the blood of Christ (i.e. circumcision)
with the crucifixion. In Part V the Evangelist announces the
arrival of the wise men followed by their question: ‘Where
is He that is born King of the Jews?’ This chorus is strongly
reminiscent of the turba choruses in Bach’s Passions,
suggesting that Bach had Passion music in mind at this point
(some suggest that this chorus might derive from the lost
Mark Passion, BWV247). The finale chorale of Part VI is a
sumptuous setting of the melody Herzlich tut mich verlangen
(My heart is ever yearning), the ‘Passion Chorale’ itself.
Furthermore, this ‘Passion Chorale’ melody has already been
heard, as the first chorale of Part I. As both the first and
the last chorale of the Christmas Oratorio as a whole, this
emphasises the very purpose of Christmas as celebrating the
Incarnation which would eventually lead to Crucifixion and
Atonement.
When the music of the Christmas Oratorio is compared with
that of the earlier narrative oratorios (principally the great
Passion settings) it often seems to present a considerably
lighter style. Obviously, much of this relates to the difference
of subject matter, but it also evidences a new stylistic
direction that Bach embarked upon in the early 1730s. He
seems to have made a conscious effort to integrate elements
from the more modern galant idioms, characterised by
graceful, strongly-phrased melodies (e.g. No.19 from Part
II, No.29 from Part III), and lighter folk-inspired idioms
(particularly in Part II). The trumpet writing is of uncommon
virtuosity and was undoubtedly inspired by the renowned
skills of the Leipzig city trumpeter, Gottfried Reiche. In the
context of the homage music for the Saxon royal family,
Reiche would have been an important musical ambassador
for the city of Leipzig. Unfortunately his efforts in performing
for the royal celebrations on 5 October 1734 (when BWV215
was performed) and the effects of torch smoke had an adverse
effect, and he died the following day. Thus the return of the
trumpet movements from the secular cantatas in the guise
of the Christmas Oratorio only a few months later must have
struck a particularly melancholy note in Leipzig.
Lest it be thought that Bach was either lazy or sacrilegious
in converting music originally conceived for earthly royalty
to sacred purposes, it should be remembered that royalty
was still often accorded a God-given authority in Bach’s age;
it was seen as being a major part of the hierarchical system
of authority for which God functioned as the apex. In
other words, Bach’s belief in the divine right of monarchs
was probably a piece of his belief and trust in God. Indeed,
when many sought to challenge the absolute authority of
the monarch in Bach’s environment, Bach very clearly sided
with the royalist party, his faithfulness to the royal office
even overriding the fact that the Elector of Saxony was
a Catholic. The three surviving secular models for the
Christmas Oratorio celebrate royal birthdays or newlyacquired royal authority, so Bach doubtless saw a direct
analogy with the celebration of the birth of Christ. Much
of the text and music of the resulting oratorio points to the
figure of Christ as supremely ‘royal’.
JOHN BUTT © 2013
J.S. BACH
Christmas Oratorio, BWV248
Part I: For the First Day of Christmas
1. Coro
Chorus
Jauchzet, frohlocket! auf, preiset die Tage,
Rühmet, was heute der Höchste getan!
Lasset das Zagen, verbannet die Klage,
Stimmet voll Jauchzen und Fröhlichkeit an!
Dienet dem Höchsten mit herrlichen Chören,
Laßt uns den Namen des Herrschers verehren!
Triumph, rejoicing, rise, praising these days now,
Tell ye what this day the Highest hath done!
Fear now abandon and banish complaining,
Join, filled with triumph and gladness, our song!
Serve ye the Highest in glorious chorus,
Let us the name of our ruler now honour!
2. Recitativo
Recitative
Evangelist
Evangelist
Es begab sich aber zu der Zeit, daß
ein Gebot von dem Kaiser Augusto
ausging, daß alle Welt geschätzet würde.
Und jedermann ging, daß ersich schätzen ließe,
ein jeglicher in seine Stadt.
Da machte sich auch auf Joseph aus Galiläa,
aus der Stadt Nazareth, in das jüdische Land
zur Stadt David, die da heißet Bethlehem;
darum, daß er von dem Hause und Geschlechte
David war: auf daß er sich schätzen ließe mit
Maria, seinem vertrauten Weibe, die war
schwanger. Und als sie daselbst waren,
kam die Zeit, daß sie gebären sollte.
It occurred, however, at the time that
a decree from the Emperor Augustus
went out that all the world should be enrolled.
And everyone then went forth to be enrolled,
each person unto his own city.
And then as well went up Joseph from Galilee
from the city of Nazareth into the land of Judea
to David’s city which is called Bethlehem,
because he was of the house and of the
lineage of David, to be enrolled there with
Mary, who was betrothed to be his wife, and she
was pregnant. And while they were in that place,
there came the time for her to be delivered.
3. Recitativo
Recitative
Nun wird mein liebster Bräutigam,
Nun wird der Held aus Davids Stamm
Zum Trost, zum Heil der Erden
Einmal geboren werden.
Nun wird der Stern aus Jakob scheinen,
Sein Strahl bricht schon hervor.
Auf, Zion, und verlasse nun das Weinen,
Dein Wohl steigt hoch empor!
Now is my dearest bridegroom rare,
Now is the prince of David’s stem
As earth’s redeeming comfort
Here born in time amongst us.
Now will shine bright the star of Jacob,
Its beam e’en now breaks forth.
Rise, Zion, and abandon now thy weeping,
Thy fortune soars aloft.
4. Aria
Aria
Bereite dich, Zion, mit zärtlichen Trieben,
Den Schönsten, den Liebsten bald bei
dir zu sehn!
Deine Wangen
Müssen heut viel schöner prangen,
Eile, den Bräutigam sehnlichst zu
lieben!
Prepare thyself, Zion, with tender affection,
The fairest, the dearest soon midst
thee to see!
Thy cheeks’ beauty
Must today shine much more brightly,
Hasten, the bridegroom to love with deep
passion.
5. Choral
Chorale
Wie soll ich dich empfangen
Und wie begegn‘ ich dir?
O aller Welt Verlangen,
O meiner Seelen Zier!
O Jesu, Jesu, setze
Mir selbst die Fackel bei,
Damit, was dich ergötze,
Mir kund und wissend sei!
How shall I then receive thee
And how thy presence find?
Desire of ev’ry nation,
O glory of my soul!
O Jesus, Jesus,
Set out for me thy torch,
That all that brings thee pleasure
By me be clearly known.
6. Recitativo
Recitative
Evangelist
Evangelist
Und sie gebar ihren ersten Sohn und
wickelte ihn in Windeln und legte ihn
in eine Krippen, denn sie hatten sonst
keinen Raum in der Herberge.
And she brought forth her first-born son and
wrapped him in swaddling cloths and laid him
within a manger, for they had no other room
in the inn for them.
7. Choral e recitativo
Chorale and recitative
Sopranos
Sopranos
Er ist auf Erden kommen arm,
He is to earth now come so poor,
Bass
Bass
Wer will die Liebe recht erhöhn,
Die unser Heiland vor uns hegt?
Who will the love then rightly praise
Which this our Savior for us keeps?
Sopranos
Sopranos
Daß er unser sich erbarm,
That he us his mercy show
Bass
Bass
Ja, wer vermag es einzusehen,
Wie ihn der Menschen Leid bewegt?
Yea, is there one who understandeth
How he by mankind’s woe is moved?
Sopranos
Sopranos
Und in dem Himmel mache reich,
And in heaven make us rich
Bass
Bass
Des Höchsten Sohn kömmt in die Welt,
Weil ihm ihr Heil so wohl gefällt,
The Most High’s Son comes in the world
Whose health to him so dear is held,
Sopranos
Sopranos
Und seinen lieben Engeln gleich.
And to his own dear angels like.
Bass
Bass
So will er selbst als Mensch geboren werden.
So will he as a man himself be born now.
Sopranos
Sopranos
Kyrieleis!
Kyrieleis!
8. Aria
Aria
Großer Herr, o starker König,
Liebster Heiland, o wie wenig
Achtest du der Erden Pracht!
Mighty Lord, O strongest sovereign,
Dearest Savior, O how little
Heedest thou all earthly pomp!
Der die ganze Welt erhält,
Ihre Pracht und Zier erschaffen,
Muß in harten Krippen schlafen.
He who all the world doth keep,
All its pomp and grace hath fashioned,
Must within the hard crib slumber.
9. Choral
Chorale
Ach mein herzliebes Jesulein,
Mach dir ein rein sanft Bettelein,
Zu ruhn in meines Herzens Schrein,
Daß ich nimmer vergesse dein!
Ah my belove’d Jesus-child,
Make here thy bed, clean, soft and mild
For rest within my heart’s own shrine,
That I no more fail to be thine!
Part II: For the Second Day of Christmas
10. Sinfonia pastorale
10. Sinfonia pastorale
11. Recitativo
Recitative
Evangelist
Evangelist
Und es waren Hirten in derselben
Gegend auf dem Felde bei den
Hürden, die hüteten des Nachts
ihre Herde. Und siehe, des Herren
Engel trat zu ihnen, und die Klarheit
des Herren leuchtet um sie,
und sie furchten sich sehr.
And there were shepherds in that
very region in the field nearby their
sheepfolds, who kept their watch by night
over their flocks. And see now,
the angel of the Lord came before them,
and the glory of the Lord shone round about
them, and they were sore afraid.
12. Choral
Chorale
Brich an, o schönes Morgenlicht,
Und laß den Himmel tagen!
Du Hirtenvolk, erschrecke nicht,
Weil dir die Engel sagen,
Daß dieses schwache Knäbelein
Soll unser Trost und Freude sein,
Dazu den Satan zwingen
Und letztlich Friede bringen!
Break forth, O beauteous morning light,
And bring day to the heavens!
Thou shepherd folk, be not afraid,
For thee the angel telleth
That this the helpless little boy
Shall be our comfort and our joy,
Here for to conquer Satan
And peace at last to bring us!
13. Recitativo
Recitative
Evangelist
Evangelist
Und der Engel sprach zu ihnen:
And the angel spake unto them:
Engel
Angel
Fürchtet euch nicht, siehe, ich
verkündige euch große Freude, die
allem Volke widerfahren wird. Denn
euch ist heute der Heiland geboren,
welcher ist Christus, der Herr, in der Stadt David.
Be not afraid, see now, I proclaim to
you news of great gladness, which all
the nations of the world will learn.
For to you today is the Savior born,
who is Christ, the Lord, in the city of David.
14. Recitativo
Recitative
Was Gott dem Abraham verheißen,
Das läßt er nun dem Hirtenchor
Erfüllt erweisen.
