C O N C E R T O N E 4 – 13 March 2014

Welcome

Welcome to the Australian String Quartet’s first national concert of our 2014 season! We launched into the year in February with the Australian premiere of John Adams’ Absolute Jest as soloists with the Sydney Symphony Orchestra. 94 players on stage together was an exhilarating experience and now we are looking forward to presenting our first complete season together as four.

This concert spans an enormous range of genre, timbre and instrumental extremes – from the raw purity of the Boccherini and Brahms on gut strings to Stephen Whittington’s rusty Windmill and the electrified extended techniques, gong-smashing and maraca-shaking of Black Angels.

Boccherini’s quartet was written in the same era as the Quartet’s Guadagninis were made, and it is a rare treat to play this music with strings very similar to those used in that period. Given the different tension and greater thickness of the raw gut strings, the nature of bowing and also fingering is different to that of the steel strings used today. Both the Boccherini and Brahms therefore, are performed in a different manner than they would be on modern strings. No ‘indulgent’ vibrato is needed, and the use of different bow speed and weight is required. It has been a very refreshing, enjoyable and informative process!

On the flip-side, there is Crumb’s Black Angels. This composer’s response to the Vietnam War is haunting, shocking, and confronting, as well as in some moments ironically amusing and stunningly beautiful. The Quartet’s multi-tasking is stretched to its limits in this piece as we switch in rapid succession from our instruments to bowing gongs, wine glasses, vocalising whilst shaking maracas, and even playing our instruments upside-down. The work is based around tritones (the devil’s interval – an augmented 4th), the numbers 7 and 13, quotes from Tartini’s Devil’s Trill, the Dies Irae from Mozart’s Requiem and Schubert’s Death and the Maiden. Arguably the crux of the piece is the 10th movement God Music, where the violins and viola bow a wineglass ‘choir’ whilst the cello plays a plaintive distant melody at the very top of its register. This movement, similar in concept to the 5th movement in Messiaen’s Quartet for the End of Time is a haunting and timeless interruption to the devilry of its surrounding movements.

Kristian, Ioana, Stephen and Sharon

(L TO R): KRISTIAN WINTHER, IOANA TACHE, STEPHEN KING, SHARON DRAPER.

1620

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The Elder Conservatorium of Music is one of Australia’s oldest and most distinguished tertiary music schools. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts.

Home to the ASQ—our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.

Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts.

Visit our website to learn more about the program of events, and comprehensive range of undergraduate and postgraduate degrees available in a wide variety of specialisations.

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Delivering over 130 years of music excellence

Program

Dates

B O C C H E R I N I String Quartet in G minor op 32 no 5 B R A H M S String Quartet in C minor op 51 no 1 IntervalS T E P H E N W H I T T I N G T O N Windmill G E O R G E C R U M B Black Angels

B R I S B A N E Conservatorium Theatre, South Bank Tuesday 4 March

S Y D N E Y City Recital Hall Angel Place Thursday 6 March

P E R T H Perth Concert Hall Monday 10 March

A D E L A I D E Adelaide Town Hall Tuesday 11 March

M E L B O U R N E Melbourne Recital Centre, Southbank Thursday 13 March

Presented in association with

Don’t miss our next National Tour Speechless 21 – 30 May 2014

The members of the Australian String Quartet are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts. The instruments are currently on loan to the Australian String Quartet from Ulrike Klein, Maria Myers and Ngeringa Arts.

In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete, it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity.

Already, through the generosity of its donors, Ngeringa Arts has acquired the viola and the Board would particularly like to thank and acknowledge the following patrons who have each made a significant contribution:

Lyndsey & Peter HawkinsJoan LyonsHartley HigginsMrs F.T. MacLachlan OAMJari & Bobbie HryckowDiana McLaurinKlein Family FoundationAnonymous (1)

History-making endeavors like the Guadagnini Quartet Project are born from passion. To succeed, Ngeringa Arts needs the involvement of visionaries who also recognise the significant cultural value in a collection of this calibre. Please join Ngeringa Arts in building this extraordinary musical legacy and be part of the donor circle that is committed to acquiring the cello.

To donate go to www.ngeringaarts.com For more information contact Alison Beare, General Manager, Ngeringa Arts, P: (08) 8227 1277E: Alison@ngeringaarts.com

Guadagnini Quartet Project

With a rich history spanning 28 years, the Australian String Quartet (ASQ) has established a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad.

One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years. The Quartet is frequently broadcast on ABC Classic FM and records regularly for public release.

The Quartet’s performance calendar for 2014 comprises its National Season featuring four unique concert programs presented in Adelaide, Brisbane, Melbourne, Perth and Sydney; its own flagship festivals in the Southern Grampians and Margaret River; regional touring and prestigious invitations to collaborate with leading artists and organisations including their recent performance with the Sydney Symphony Orchestra premiering John Adams’ Absolute Jest at the Sydney Opera House.