Ein Hirt hat alles das zuvor
Von Gott erfahren müssen.
Und nun muß auch ein Hirt die Tat,
Was er damals versprochen hat,
Zuerst erfüllet wissen.
What God to Abraham did promise,
This hath he to the shepherd choir
Revealed and proven.
A shepherd all this once before
Of God to learn was destined;
And now as well a shepherd must
The deed of yore he promised us
Be first to see completed.
15. Aria
Aria
Frohe Hirten, eilt, ach eilet,
Eh ihr euch zu lang verweilet,
Eilt, das holde Kind zu sehn!
Geht, die Freude heißt zu schön,
Sucht die Anmut zu gewinnen,
Geht und labet Herz und Sinnen!
Joyful shepherds, haste, ah hasten,
Ere ye here too long should tarry,
Haste, the gracious child to visit!
Go, your gladness is too fair,
Seek his grace’s inspiration,
Go and comfort heart and spirit.
16. Recitativo
Recitative
Evangelist
Evangelist
Und das habt zum Zeichen: Ihr werdet
finden das Kind in Windeln gewickelt
und in einer Krippe liegen.
And let this be your sign: ye will
discover the babe in swaddling clothes
there wrapped and in a manger lying.
17. Choral
Chorale
Schaut hin, dort liegt im finstern Stall,
Des Herrschaft gehet überall!
Da Speise vormals sucht ein Rind,
Da ruhet itzt der Jungfrau‘n Kind.
Look there, he lies in manger drear
Whose power reacheth ev’rywhere!
Where fodder once the ox did seek,
There resteth now the Virgin’s child.
18. Recitativo
Recitative
So geht denn hin, ihr Hirten, geht,
Daß ihr das Wunder seht:
Und findet ihr des Höchsten Sohn
In einer harten Krippe liegen,
So singet ihm bei seiner Wiegen
Aus einem süßen Ton
Und mit gesamtem Chor
Dies Lied zur Ruhe vor!
So go then there, ye shepherds, go,
That ye this wonder see:
And when ye find the Highest’s Son
Within an austere manger lying,
Then sing to him beside his cradle
In tones that sweetly ring
And with assembled choir
This song of slumber bring!
19. Aria
Aria
Schlafe, mein Liebster, genieße der Ruh,
Wache nach diesem vor aller Gedeihen!
Labe die Brust,
Empfinde die Lust,
Wo wir unser Herz erfreuen!
Sleep now, my dearest, enjoy now thy rest,
Wake on the morrow to flourish in splendour!
Lighten thy breast,
With joy be thou blest,
Where we hold our heart’s great pleasure!
20. Recitativo
Recitative
Evangelist
Evangelist
Und alsobald war da bei dem
Engel die Menge der himmlischen
Heerscharen, die lobten Gott und
sprachen:
And suddenly there was with the
angel the multitude of the host of
heaven, there praising God and
saying:
21. Coro
Chorus
Die Engel
Ehre sei Gott in der Höhe und Friede
auf Erden und den Menschen ein
Wohlgefallen.
Choir of Angels
22. Recitativo
Recitative
So recht, ihr Engel, jauchzt und singet,
Daß es uns heut so schön gelinget!
Auf denn! wir stimmen mit euch ein,
Uns kann es so wie euch erfreun.
’Tis meet, ye angels, sing and triumph,
That we today have gained such fortune!
Up then! We’ll join our voice to yours,
We can as well as ye rejoice.
23. Choral
Chorale
Wir singen dir in deinem Heer
Aus aller Kraft, Lob, Preis und Ehr,
Daß du, o lang gewünschter Gast,
Dich nunmehr eingestellet hast.
We sing to thee amidst thy host
With all our strength, laud, fame and praise,
That thou, O long desired guest,
Art come into this world at last.
Glory to God in the highest and peace
on the earth now and to mankind a
sign of favour.
Part III: For the Third Day of Christmas
24. Coro
Chorus
Herrscher des Himmels, erhöre das Lallen,
Laß dir die matten Gesänge gefallen,
Wenn dich dein Zion mit Psalmen erhöht!
Höre der Herzen frohlockendes
Preisen,
Wenn wir dir itzo die Ehrfurcht erweisen,
Weil unsre Wohlfahrt befestiget steht!
Ruler of heaven, give ear to our stammer,
Let these our weary refrains bring thee pleasure,
As thee thy Zion with psalms doth exalt!
Hear thou our hearts, though, exultant with
praises,
As we to thee here our homage now render,
For our salvation stands strong and secure!
25. Recitativo
Recitative
Evangelist
Evangelist
Und da die Engel von ihnen gen
Himmel fuhren, sprachen die Hirten
untereinander:
And when the angel went away
from them up to heaven, said the shepherds
one to another:
26. Coro
Chorus
Die Hirten
The Shepherds
Lasset uns nun gehen gen Bethlehem
und die Geschichte sehen, die da
geschehen ist, die uns der Herr
kundgetan hat.
Let us now go quickly to Bethlehem
and this event now witness which
hath here taken place, that which the
Lord made known to us.
27. Recitativo
Recitative
Er hat sein Volk getröst‘,
Er hat sein Israel erlöst,
Die Hülf aus Zion hergesendet
Und unser Leid geendet.
Seht, Hirten, dies hat er getan;
Geht, dieses trefft ihr an!
He brought his people hope,
He hath his Israel redeemed,
His help from Zion he hath sent us
And all our suff ’ring ended.
See, shepherds, this thing hath he done;
Go, this thing go and see!
28. Choral
Chorale
Dies hat er alles uns getan,
Sein groß Lieb zu zeigen an;
Des freu sich alle Christenheit
Und dank ihm des in Ewigkeit.
Kyrieleis!
This hath he all for us brought forth,
His great love to manifest;
Rejoice thus all Christianity
And thank him in eternity.
Kyrieleis!
29. Aria – Duetto
Aria – Duet
Herr, dein Mitleid, dein Erbarmen
Tröstet uns und macht uns frei.
Deine holde Gunst und Liebe,
Deine wundersamen Triebe
Machen deine Vatertreu
Wieder neu.
Lord, thy mercy, thy forgiveness,
Comforts us and sets us free.
Thy most gracious love and favour,
Thy most wonderful affection
Here make thy paternal faith
New again.
30. Recitativo
Recitative
Evangelist
Evangelist
Und sie kamen eilend und funden
beide, Mariam und Joseph, dazu das
Kind in der Krippe liegen. Da sie es
aber gesehen hatten, breiteten sie
das Wort aus, welches zu ihnen von
diesem Kind gesaget war. Und alle,
für die es kam, wunderten sich der
Rede, die ihnen die Hirten gesaget
hatten. Maria aber behielt alle diese
Worte und bewegte sie in ihrem
Herzen.
And they went forth quickly and found
there both Mary and Joseph, and the child
lying in the manger. When they, however,
had ceased their looking, they spread forth
the saying which had been told unto
them concerning this child. And all to
whom it came wondered at the story
which had been reported to them
by the shepherds. But Mary kept to
herself then all these sayings, and
she pondered them within her heart.
31. Aria
Aria
Schließe, mein Herze, dies selige
Wunder
Keep thou, my heart now, this most blessed
wonder
Fest in deinem Glauben ein!
Lasse dies Wunder, die göttlichen Werke,
Immer zur Stärke
Deines schwachen Glaubens sein!
Fast within thy faith alway!
And let this wonder, these godly achievements,
Ever as comfort
Of thy feeble faith abide!
32. Recitativo
Recitative
Ja, ja, mein Herz soll es bewahren,
Was es an dieser holden Zeit
Zu seiner Seligkeit
Für sicheren Beweis erfahren.
Oh yes, my heart shall ever cherish
All it at this most gracious time
To its eternal bliss
With certain signs of proof hath witnessed.
33. Choral
Chorale
Ich will dich mit Fleiß bewahren,
Ich will dir
Leben hier,
Dir will ich abfahren,
Mit dir will ich endlich schweben
Voller Freud
Ohne Zeit
Dort im andern Leben.
I will thee steadfastly cherish,
For thy sake
My life make,
In thee I will perish,
With thee will I one day hover
Full of joy
For alway
There when life is over.
34. Recitativo
Recitative
Evangelist
Evangelist
Und die Hirten kehrten wieder um,
preiseten und lobten Gott um alles,
das sie gesehen und gehöret hatten,
wie denn zu ihnen gesaget war.
And the shepherds then turned back again,
glorifying and praising God for all
the things which they had seen and had heard,
just as it had been told to them.
35. Choral
Chorale
Seid froh dieweil,
Daß euer Heil
Ist hie ein Gott und auch ein Mensch geboren,
Der, welcher ist
Der Herr und Christ
In Davids Stadt, von vielen auserkoren.
Be glad this while,
For now your health
Is here as God and as a man born to you,
The one who is
The Lord and Christ
In David’s city, out of many chosen.
[Coro]
[Chorus]
Herrscher des Himmels, erhöre das Lallen,
Laß dir die matten Gesänge gefallen,
Wenn dich dein Zion mit Psalmen erhöht!
Höre der Herzen frohlockendes
Preisen,
Wenn wir dir itzo die Ehrfurcht erweisen,
Weil unsre Wohlfahrt befestiget steht!
Ruler of Heaven, give ear to our stammer,
Let these our weary refrains bring thee pleasure,
As thee thy Zion with psalms doth exalt!
Hear thou our hearts, though, exultant with
praises,
As we to thee here our homage now render,
For our salvation stands strong and secure!
Part IV: For the Feast of the Circumcision of Christ
36. Coro
Chorus
Fallt mit Danken, fallt mit Loben
Vor des Höchsten Gnadenthron!
Gottes Sohn
Will der Erden
Heiland und Erlöser werden,
Gottes Sohn
Dämpft der Feinde Wut und Toben.
Fall and thank him, fall and praise him
At the Highest’s throne of grace!
God’s own Son
Will of earth the
Saviour and Redeemer be now,
God’s own Son
Stems our foe’s great wrath and fury.
37. Recitativo
Recitative
Evangelist
Evangelist
Und da acht Tage um waren, daß das
Kind beschnitten würde, da ward
sein Name genennet Jesus, welcher
genennet war von dem Engel, ehe
denn er im Mutterleibe empfangen ward.
And when eight days were accomplished
that the child be circumcised, was his
name then called Jesus, which was so
named by the angel, before he was
conceived within his mother’s womb.
38. Recitativo e Duetto
Recitative and Duet
Immanuel, o süßes Wort!
Mein Jesus heißt mein Hort,
Mein Jesus heißt mein Leben.
Mein Jesus hat sich mir ergeben,
Mein Jesus soll mir immerfort
Vor meinen Augen schweben.
Mein Jesus heißet meine Lust,
Mein Jesus labet Herz und Brust.
Immanuel, O sweetest word!
My Jesus is my shield,
My Jesus is my being.
My Jesus is to me devoted,
My Jesus shall I ever hold
Before my eyes suspended.
My Jesus is my joyful rest,
My Jesus soothes my heart and breast.
Soprano
Soprano
Jesu, du mein liebstes Leben,
Jesus, thou, my life belove’d,
Bass
Bass
Komm! Ich will dich mit Lust umfassen,
Come! I would now with joy embrace thee,
Soprano
Soprano
Meiner Seelen Bräutigam,
Of my soul the bridegroom true,
Bass
Bass
Mein Herze soll dich nimmer lassen,
My heart shall nevermore release thee,
Soprano
Soprano
Der du dich vor mich gegeben
Thou who didst for me surrender
Bass
Bass
Ach! So nimm mich zu dir!
Ah! Take me to thyself!
Soprano
Soprano
An des bittern Kreuzes Stamm!
Auch in dem Sterben sollst du mir
Das Allerliebste sein;
In Not, Gefahr und Ungemach
To the bitter cross’s tree!
E’en in my dying shalt thou my
Most cherished treasure be;
In need, in dread and sore distress
Seh ich dir sehnlichst nach.
Was jagte mir zuletzt der Tod für
Grauen ein?
Mein Jesus! Wenn ich sterbe,
So weiß ich, daß ich nicht verderbe.
Dein Name steht in mir geschrieben,
Der hat des Todes Furcht vertrieben.
I’ll look and yearn for thee.
What cruelty at last can death then
hound me with?
My Jesus! When I die here,
I know that I shall never perish.
Thy name is written deep within me,
It hath the fear of death now banished.
39. Aria
Aria
Flößt, mein Heiland, flößt dein Namen
Auch den allerkleinsten Samen
Jenes strengen Schreckens ein?
Nein, du sagst ja selber nein. (Nein!)
Sollt ich nun das Sterben scheuen?
Nein, dein süßes Wort ist da!
Oder sollt ich mich erfreuen?
Ja, du Heiland sprichst selbst ja. (Ja!)
Doth, my Saviour, doth thy name have
E’en the very smallest kernel
Of that awful terror now?
No, thyself thou sayest “No.” (No!)
Ought I now of death be wary?
No, the gentle word is here!
Rather, ought I greet it gladly?
Yes, O Saviour, thou say’st “Yes.” (Yes!)
40. Recitativo e choral
Recitative and chorale
Bass
Bass
Wohlan, dein Name soll allein
O joy, thy name shall now alone
Sopranos
Sopranos
Jesu, meine Freud und Wonne,
Meine Hoffnung, Schatz und Teil,
Jesus, my true joy and pleasure,
My true treasure, share and hope,
Bass
Bass
In meinem Herzen sein!
Within my bosom dwell!
Sopranos
Sopranos
Mein Erlösung, Schutz und Heil,
Hirt und König, Licht und Sonne,
My salvation, crown and health,
King and shepherd, sun and radiance,
Bass
Bass
So will ich dich entzücket nennen,
Wenn Brust und Herz zu dir vor Liebe
brennen.
Doch, Liebster, sage mir:
Thus will I call thy name with rapture
When breast and heart for thee with love
are burning.
But, dearest, tell me now:
Sopranos
Sopranos
Ach! wie soll ich würdiglich,
Mein Herr Jesu, preisen dich?
Ah, how shall I worthily,
My Lord Jesus, give thee praise?
Bass
Bass
Wie rühm ich dich, wie dank ich dir?
How thee to praise, how thee to thank?
41. Aria
Aria
Ich will nur dir zu Ehren leben,
Mein Heiland, gib mir Kraft und Mut,
Daß es mein Herz recht eifrig tut!
Stärke mich,
I would but for thine honor live now;
My Savior, give me strength of will,
That this my heart with zeal may do.
Strengthen me
Deine Gnade würdiglich
Und mit Danken zu erheben!
Thy mercy worthily
And with gratitude to honor!
42. Choral
Chorale
Jesus richte mein Beginnen,
Jesus bleibe stets bei mir,
Jesus zäume mir die Sinnen,
Jesus sei nur mein Begier,
Jesus sei mir in Gedanken,
Jesu, lasse mich nicht wanken!
Jesus order my beginning,
Jesus bide alway with me,
Jesus bridle my intention,
Jesus be my sole desire,
Jesus be in all my thinking,
Jesus, let me never waver.
Part V: For the First Sunday of the New Year
43. Coro
Chorus
Ehre sei dir, Gott, gesungen,
Dir sei Lob und Dank bereit.
Dich erhebet alle Welt,
Weil dir unser Wohl gefällt,
Weil anheut
Unser aller Wunsch gelungen,
Weil uns dein Segen so herrlich
erfreut.
Glory to thee, God, be sung now,
Thee be praise and thanks prepared,
Thee exalteth all the world,
For our good is thy desire,
For today
Is our ev’ry wish accomplished,
For us thy favor brings such splendid
joy.
44. Recitativo
Recitative
Evangelist
Evangelist
Da Jesus geboren war zu Bethlehem
im jüdischen Lande zur Zeit des
Königes Herodis, siehe, da kamen
die Weisen vom Morgenlande gen
Jerusalem und sprachen:
Now when Jesus was born in
Bethlehem in the land of Judea in
the days when Herod was the king,
behold, there came the wise from the
East to Jerusalem, who said:
45. Coro e Recitativo
Chorus and Recitative
Die Weisen
The Wise Men
Wo ist der neugeborne König der
Jüden?
Where doth the newborn babe, the king of the
Jews, lie?
Alto
Alto
Sucht ihn in meiner Brust,
Hier wohnt er, mir und ihm zur Lust!
Seek him within my breast,
He dwells here, mine and his the joy!
Die Weisen
The Wise Men
Wir haben seinen Stern gesehen im
Morgenlande
und sind kommen, ihn anzubeten.
We have indeed his star now
witnessed where morning riseth
and are come now to give him worship.
Alto
Alto
Wohl euch, die ihr dies Licht gesehen,
Es ist zu eurem Heil geschehen!
Blest ye, who have this light now witnessed,
It is for your salvation risen!
Mein Heiland, du, du bist das Licht,
Das auch den Heiden scheinen sollen,
Und sie, sie kennen dich noch nicht,
Als sie dich schon verehren wollen.
Wie hell, wie klar muß nicht dein Schein,
Geliebter Jesu, sein!
My Savior, thou, thou art that light,
Which to the nations shall shine also,
And they, they do not know thee yet,
As they e’en now would pay thee honor.
How bright, how clear must then thy rays,
Belove’d Jesus, be!
46. Choral
Chorale
Dein Glanz all Finsternis verzehrt,
Die trübe Nacht in Licht verkehrt.
Leit uns auf deinen Wegen,
Daß dein Gesicht
Und herrlichs Licht
Wir ewig schauen mögen!
Thy light all darkness doth consume,
The gloomy night to day transform.
Lead us upon thy pathways,
That we thy face
And glorious light
For evermore may witness!
47. Aria
Aria
Erleucht auch meine finstre Sinnen,
Erleuchte mein Herze
Durch der Strahlen klaren Schein!
Dein Wort soll mir die hellste Kerze
In allen meinen Werken sein;
Dies lässet die Seele nichts Böses beginnen.
Illumine, too, my gloomy spirit,
Illumine my bosom
With the beams of thy clear light!
Thy word shall be my brightest candle
In all the works which I shall do;
My soul shall this keep from all wicked endeavor.
48. Recitativo
Recitative
Evangelist
Evangelist
Da das der König Herodes hörte, erschrak er
und mit ihm das ganze Jerusalem.
And thus when Herod the king had heard this, he
trembled, and with him the whole of Jerusalem.
49. Recitativo
Recitative
Warum wollt ihr erschrecken?
Kann meines Jesu Gegenwart
euch solche Furcht erwecken?
O! solltet ihr euch nicht
Vielmehr darüber freuen,
Weil er dadurch verspricht,
Der Menschen Wohlfahrt zu verneuen.
Wherefore would ye be frightened?
Can my dear Jesus’s presence then in
you such fear awaken?
Oh! Should ye not by this
Instead be moved with gladness,
That he thereby hath pledged
To make anew mankind’s well-being!
50. Recitativo
Recitative
Evangelist
Evangelist
Und ließ versammlen alle
Hohepriester und Schriftgelehrten
unter dem Volk und erforschete von
ihnen, wo Christus sollte geboren
werden. Und sie sagten ihm: Zu
Bethlehem im jüdischen Lande; denn
also stehet geschrieben durch den
Propheten: Und du Bethlehem im
jüdischen Lande bist mitnichten die
And assembling all the high
priests and scribes from amongst
the people, did he then inquire of
them, where the birth of Christ was
supposed to happen. And they said
to him: “In Bethlehem in the land of
Judea; for even thus is it written by
the prophet: ‘And thou, Bethlehem,
in the land of Judea art by no means
kleinest unter den Fürsten Juda; denn
aus dir soll mir kommen der Herzog,
der über mein Volk Israel ein Herr sei.
the least among the princes of Judah;
for from thee shall to me come the ruler,
who shall over my people Israel be master.’ ”
51. Aria – Trio
Aria – Trio
Ach, wenn wird die Zeit erscheinen?
Ach, wenn kömmt der Trost der Seinen?
Schweigt, er ist schon würklich hier!
Jesu, ach so komm zu mir!
Ah, when will that time appear then?
Ah, when will his people’s hope come?
Hush, he is already here!
Jesus, ah, then come to me!
52. Recitativo
Recitative
Mein Liebster herrschet schon.
Ein Herz, das seine Herrschaft liebet
Und sich ihm ganz zu eigen gibet,
Ist meines Jesu Thron.
My dearest ruleth now.
The heart which his dominion loveth
And gives itself to him entirely
Shall be my Jesus’s throne.
53. Choral
Chorale
Zwar ist solche Herzensstube
Wohl kein schöner Fürstensaal,
Sondern eine finstre Grube;
Doch, sobald dein Gnadenstrahl
In denselben nur wird blinken,
Wird es voller Sonnen dünken.
Though in truth my heart’s poor lodging
Is no lovely royal hall,
Rather but a dreary chamber,
Yet, when once thy mercy’s beams
Bring to it the merest glimmer,
It seems as though with sun to shimmer.
Part VI: For the Feast of Epiphany
54. Coro
Chorale
Herr, wenn die stolzen Feinde schnauben,
So gib, daß wir im festen Glauben
Nach deiner Macht und Hülfe sehn!
Wir wollen dir allein vertrauen,
So können wir den scharfen Klauen
Des Feindes unversehrt entgehn.
Lord, when our boastful foes blow fury,
Help us to keep our faith unshaken
And to thy might and help to look!
We would make thee our sole reliance
And thus unharmed the cutting talons
And clutches of the foe escape.
55. Recitativo
Recitative
Evangelist
Evangelist
Da berief Herodes die Weisen
heimlich und erlernet mit Fleiß von
ihnen, wenn der Stern erschienen
wäre? und weiset sie gen Bethlehem
und sprach:
Then did Herod summon the wise
men in secret, and with diligence he
learned from them when the star was
to appear. And he sent them forth to
Bethlehem and said:
Herodes
Herod
Ziehet hin und forschet fleißig nach
dem Kindlein, und wenn ihr‘s findet,
sagt mir‘s wieder, daß ich auch
komme und es anbete.
Go ye forth and search with diligence
for the baby, and when ye find him,
bring me word, that I as well may
come and worship him.
56. Recitativo
Recitative
Du Falscher, suche nur den Herrn zu
fällen,
Nimm alle falsche List,
Dem Heiland nachzustellen;
Der, dessen Kraft kein Mensch ermißt,
Bleibt doch in sichrer Hand.
Dein Herz, dein falsches Herz ist schon,
Nebst aller seiner List, des Höchsten Sohn,
Den du zu stürzen suchst, sehr wohl bekannt.
Thou liar, seek nought but the Lord’s
destruction,
Lay ev’ry cunning snare
And pitfall for our Saviour;
He, whose great pow’r no man can gauge,
Abides in hands secure.
Thy heart, thy lying heart e’en now,
Along with all its guile, to God’s own Son
Whom thou dost strive to fell is fully known.
57. Aria
Aria
Nur ein Wink von seinen Händen
Stürzt ohnmächtger Menschen Macht.
Hier wird alle Kraft verlacht!
Spricht der Höchste nur ein Wort,
Seiner Feinde Stolz zu enden,
O, so müssen sich sofort
Sterblicher Gedanken wenden.
But a wave of his own hand will
Bring down feeble human might.
Here is all dominion mocked!
Speak the Highest but one word,
His opponents’ pride to finish,
Oh, then surely must at once
Change its course all mortal purpose.
58. Recitativo
Recitative
Evangelist
Evangelist
Als sie nun den König gehöret hatten,
zogen sie hin. Und siehe, der Stern,
den sie im Morgenlande gesehen
hatten, ging für ihnen hin, bis daß
er kam und stund oben über, da das
Kindlein war. Da sie den Stern sahen,
wurden sie hoch erfreuet und gingen
in das Haus und funden das Kindlein
mit MARIA, seiner Mutter, und fielen
nieder und beteten es an und täten
ihre Schätze auf und schenkten ihm
Gold, Weihrauch und Myrrhen.
And as soon as they had heard the king,
they went their way. And lo, the star,
which in the East they had seen
already, went before their way, until
it came and stood above that place where
the baby was. And when they saw the star,
they rejoiced with great gladness and went
into the house and found there the baby
with Mary, his mother, and fell before him
and worshipped him and opened up
their treasures then and gave to him
gold, incense, and myrrh.
59. Choral
Chorale
Ich steh an deiner Krippen hier,
O Jesulein, mein Leben;
Ich komme, bring und schenke dir,
Was du mir hast gegeben.
Nimm hin! es ist mein Geist und Sinn,
Herz, Seel und Mut, nimm alles hin,
Und laß dirs wohlgefallen!
I stand before thy cradle here,
O Jesus-child, my being,
I come now, bring and offer thee
What thou to me hast given.
Take all! It is my spirit, will,
Heart, soul and mind, take all to thee,
And let it serve thy pleasure!
60. Recitativo
Recitative
Evangelist
Evangelist
Und Gott befahl ihnen im Traum,
daß sie sich nicht sollten wieder zu
And God then warned them in a
dream that they should not go again
Herodes lenken, und zogen durch
einen andern Weg wieder in ihr Land.
unto Herod, and they went by
another way back to their country.
61. Recitativo
Recitative
So geht! Genug, mein Schatz geht nicht von hier,
Er bleibet da bei mir,
Ich will ihn auch nicht von mir lassen.
Sein Arm wird mich aus Lieb
Mit sanftmutsvollem Trieb
Und größter Zärtlichkeit umfassen;
Er soll mein Bräutigam verbleiben,
Ich will ihm Brust und Herz verschreiben.
Ich weiß gewiß, er liebet mich,
Mein Herz liebt ihn auch inniglich
Und wird ihn ewig ehren.
Was könnte mich nun für ein Feind
Bei solchem Glück versehren!
Du, Jesu, bist und bleibst mein Freund;
Und werd ich ängstlich zu dir flehn:
Herr, hilf!, so laß mich Hülfe sehn!
Then go! ‘Tis well, my treasure leaveth not,
He bideth here with me,
I will not ever let him leave me.
His arm will in his love
With soft affection’s warmth
And deepest tenderness embrace me;
He shall remain my faithful bridegroom,
I will my breast and heart assign him.
I know full well he loveth me,
My heart, too, loves him fervently
And shall alway adore him.
What harm to me could any foe
Amidst such fortune do now?
Thou, Jesus, art fore’er my friend;
And when in fear I cry to thee:
“Lord, help!,” let me thy help behold!
62. Aria
Aria
Nun mögt ihr stolzen Feinde schrecken;
Was könnt ihr mir für Furcht erwecken?
Mein Schatz, mein Hort ist hier bei mir.
Ihr mögt euch noch so grimmig stellen,
Droht nur, mich ganz und gar zu fällen,
Doch seht! mein Heiland wohnet hier.
Now may ye boastful foes be frightened;
Ye can in me what fear awaken?
My store, my hoard is here by me.
Be ye unbounded in your fury
And threaten me with utter ruin,
Beware, my Savior dwelleth here!
63. Recitativo
Recitative
Was will der Höllen Schrecken nun,
Was will uns Welt und Sünde tun,
Da wir in Jesu Händen ruhn?
What hope hath Hell’s own terrors now,
What harm will world and sin us do,
While we in Jesus’s hands rest sure?
64. Choral
Chorale
Nun seid ihr wohl gerochen
An eurer Feinde Schar,
Denn Christus hat zerbrochen,
Was euch zuwider war.
Tod, Teufel, Sünd, und Hölle
Sind ganz und gar geschwächt;
Bei Gott hat seine Stelle
Das menschliche Geschlecht.
Now are ye well avenged
Upon your hostile host,
For Christ hath fully broken
All that which you opposed.
Death, devil, hell, and error
To nothing are reduced;
With God hath now its shelter
The mortal race of man.
TRANSLATION © Z. PHILIP AMBROSE
www.uvm.edu/~classics/faculty/bach
INSTRUMENTS FROM
BACH’S TIME
FLUTE Georgia Browne
I will be playing on a replica of a one-keyed flute by IH
Rottenburgh, Brussels, c.1740 made by Rudolf Tutz in
Innsbruck, 2005. It is made from European boxwood which is
very light in weight and colour and traditionally would have
been stained with reddish brown dyes. The original belongs to
my former teacher Barthold Kuijken and has been copied many
times, making it one of the most popular flute models used to
play mid-18th century repertoire.
OBOE Benoît Laurent
For this concert, I’m playing a copy made by M. and F. Ponseele,
of an original instrument in boxwood built by Thomas
Stanesby Jr. (b. London, 1692 – d. London, 1754), located in
the Musical Instrument Museum, Edinburgh, and a copy made
by A. Bernardini of an original instrument in boxwood built
by Johann Heinrich Eichentopf (b. Stollberg, 1686 – d. Leipzig,
1769) located in the Musical Instrument Museum, Brussels.
When you look at the importance of the oboe in J.S. Bach’s
music, it is very plausible that he had very good oboe players
at his disposal during his whole career. In most of his cantatas,
there is an obbligato aria for oboe, not to mention the solo
parts in his main oratorios. Much of the oboe music composed
during his Leipzig period was probably composed for a musician
by the name of Caspar Gleditsch (b. 1684 – d. 1747).
OBOE D’AMORE Lidewei De Sterck
The instrument I will be playing is made by Marcel Ponseele.
The oboe d’amore is after Johann Eichentopf, an oboe-maker
from Leipzig at the time of J.S. Bach.
These performances of the
Christmas Oratorio will be
performed on gut strings,
pitched at A415.
The reason why oboe-players usually play on copies and not on
original instruments is that there are very few instruments left,
and the ones that are left are often not in good condition. Unlike
string instruments, wind instruments suffer from being used
because of the humidity of the air that is blown into them. The
original Baroque instruments which are still in good condition
are therefore mostly kept in private collections and museums.
OBOE DA CACCIA Julia Fankhauser
Because the body structure looks like a hunting horn the
instrument is called the oboe da caccia. However, despite its
name it was never used in hunting. The instrument is a tenor
oboe pitched at F, and it was in use between 1720 and 1760.
Notably, J.S. Bach included it in his oratorios and cantatas
written in Leipzig.
The oboe I will be performing on is a copy of an instrument
made by Johann Eichentopf. The artisan Paul Hailperin has
engraved at the bell following adage: PLUS FAIT DOUCEUR
QUE VIOLENCE (gentleness does more than violence).
BASSOON Jane Gower
In a sense the bassoon I am using is ‘doubly historical’. It is
a copy of an instrument from the Nuremberg workshop of
J.C. Denner from the early 1700s. Built by the London maker
Mathew Dart in 1991, it was on its way to an Australian
musical institution which ultimately could not pay for it.
Desperate as I was for my first Baroque bassoon, I stepped
in and purchased it. Considering what poor examples of
historical bassoons were floating around in those times, I was
extraordinarily fortunate to have landed this one. It has served
me faithfully throughout my career, despite my attempts to
replace it with ‘better’ makes.
Denner’s bassoons are amongst the very earliest models
known, and even coexisted with the dulcian, the bassoon’s
predecessor. Thus they lack some of the volume, the bore
refinements, the chromatic keys and the high register of
later 18th-century builds. As a basso continuo instrument I
have found it unrivalled, with its agility, its many-hued tone,
flexibility of articulation and ability to blend with the string
bass as well as voices. It is perhaps in playing the superlative
continuo lines of a composer such as Bach that the differences
between a Baroque and modern bassoon become most
apparent. The modern instrument is built for homogeneity
of attack, colour and control but is more laborious to play
continuo basslines with the subtlety and flexibility that is
needed to shade them.
HORN Anneke Scott
The horn first entered the musical world more as a sound
effect than as a musical instrument in its own right. The
17th-century enthusiasm for hunting had led to the rich and
influential pouring money into hunting, and anyone who had
aspirations to be rich and influential followed suit. Therefore
when we first start to see the horn in a musical setting it
is used as a sound effect, playing hunting calls and signals,
often in opera or theatrical music. This is a quick way for the
composer to signal to the audience that the scene in an opera
or play has shifted, that the action is now taking place outside
or on the hunting fields. The hunt servants who played the
hunting horn were invited into the concert hall or opera house
and barely had time to wipe the mud off their boots.
The French court was particular fond of hunting and the
spectacle that was part of such events. The French style of
hunting horn (known as the cor, or trompe, de chasse) was a
very wide looped instrument, whilst in England they preferred
the short bugle type of hunting horn. The longer the length
of tubing, the more notes you have available. The short bugle
could only manage two or three notes whilst the wide looped
instrument could manage 16.
Gradually composers started to see the musical benefit of
the wide looped instrument and started to integrate it in
the orchestra. When English audiences started to see this
instrument they would have identified it as a ‘French’ horn
rather than an ‘English’ horn, which is where the name ‘French
horn’ comes from, a term which we still use today despite the
fact that most of us horn players use a German system!
Whilst the Baroque horn was becoming more and more
popular, composers discovered that the Baroque horn has
certain limitations that they had to work around. The Baroque
horn is a simple wide looped coil of metal and only has
about 16 notes at its disposal – the notes of the harmonic
series. At the bottom of the range there are lots of gaps in
the sequence so only a few notes are available but the higher
you go, the closer you get to a scale with all its melodic
potential. Therefore many Baroque horn parts are either based
around triads (like the hunting calls heard at the beginning of
Brandenburg No.1) or are written very high in the range so as
to have enough notes to fashion melodies.
As the instrument is played with the hand out of the flared bell
it also has a distinctly different timbre to that of the modern
horn. The harmonic series isn’t bang in tune with modern
tuning systems and some of the notes can be a bit ‘fruity’ to
modern ears, requiring great skill on the part of the player
who needs to coax the notes into the right place. For example
the 11th harmonic lies halfway between two notes, F and
F sharp, yet Baroque composers call upon both notes and the
horn players have to tweak them one way or another. Later
in the 18th century horn players started to experiment with
putting their hand in the bell, which led to a new technique
and era of horn playing with a whole range of new colours and
timbres available to musicians and composers.
BAROQUE TRUMPET Leanne Sullivan
I perform on a Rainer Egger, an instrument maker in Basel,
Switzerland. The bell is modelled after instruments by Johann
Leonhard , Ehe II (1624-1724), in Nuremberg, Germany.
© Sussie Ahlburg
CHOIR OF LONDON
SOLOISTS
SOPHIE BEVAN Soprano
Sophie Bevan studied at the Royal College of Music
International Opera School. Aside from an extensive concert
repertoire, her roles at English National Opera have included
Xenia – Mussorgsky/Boris Godunov, Despina – Mozart/Così
fan tutte, Handel/Messiah (also Opéra de Lyon), Polissena –
Handel/Radamisto, Yum-Yum – Sullivan/The Mikado, Telaire –
Rameau/Castor and Pollux (directed by Barrie Kosky) and
Sophie – Strauss/Der Rosenkavalier. For Welsh National Opera
she sang the title role in Janáček/The Cunning Little Vixen,
and for Garsington Opera she performed Susanna – Mozart/
Le nozze di Figaro and Donna Elvira – Mozart/Don Giovanni.
Sophie made her debut at the Royal Opera House, Covent
Garden as the Woodbird – Wagner/Siegfried and returned as
Pamina – Mozart/The Magic Flute. These performances mark
Sophie’s debut with the Choir of London.
ANNA DENNIS Soprano
Anna Dennis’ concert performances include Britten/War
Requiem (Berlin Philharmonie), Mozart/Mass in C minor (New
York), Bach/Christmas Oratorio (Tokyo), Handel/L’Allegro,
Il Penseroso ed Il Moderato (Paul McCreesh in Cracow),
Mendelssohn/Elijah alongside Bryn Terfel, and the modern
premiere of the 1754 Rameau/Anacréon (Orchestra of the Age
of Enlightenment). Anna’s performances of Berio/Folksongs
(Britten Sinfonia), George Crumb song cycles (Galliard
Ensemble) and Schoenberg/Pierrot Lunaire (Psappha) were
all broadcast on BBC Radio 3. In recital Anna has appeared
extensively including at the Aldeburgh Festival and Wigmore
Hall, and she gave the Russian premiere of Thomas Adès/
Life Story. Operatic appearances include productions at
Birmingham Opera Company, English National Opera, the
Young Vic, Bregenz Festival and La Scala, Milan. This is Anna’s
Choir of London debut.
JULIA DOYLE Soprano
Julia Doyle performs all over the world with many of Europe’s
top ensembles and is fast establishing a specialist career
in Baroque repertoire. Highlights include Haydn/Scena di
Berenice (BBC Philharmonic/Gianandrea Noseda), Mozart/
Exultate Jubilate (Arsys Bourgogne/Cité de la Musique, Paris),
Bach/St John Passion (English Baroque Soloists/Sir John Eliot
Gardiner), Bach/St Matthew Passion (Collegium Vocale/
Philippe Herreweghe/Alice Tully Hall, New York), Handel/
© Michael Kämpf
Messiah (Royal Philharmonic Orchestra/Royal Albert Hall and
The King’s Consort/Palace of Versailles), Handel/Occasional
Oratorio (English Concert/Halle Handelfestspiele), Handel/La
Resurrezione (Wigmore Hall), and Bach/Christmas Oratorio
(RTE Orchestra Dublin/Matthew Halls). Julia has recently
recorded Handel/L’Allegro (Koelner Kammerchor/Peter
Neumann), Handel/Israel in Egypt (Arsys Bourgogne/Pierre
Cao), Handel/Messiah (Britten Sinfonia/Stephen Layton),
and Lutosławski/Dwadziesci Koled (BBC Symphony/David
Zinman). These performances mark Julia’s debut with the Choir
of London.
FIONA CAMPBELL Alto
Fiona Campbell performs regularly with the Australian
Chamber Orchestra and all of the other major ensembles,
orchestras and opera companies in Australia. Her
international collaborators include the Brodsky Quartet,
Tokyo Philharmonic, Soloists of Royal Opera House
Orchestra, Manchester Camerata, Hong Kong Philharmonic,
Glyndebourne Festival Opera and Opera North. Operatic roles
have included Olga – Tchaikovsky/Eugene Onegin, Dorabella –
Mozart/Così fan tutte, Venus – Wagner/Tannhäuser, Idamante
– Mozart/Idomeneo and Cherubino – Mozart/Le nozze di
Figaro (Helpmann Award nomination). 2013 highlights include
Dido – Purcell/Dido and Aeneas (Sydney Philharmonia),
Cinderella – Rossini/Cinderella (Opera Queensland/Wyn
Davies & Simon Kenway), Berlioz/Les Nuits d’été (West
Australian Symphony Orchestra/Paul McCreesh), Haydn/
Theresienmesse (Melbourne Symphony Orchestra/Bernard
Labadie) and Mozart/Mass in C minor (Australian Brandenburg
Orchestra/Paul Dyer). This is Fiona’s debut with the Choir of
London.
ANNIE GILL Alto
Annie Gill was a young artist at L’Opéra National du Rhin,
where she began her international career with roles in Die
Walküre and L’Incoronazione di Poppea. Since then she has
been in constant demand, singing at Glyndebourne, Opera
North, Opéra Comique, Scottish Opera, Wexford Opera
Festival, and with the Orchestre Philharmonique de Radio
France, the Orchestre Revolutionnaire et Romantique and the
Orchestra of the Age of Enlightenment. Her repertoire ranges
from Bach to world premieres by David Sawer and Edward
Hughes, via Chabrier, Rossini, Duruflé, Britten and Bizet, and
she has sung with conductors including Sir John Eliot Gardiner,
Marko Letonja, Nicholas Cleobury and Rinaldo Alessandrini.
Annie’s Choir of London debut was in 2006.
© Dan Welldon
CATHERINE HOPPER Alto
Catherine Hopper studied at the University of Leeds, the
Weimar Franz Liszt Hochschule, the Royal Academy of
Music and the National Opera Studio. Roles include Dinah –
Bernstein/Trouble in Tahiti (Psappha /Queen Elizabeth Hall
and Buxton Festival), Lucretia – Britten/The Rape of Lucretia
(Key Productions/Arcola Theatre), Hänsel – Humperdinck/
Hänsel und Gretel (Opera Holland Park), Popova – Walton/
The Bear (Mahogany Opera), Second Lady – Mozart/The Magic
Flute (Clonter Opera and Garsington), Dido – Purcell/Dido and
Aeneas (Os músicos do Tejo/Lisbon), and Rossweisse – Wagner/
Die Walküre (Opera North). Concert work includes Vaughan
Williams/Serenade to Music (Sir Andrew Davis/BBC Proms),
Strauss/Salome (Valery Gergiev/Verbier Festival) and Bach/
St Matthew Passion (Orchestra of the Age of Enlightenment).
Catherine’s Choir of London debut in 2009 was as Mary –
Berlioz/L’Enfance du Christ (Sir Colin Davis).
JEREMY BUDD Tenor
© Portia Crossley
Jeremy Budd’s many concert performances include Haydn/
Seasons and Britten/Serenade (both Harry Christophers),
Mozart/Requiem and Mozart/Mass in C Minor (Sir John Eliot
Gardiner) in San Francisco and New York, Bach/St John Passion
(Gurzenich Orchestra, Cologne), Purcell/Ode on St.Cecilia’s
Day (Gardiner in Paris and London, Gabrieli Consort/Paul
McCreesh in Beaune and the Concertgebouw, Amsterdam),
and Damon – Handel/Acis and Galatea, Mendelssohn/Elijah,
Handel/Messiah, and Haydn/Creation (all McCreesh). Jeremy
made his Proms debut in Bach/St John Passion (Gardiner), and
his Canadian debut with Les Violons du Roy/Bernard Labadie.
Operatic engagements include Bach/St John Passion (staged) in
Paris and Monteverdi/Orfeo in Lille (both Emmanuelle Haïm),
and Pilade – Handel/Oreste at the Linbury Studio Theatre, Royal
Opera House. These performances mark Jeremy’s debut with the
Choir of London.
THOMAS HOBBS Tenor
Thomas Hobbs has performed and recorded with many leading
ensembles including The Tallis Scholars, The Sixteen, The
Cardinall’s Musick and the Dunedin Consort. His operatic roles
include the title role in Britten/Albert Herring, Acis – Handel/
Acis and Galatea, Ferrando – Mozart/Così fan tutte, and a
critically acclaimed Telemachus – Monteverdi/The Return
of Ulysses (English National Opera/Jonathan Cohen). Recent
concert performances include Bach/St Matthew Passion
(Collegium Vocale), Bach/B Minor Mass (Akademie für Alte
Musik Berlin, Bach Akademie Stuttgart, Freiburg Bachchor),
the title role in Handel/Joshua (Akademie für Alte Musik/RIAS
© Raphaelle Photography
Kammerchor), Beethoven/Mass in C (Stuttgart Kammerchor),
and Apollo and Shepherd – Monteverdi/Orfeo (Richard Egarr)
in semi-staged performances at London’s Barbican Centre.
This is Thomas’ Choir of London debut.
NICHOLAS MULROY Tenor
Nicholas Mulroy is the most sought-after Evangelist of his
generation. Concert appearances include Bach/St John Passion
(Le Musiciens du Louvre/Marc Minkowski, Gabrieli Consort/
Paul McCreesh, Polyphony/Stephen Layton), Bach/Christmas
Oratorio (Monteverdi Choir/Sir John Eliot Gardiner), and
Handel/Messiah (Royal Scottish National Orchestra/Nicholas
McGegan, Orchestra of the Age of Enlightenment). Operatic
engagements include Rameau/Hippolyte et Aricie at the Paris
Opéra, Dardanus (title role) with Emmanuelle Haïm and
Monteverdi/L’Incoronazione di Poppea (Glyndebourne on
Tour, Opéra de Lille, Opéra de Dijon). Recordings include
a Gramophone Award-winning Handel/Messiah, Bach/St
Matthew Passion, and Handel/Acis and Galatea (Dunedin
Consort/John Butt), and Bach/St John Passion (both Polyphony/
Layton and Dunedin Consort/Butt). Nicholas’s appearances
with the Choir of London include Narrator – Berlioz/L’Enfance
du Christ (Sir Colin Davis) in London and Mozart/Requiem
(Richard Tognetti) in Slovenia.
ALEX ASHWORTH Bass
Alex Ashworth’s operatic roles include the titles in Tchaikovsky/
Eugene Onegin (Scottish Opera), Verdi/Falstaff (Opera
Vildmark), and Berg/Wozzeck (Welsh National Opera) as well
as Belcore – Donizetti/L’Elisir d’Amore, Alidoro – Rossini/La
Cenerentola (both Iford Festival), Silvio – Leoncavallo/I Pagliacci
(Icelandic Opera), Smirnov – Walton/The Bear (Mahogany
Opera) and Curio – Handel/Giulio Cesare (Glyndebourne
Festival Opera). Recent concert appearances include the
Icelandic premiere of Handel/Israel in Egypt (as well as a
European tour of the same work for Sir John Eliot Gardiner);
Duruflé/Requiem (also Gardiner), and Tobit – Haydn/II Ritorno
di Tobia (Orchestra of the Age of Enlightenment/Sir Roger
Norrington). Alex’s Choir of London appearances include
Joseph – Berlioz/L’Enfance du Christ (Sir Colin Davis) in
London, Marcello – Puccini/La Bohème (Nicholas Collon)
in Palestine and Mozart/Requiem (Richard Tognetti) in
Slovenia.
© Dan Welldon
SAMUEL EVANS Bass
Samuel Evans was a choral scholar at King’s College,
Cambridge, before completing his training at the Royal
College of Music. His operatic roles include Le Grand Prêtre –
Rameau/Castor et Pollux (Salle Pleyel/Sir John Eliot Gardiner),
Kilian – Weber/Der Freischütz (Opéra Comique and BBC
Proms/Gardiner), Garibaldo – Handel/Rodelinda (London
Handel Festival), The Forester – Janáček/The Cunning Little
Vixen (Ryedale Festival), Chelsias – Handel/Susanna (Iford
Festival) and Britten/Church Parables (Mahogany Opera).
Concert engagements include appearances with the English
Baroque Soloists/Sir John Eliot Gardiner, and Royal Northern
Sinfonia/Thomas Zehetmair. Samuel is Music Director of
Riverside Opera for which he recently conducted Bizet/
Carmen. Samuel’s appearances for the Choir of London
include Sarastro – Mozart/The Magic Flute (Nicholas Collon)
in Palestine, and Fauré/Requiem and Rutter/Requiem (John
Rutter) in London.
GEORGE HUMPHREYS Bass
George Humphreys is a graduate of St John’s College,
Cambridge, the Royal Academy of Music, and Opernhaus
Zürich’s International Opera Studio. Roles include Curio –
Handel/Julius Caesar (English National Opera/Christian
Curnyn), Belcore – Donizetti/L’Elisir d’Amore (Landestheater,
Bregenz), Starveling – Britten/A Midsummer Night’s
Dream (Teatro dell’Opera, Rome/James Conlon) and
Aeneas – Purcell/Dido and Aeneas (Opera Dijon/Jonathan
Cohen). He has performed with the Orchestra of the Age of
Enlightenment, the City of Birmingham Symphony Orchestra
and The Hanover Band, and at the London Handel Festival,
Göttingen Händel-Festspiele and the Royal Ballet, Covent
Garden. George is a founding Choir of London member,
appearing as Herod – Berlioz/L’Enfance du Christ (Sir Colin
Davis) in London, and Papageno – Mozart/The Magic Flute
and Colline – Puccini/La Bohème (both Nicholas Collon) in
Palestine.
CHOIR OF LONDON
Choir of London
Dima Bawab Soprano
Charmian Bedford Soprano
Sophie Bevan* Soprano
Anna Dennis* Soprano
Julia Doyle* Soprano
Lucy Page Soprano
Elaine Tate Soprano
Fiona Campbell* Alto
Annie Gill* Alto
Catherine Hopper* Alto
Kate Symonds-Joy Alto
Jeremy Budd* Tenor
Thomas Hobbs* Tenor
Nicholas Mulroy* Tenor
Richard Rowntree Tenor
Alex Ashworth* Bass
Samuel Evans* Bass
George Humphreys* Bass
Richard Latham Bass
Assistant Chorusmaster
* Soloist
Management
John Harte General Manager
Alice Howick Tour Manager
Michael Stevens General Manager
Jeremy Summerly Chorusmaster
The Choir of London is not just a choir: it is a flexible
community of musicians who create change. It can be a string
quartet or a touring opera company; it hosts festivals that
inspire communities; it empowers young musicians through
learning; and it is a charitable trust, committed to helping
Palestine’s musicians take a place on the world stage. The Choir
of London exists to give outstanding professional musicians
a chance to contribute their time and skills to charitable
work, and to harness their energy to develop access to music
in places that need it most. It has made five major tours to
the Middle East engaging with over 1,500 local and visiting
musicians; established a Bursary Scheme for the best young
Palestinian musicians to experience musical life in the UK; and
has generated, stimulated and enabled cultural transformation
in the areas where it has worked, contributing to a revolution
in musical life in Palestine.
The Choir of London has developed a particularly close
association with the composers Tarik O’Regan, John Rutter and
the late Sir John Tavener, performed regularly with the Royal
Philharmonic and Aurora Orchestras, and appeared at major
London venues including the Royal Albert Hall, Cadogan
Hall, Queen Elizabeth Hall and St Paul’s Cathedral (also
enjoying a residency at Festival Maribor, Slovenia, in 2010)
with conductors including Richard Tognetti, Jeremy Summerly,
Nicholas Collon, Graham Ross, and the late Sir Colin Davis.
Choir of London projects aim to increase musical
opportunities for people whose access to music would
otherwise be limited, through education projects, the firstclass live performances, and the encouragement of artistic
collaborations. The Choir’s activities are underpinned
by a strong intercultural ethos which has helped it forge
connections with artists and musical traditions of widely
varying backgrounds. Its first international project saw the
Choir performing Bach’s Christmas Oratorio in Bethlehem,
Jerusalem and Ramallah; its most recent, the Palestine Choral
Festival in August 2013, brought together choirs from the
UK, Australia, France and Germany with 25 ensembles from
all over the West Bank. The Choir of London is delighted to
commence its 10th anniversary season in Australia.
choiroflondon.org
RICHARD TOGNETTI ao
© Paul Henderson-Kelly
ARTISTIC DIRECTOR
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 Festival Maribor
in Slovenia.
“Richard Tognetti is one
of the most characterful,
incisive and impassioned
violinists to be heard
today.”
THE DAILY TELEGRAPH (UK)
Select Discography
As soloist:
BACH, BEETHOVEN & BRAHMS
ABC Classics 481 0679
BACH Sonatas for Violin and
Keyboard
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 Surfica (DVD)
Best Feature, New York Surf Film
Festival
As director:
GRIEG Music for String Orchestra
BIS SACD-1877
Pipe Dreams
Sharon Bezaly, Flute
BIS CD-1789
All available from aco.com.au/shop.
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 Mozart’s Mitridate for
the Sydney Festival and gave the Australian premiere of Ligeti’s
Violin Concerto with the Sydney Symphony Orchestra.
Tognetti has collaborated with colleagues from across various
art forms and artistic styles, including Jonny Greenwood,
Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel
Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson,
Michael Leunig and Jon Frank.
In 2003, Tognetti was co-composer of the score for Peter Weir’s
Master and Commander: The 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 Carroll’s surf film Horrorscopes and, in
2008, co-created The Red Tree, inspired by illustrator Shaun
Tan’s book. He co-created and starred in the 2008 documentary
film Musica Surfica, which has won best film awards at surf film
festivals in the USA, Brazil, France and South Africa.
As well as directing numerous recordings by the ACO, Tognetti
has recorded Bach’s solo violin repertoire for ABC Classics,
winning three consecutive ARIA awards, and the Dvořák and
Mozart Violin Concertos for BIS.
Richard Tognetti was appointed an Officer 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 Gesù violin, lent
to him by an anonymous Australian private benefactor.
AUSTRALIAN CHAMBER
ORCHESTRA
RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN
ACO Musicians
Richard Tognetti Artistic Director
and Lead Violin
Helena Rathbone Principal Violin
Satu Vänskä Principal Violin
Rebecca Chan Violin
Aiko Goto Violin
Mark Ingwersen Violin
Ilya Isakovich Violin
Christopher Moore Principal Viola
Alexandru-Mihai Bota Viola
Nicole Divall Viola
Timo-Veikko Valve Principal Cello
Melissa Barnard Cello
Julian Thompson Cello
Maxime Bibeau Principal
Double Bass
Part-time Musicians
Zoë Black Violin
Veronique Serret Violin
Caroline Henbest Viola
Daniel Yeadon Cello
Renowned for inspired programming and unrivalled virtuosity,
energy and individuality, the Australian Chamber Orchestra’s
performances span popular masterworks, adventurous crossartform projects and pieces specially commissioned for the
ensemble.
Founded in 1975 by John Painter am, this string orchestra
comprises leading Australian and international musicians. The
Orchestra performs symphonic, chamber and electro-acoustic
repertoire collaborating with an extraordinary range of artists
from numerous artistic disciplines including renowned soloists
Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers
Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such
diverse artists as cinematographer Jon Frank, entertainer Barry
Humphries, photographer Bill Henson, choreographer Rafael
Bonachela and cartoonist Michael Leunig.
Australian violinist Richard Tognetti, who has been at the helm
of the ACO since 1989, has expanded the Orchestra’s national
program, spearheaded vast and regular international tours,
injected unprecedented creativity and unique artistic style into
the programming and transformed the group into the energetic
standing ensemble (except for the cellists) for which it is
internationally recognised.
Several of the ACO’s players perform on remarkable instruments.
Richard Tognetti plays the legendary 1743 Carrodus Guarneri del
Gesù violin, on loan from a private benefactor; Helena Rathbone
plays a 1759 Guadagnini violin owned by the Commonwealth
Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned
by the ACO Instrument Fund; Timo-Veikko Valve plays a
1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter
Weiss ao and Maxime Bibeau plays a late-16th century Gasparo
da Salò bass on loan from a private Australian benefactor.
The ACO has made many award-winning recordings and has a
current recording contract with leading classical music label BIS.
Highlights include Tognetti’s three-time ARIA Award-winning
Bach recordings, multi-award-winning documentary film
Musica Surfica and the complete set of Mozart Violin Concertos.
The Australian Chamber Orchestra is assisted by
the Commonwealth Government through the
Australia Council, its arts funding and advisory body.
The ACO presents outstanding performances to over 9,000
subscribers across Australia and when touring overseas,
consistently receives hyperbolic reviews and return invitations
to perform on the great music stages of the world including
Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s
Southbank Centre and New York’s Carnegie Hall.
In 2005 the ACO inaugurated a national education program
including a mentoring program for Australia’s best young string
players and education workshops for audiences throughout
Australia.
The Australian Chamber Orchestra is supported
by the NSW Government through Arts NSW.
aco.com.au
MUSICIANS ON STAGE
Photos: Paul Henderson-Kelly, Helen White
RICHARD TOGNETTI AO§
HELENA RATHBONE*
SATU VÄNSKÄ≈
REBECCA CHAN
Director & Violin
Chair sponsored by
Michael Ball AM & Daria Ball,
Wendy Edwards, Prudence MacLeod
Principal Violin
Chair sponsored by
Kate & Daryl Dixon
Principal Violin
Chair sponsored by Kay Bryan
Violin
Chair sponsored by
Ian Wallace & Kay Freedman
AIKO GOTO
MARK INGWERSEN
ILYA ISAKOVICH
CHRISTOPHER MOORE
Violin
Chair sponsored by
Anthony & Sharon Lee
Violin
Violin
Chair sponsored by
Australian Communities Foundation
– Connie & Craig Kimberley Fund
Principal Viola
Chair sponsored by
peckvonhartel architects
ALEXANDRUMIHAI
BOTA
TIMOVEIKKO VALVE ❖
Principal Cello
Chair sponsored by Peter Weiss ao
Viola
Chair sponsored by Philip Bacon AM
MAXIME BIBEAU ✩
Principal Bass
Chair sponsored by
John Taberner & Grant Lang
MELISSA BARNARD
JULIAN THOMPSON #
Cello
Chair sponsored by
Bruce & Joy Reid Foundation
Cello
Chair sponsored by
The Clayton Family
Violin
Oboe da caccia
Principal Timpani
ZOË BLACK
VERONIQUE SERRET
IKE SEE
LACHLAN O’DONNELL
JULIA FANKHAUSER
JULIA BAUER
Bassoon
BRIAN NIXON
Chair sponsored by Robert Albert ao
& Mrs Libby Albert
JANE GOWER 3
Chamber Organ 5
Viola
Horn
NEAL PERES DA COSTA
CHRISTOPHER
CARTLIDGE 1
ANNEKE SCOTT 3
JOSEPH WALTERS 3
Flute
Trumpet
GEORGIA BROWNE
MEGAN LANG
NEIL BROUGH 3
DAVID ELTON 4
LEANNE SULLIVAN
Oboe d’amore
BENOIT LAURENT 2
LIDEWEI DE STERCK
1 Courtesy of Melbourne Symphony
Orchestra
2 Courtesy of Royal Conservatory of
Brussels
3 Courtesy of Orchestre Révolutionnaire
et Romantique
4 Courtesy of Sydney Symphony
Orchestra
5 Chamber organ provided and
prepared by Carey Beebe
§ Richard Tognetti plays a 1743 Guarneri del Gesù 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 Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.
❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son,
Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao.
# Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council.
✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from private Australian benefactors.
Players dressed by
AKIRA ISOGAWA
ACO BEHIND THE SCENES
BOARD
Guido Belgiorno-Nettis am Chairman
Angus James Deputy
Bill Best
John Borghetti
Liz Cacciottolo
Chris Froggatt
Janet Holmes à Court ac
John Grill
Heather Ridout ao
Andrew Stevens
John Taberner
Peter Yates am
Richard Tognetti ao Artistic Director
ADMINISTRATION STAFF
EXECUTIVE OFFICE
FINANCE
MARKETING
Timothy Calnin
General Manager
Cathy Davey
Chief Financial Officer
Rosie Rothery
Marketing Manager
Jessica Block
Deputy General Manager
Steve Davidson
Corporate Services Manager
Amy Goodhew
Marketing Coordinator
Joseph Nizeti
Executive Assistant to
Mr Calnin and
Mr Tognetti AO
Rachel O’Brien
Accountant
Clare Morgan
National Publicist
Yvonne Morton
Accountant
Jack Saltmiras
Digital Content & Publicity
Coordinator
ARTISTIC & OPERATIONS
Shyleja Paul
Assistant Accountant
Luke Shaw
Head of Operations & Artistic
Planning
DEVELOPMENT
Alan J. Benson
Artistic Administrator
Megan Russell
Tour Manager
Lisa Mullineux
Assistant Tour Manager
Elissa Seed
Travel Coordinator
Jennifer Powell
Librarian/Music Technology
Assistant
Bernard Rofe
Assistant Librarian
EDUCATION
Phillippa Martin
Acting Education & Emerging
Artists Manager
Chris Griffith
Box Office Manager
Dean Watson
Customer Relations Manager
Jill Colvin
Acting Development Manager
Rebecca Noonan
Corporate Relations Manager
Deyel Dalziel-Charlier
Box Office & CRM Database
Assistant
Alexandra Cameron-Fraser
Public Affairs Manager
Christina Holland
Office Administrator
Tom Tansey
Events Manager
INFORMATION SYSTEMS
Tom Carrig
Senior Development Executive
Ken McSwain
Systems & Technology Manager
Alison Carter
Investment Relations Manager
Emmanuel Espinas
Network Infrastructure Engineer
Ali Brosnan
Patrons & Foundations
Executive
ARCHIVES
John Harper
Archivist
Sally Crawford
Development Coordinator
Sarah Conolan
Education Assistant
ABN 45 001 335 182
Australian Chamber Orchestra Pty Ltd is a not for profit 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 Office: 1800 444 444 Email: [email protected] Website: aco.com.au
ACKNOWLEDGEMENTS
GOVERNMENT SUPPORT
VENUE SUPPORT
We are also indebted to the following organisations for their support:
Arts Centre Melbourne
PO Box 7585
St Kilda Road
Melbourne Vic 8004
Telephone: (03) 9281 8000
Facsimile: (03) 9281 8282
Website: artscentremelbourne.com.au
VICTORIAN ARTS CENTRE TRUST
Mr Tom Harley (President)
Ms Deborah Beale
Mr Sandy Clark
Mr Julian Clarke
Mr Jim Cousins ao
Ms Dana Hlavacek
Ms Catherine McClements
Mr Graham Smorgon am
Mr David Vigo
EXECUTIVE GROUP
Ms Jodie Bennett Acting Chief Executive Officer
Ms Louise Georgeson Executive Development & Strategy
Ms Sarah Hunt Executive Marketing & Programming
Mr Kyle Johnston Executive Sales & Customer Services
Mr Tony Murphy Acting Executive Facilities
DONOR ACKNOWLEDGEMENT
Arts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure
as many Victorians as possible can experience the joy of the performing arts here in Melbourne.
FOR YOUR INFORMATION
The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary.
The Trust reserves the right of refusing admission.
Recording devices, cameras and mobile telephones must not be operated during the performance.
In the interests of public health, Arts Centre Melbourne is a smoke-free area.
ACKNOWLEDGEMENTS
LLEWELLYN HALL
School of Music
Australian National University
William Herbert Place (off Childers Street) Acton, Canberra
VENUE HIRE INFORMATION
Phone: +61 2 6125 2527 Fax: +61 2 6248 5288
Email: [email protected]
SYDNEY OPERA HOUSE TRUST
Mr John Symond am (Chair)
Mr Wayne Blair, Ms Catherine Brenner, The Hon Helen Coonan, Ms Renata Kaldor ao,
Mr Chris Knoblanche, Mr Robert Leece am rfd, Mr Peter Mason am,
Mr Leo Schofield am, Mr Robert Wannan
SYDNEY OPERA HOUSE EXECUTIVE
Chief Executive Officer Louise Herron am
Chief Operating Officer Claire Spencer
Director, Programming Jonathan Bielski
Director, Theatre & Events David Claringbold
Director, Building Development & Maintenance Greg McTaggart
Director, External Affairs Brook Turner
Director, Commercial David Watson
SYDNEY OPERA HOUSE
Bennelong Point
GPO Box 4274, Sydney NSW 2001
Administration: 02 9250 7111 Box Office: 02 9250 7777
Facsimile: 02 9250 7666
Website: sydneyoperahouse.com
This is a PLAYBILL / SHOWBILL publication.
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This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing.
It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.
Head Office: Suite A, Level 1, Building 16, Fox Studios
Australia Park Road North, Moore Park NSW 2021
PO Box 410, Paddington NSW 2021
Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053
E-mail: [email protected] Website: www.playbill.com.au
Chairman Brian Nebenzahl OAM RFD
Managing Director Michael Nebenzahl
Editorial Director Jocelyn Nebenzahl
Manager – Production – Classical Music Alan Ziegler
OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN
OVERSEAS OPERATIONS:
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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained
herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available
by post from the publisher; please write for details.
ACO–1312 — 17210 — 1/161213
ACO MEDICI PROGRAM
In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support
individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest
calibre.
MEDICI PATRON
MRS AMINA BELGIORNO-NETTIS
PRINCIPAL CHAIRS
Richard Tognetti ao
Helena Rathbone
Satu Vänskä
Lead Violin
Principal Violin
Principal Violin
Michael Ball am &
Daria Ball
Wendy Edwards
Prudence MacLeod
Kate & Daryl Dixon
Kay Bryan
Christopher Moore
Timo-Veikko Valve
Maxime Bibeau
Principal Viola
Principal Cello
Principal Double Bass
Peter Weiss ao
John Taberner &
Grant Lang
Alexandru-Mihai Bota
Anthony & Sharon Lee
Violin Chair
Terry Campbell ao &
Christine Campbell
Mark Ingwersen
Rebecca Chan
Melissa Barnard
Violin
Violin
Cello
Ian Wallace & Kay
Freedman
The Bruce & Joy Reid
Foundation
Ilya Isakovich
Nicole Divall
Julian Thompson
Violin
Viola
Cello
Australian Communities
Foundation – Connie &
Craig Kimberley Fund
Ian Lansdown
The Clayton Family
CORE CHAIRS
Aiko Goto
Violin
Viola
Philip Bacon am
GUEST CHAIRS
FRIENDS OF MEDICI
Brian Nixon
Mr R. Bruce Corlett am & Mrs Ann Corlett
Principal Timpani
Mr Robert Albert ao & Mrs Libby Albert
ACO INSTRUMENT FUND
The ACO has established its Instrument Fund to offer patrons and investors the opportunity
to participate in the ownership of a bank of historic stringed instruments. The Fund’s first
asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the
Orchestra. The ACO pays tribute to its Founding Patrons of the Fund.
BOARD MEMBERS
Bill Best (Chairman)
Jessica Block
John Leece am
John Taberner
FOUNDING PATRONS
PETER WEISS ao, PATRON
VISIONARY $1m+
Peter Weiss ao
LEADER $500,000–$999,999
ENSEMBLE $10,000$24,999
Leslie & Ginny Green
CONCERTO $200,000–$499,999
Amina Belgiorno-Nettis
Naomi Milgrom ao
OCTET $100,000–$199,999
QUARTET $50,000–$99,999
John Leece am & Anne Leece
SONATA $25,000–$49,999
SOLO $5,000$9,999
Amanda Stafford
PATRONS $500$4,999
June & Jim Armitage
Leith & Darrel Conybeare
John Landers & Linda Sweeny
Bronwyn & Andrew Lumsden
Pamela McGaw
Patricia McGregor
Alison Reeve
Angela Roberts
Robyn Tamke
Anonymous (2)
FOUNDING INVESTORS
Guido & Michelle Belgiorno-Nettis
Bill Best
Benjamin Brady
Steven Duchen
Brendan Hopkins
Angus & Sarah James
John Taberner
Ian Wallace & Kay Freedman
ACO SPECIAL COMMISSIONS
The 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 2012 and 2013.
THE REEF
LEAD PATRONS
PATRONS
Tony & Michelle Grist
Graham & Treffina Dowland
Wendy Edwards
Euroz Charitable Foundation
Don & Marie Forrest
Tony & Rose Packer
Nick & Claire Poll
Gavin & Kate Ryan
Jon & Caro Stewart
Simon & Jenny Yeo
Anonymous (1)
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
Nicola Penn
Martin Portus
Janne Ryan
Barbara Schmidt & Peter Cudlipp
Richard Steele
Stephen Wells & Mischa Way
Anonymous (1)
ELECTRIC PRELUDES by Brett Dean
Commissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the
2013 ACO National Concert Season.
NEVER TRULY LOST by Brenton Broadstock
Commissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father,
Paddy Pallin.
SPECIAL COMMISSIONS PATRONS
Dr Jane Cook & Ms Sara Poguet
Mirek Generowicz
Peter & Valerie Gerrand
V Graham
Anthony & Conny Harris
Andrew & Fiona Johnston
Lionel & Judy King
Dr Suzanne Trist
Margot Woods & Arn Sprogis
Team Schmoopy
Anonymous (1)
ACO DONATIONS PROGRAM
The 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. These 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.
PATRONS  NATIONAL EDUCATION PROGRAM
Marc Besen ao & Eva Besen ao
TRUSTS AND FOUNDATIONS
HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST
THE NEILSON FOUNDATION THE THOMAS FOUNDATION
EMERGING ARTISTS &
EDUCATION PATRONS
$10,000+
Mr Robert Albert ao &
Mrs Libby Albert
Australian Communities
Foundation – Ballandry Fund
Daria & Michael Ball
Steven Bardy & Andrew
Patterson
The Belalberi Foundation
Guido & Michelle BelgiornoNettis
Liz Cacciottolo & Walter Lewin
John & Janet Calvert-Jones
Carapiet Foundation
Mark Carnegie
Stephen & Jenny Charles
Darin Cooper Family
Daryl & Kate Dixon
Geoff & Dawn Dixon
Chris & Tony Froggatt
Daniel & Helen Gauchat
John Grill & Rosie Williams
Catherine Holmes à CourtMather
Belinda Hutchinson am
Angus & Sarah James
PJ Jopling qc
Miss Nancy Kimpton
Bruce & Jenny Lane
Prudence MacLeod
Alf Moufarrige
Louise & Martyn Myer
Foundation
Bruce Neill
Jennie & Ivor Orchard
Alex & Pam Reisner
Mr Mark Robertson oam
& Mrs Anne Robertson
Margie Seale & David Hardy
Tony Shepherd ao
Mr John Singleton am
Beverley Smith
John Taberner & Grant Lang
Alden Toevs & Judi Wolf
The Hon Malcolm Turnbull mp
& Ms Lucy Turnbull ao
John & Myriam Wylie
E Xipell
Anonymous (2)
LIFE PATRONS
IBM
Mr Robert Albert ao &
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
Dr John Harvey ao
Mrs Alexandra Martin
Mrs Faye Parker
Mr John Taberner & Mr Grant
Lang
Mr Peter Weiss ao
Patrons list is current as of 10 October 2013.
CONTRIBUTIONS
If you would like to consider making a donation or bequest to the ACO, or would like to direct your
support in other ways, please contact Ali Brosnan on 02 8274 3830 or at [email protected].
ACO PARTNERS
2013 CHAIRMAN’S COUNCIL MEMBERS
The Chairman’s Council is a limited membership association of high level executives who
support the ACO’s international touring program and enjoy private events in the company of
Richard Tognetti and the Orchestra.
Mr Guido BelgiornoNettis am
Chairman
Australian Chamber
Orchestra &
Executive Director
Transfield Holdings
Mr Greg Ellis
Chief Executive Officer
REA Group
Mr Didier Mahout
CEO Australia & NZ
BNP Paribas
Dr Bob Every
Chairman
Wesfarmers
Mr David Mathlin
Senior Principal
Sinclair Knight Merz
Aurizon Holdings
Limited
Mr Angelos
Frangopoulos
Australian News Channel
Ms Julianne Maxwell
Mr Philip Bacon am
Director
Philip Bacon Galleries
Mr David Baffsky ao
Mr Brad Banducci
Director
Woolworths Liquor Group
Mr Jeff Bond
Peter Lehmann Wines
Mr John Borghetti
Virgin Australia
Mr Hall Cannon
Regional Delegate,
Australia, New Zealand &
South Pacific
Relais & Châteaux
Mr Michael &
Mrs Helen Carapiet
Mr Stephen &
Mrs Jenny Charles
Mr Georg Chmiel
LJ Hooker
Mr Julian Clarke
News Limited
Mr Richard Freudenstein
FOXTEL
Ms Ann Gamble Myer
Mr Daniel Gauchat
Mr Colin Golvan SC &
Dr Deborah Golvan
Mr John Grill
Chairman
WorleyParsons
Mr Andrew &
Mrs Hiroko Gwinnett
Mrs Janet Holmes à
Court ac
Mr & Mrs Simon &
Katrina Holmes à Court
Observant Pty Limited
Ms Catherine
Livingstone ao
Chairman
Telstra
Mr Tim Longstaff
Managing Director,
Corporate Finance,
Deutsche Bank,
Australia/New Zealand
Mr & Mrs Robin
Crawford
Mr Andrew Low
RedBridge Grant Samuel
Rowena Danziger am &
Kenneth G. Coles am
Mr Steven Lowy am
Lowy Family Group
Mr Michael Maxwell
Mr Geoff McClellan
Partner
Herbert Smith Freehills
Mr Donald
McGauchie ao
Chairman
Nufarm Limited
Ms Naomi Milgrom ao
Ms Jan Minchin
Director
Tolarno Galleries
Mr Jim Minto
Managing Director
TAL
Mr Alf Moufarrige
Servcorp
Mr Robert Peck am &
Ms Yvonne
von Hartel am
Mr Neil Perry am
Rockpool
Mr Mike Sangster
Managing Director
Total E&P Australia
Ms Margie Seale &
Mr David Hardy
Mr Glen Sealey
General Manager
Maserati Australia &
New Zealand
Mr Tony Shepherd ao
President
Business Council of
Australia
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 Michael Triguboff
Managing Director
MIR Investment
Management Ltd
The Hon Malcolm
Turnbull mp &
Ms Lucy Turnbull ao
Ms Vanessa Wallace
Director
Mr Malcolm Garrow
Director
Booz & Company
Mr Peter Yates am
Chairman, Royal
Institution of Australia
Director, AIA Ltd
ACO CORPORATE PARTNERS
The ACO would like to thank its corporate partners for their generous support.
PRINCIPAL PARTNER
FOUNDING PARTNER
FOUNDING PARTNER:
ACO VIRTUAL
NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS
PERTH SERIES PARTNER
ASSOCIATE PARTNER
ACO VIRTUAL
REGIONAL TOURING PARTNER
CONCERT AND SERIES PARTNERS
Peter Weiss AO
Daryl Dixon
Warwick & Ann Johnson
EVENT PARTNERS

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