Australian String Quartet

As advocates for Australian music, the Quartet delivers an annual forum for emerging composers and regularly commissions, showcases and records new Australian work. Its education program extends beyond workshops and masterclasses to include the Quartet Project – a national mentoring program for emerging quartets.

The members of the ASQ are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite Italian instruments were brought together through the vision of Ulrike Klein. The instruments are on loan to the ASQ for their exclusive use through the generosity of Ulrike Klein, Maria Myers and a group of donors who have supported Ngeringa Arts to acquire the viola.

Kristian Winther plays a 1784 Guadagnini Violin, Turin

Ioana Tache plays a 1748-49 Guadagnini Violin, Piacenza

Stephen King plays a 1783 Guadagnini Viola, Turin

Sharon Draper plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’.

Luigi Boccherini (1745-1805)String Quartet in G minor, op 32 no 5 Allegro comodo Andantino Minuetto con motoAllegro giusto - Capriccio ad libitum

Born in the Italian city of Lucca, Boccherini was educated in music at first by his father, a singer and bass-player, and then by a prominent cellist; by his 20s, he had established himself as both cellist and composer. With his friend, violinist Filippo Manfredi, he undertook a concert tour in 1766, travelling to Genoa, Nice, Paris and, in 1769, Madrid, where he settled. In 1770 he was engaged as ‘chamber composer and virtuoso’ by the King’s brother Don Luis at the palace of Aranjuez; when Luis married a much-younger commoner and was effectively exiled to the provinces, Boccherini (as part of a considerable music staff) went too, and like Haydn at Esterhazy, found in isolation the perfect environment for composition.

Like Haydn, too, he was a prolific composer of chamber music, with a catalogue of over 100 string quartets alone. He was unkindly derided as ‘Haydn’s wife’ by one contemporary, and indeed Boccherini’s works seldom aspire to the kind of fusion of comic wit and intricate sophistication that we find in Haydn. In fact, as Stanley Sadie has noted, ‘the directions “soave”, “con grazia” and “dolce” or “dolcissimo” are among the commonest in his music’; Boccherini’s work places great value on grace and elegance, though not at the expense of emotional richness.

Luigi Boccherini

The G minor work, one of six composed in Spain in 1780 and published in Vienna and Paris soon after, begins with an expansive sonata-allegro movement. It is not overly fast, allowing the music to elaborate the melancholic themes in often rich chromatic harmony, and to display the technical prowess of all the musicians in Don Luis’ in-house quartet.

The Andantino is, likewise, not overly slow. While in E flat major, it maintains something of the sober atmosphere of the first movement with lots of sonorous parallel phrases in the lower registers, though a recurrent figure of grace-notes has a Haydnish humour. The minor/major contrast is starkest in the minuet, in a brooding C minor, with a central trio in extroverted C major.

The final movement returns to G minor, with the sort of angular thematic shapes that we find in Mozart when writing in that key, and a reminiscence of the grace note motif from the Andantino. But the most celebrated feature is the section marked capriccio ad libitum which offer the first violinist an opportunity for an extravagant display of virtuosity.

© Gordon Kerry 2013

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Johannes Brahms (1833-1897)String Quartet no.1 in C minor, op 51 no 1AllegroRomanze: poco adagioAllegretto molto moderato e comodo – Un poco più animatoAllegro

In 1866 Brahms made the first of several concert tours with the violinist Joseph Joachim, a partnership of inestimable value to both. Brahms’ piano tone is said to have been influenced by Joachim’s superb sound, and his knowledge of the technique of string playing increased dramatically. This bore fruit not just in the sonatas and concerto written with Joachim in mind, but in the chamber music for string ensembles, including the three string quartets.

And Brahms needed something to boost his confidence. His diffidence – especially in genres where he heard Beethoven’s ‘footsteps behind him’ – meant that his first official string quartets, opus 51, only appeared when he was 40. In fact he had reputedly written and destroyed some 20 string quartets, and the two quartets, opus 51 were, like Mozart’s ‘Haydn’ Quartets, the ‘fruit of long and laborious study’. There is some evidence to suggest that he began writing them as early as 1865; there were some rehearsals in 1869 after which Brahms again tinkered with the scores before, eventually, ‘finishing’ the works in 1873 and allowing them to be published. As he said at the time, ‘I always take great pains, hoping to come up with something

Johannes Brahms

great and terribly weighty, but they always turn out small and pitiful. But I can’t wait for better’.

In 1872, Brahms became director of Vienna’s choral/orchestral society, the Gesellschaft der Musikfreunde, but his duties there left him precious little time. During his three-year tenure, composing had to be concentrated during the spring and summer months, and Brahms almost always left town (usually without a forwarding address). In the summer of 1873 he found himself at Tutzing on the Starnbergersee in Bavaria where, in good spirits and overwhelmed by the scenery, he completed the opus 51 quartets, which he dedicated to his friend, surgeon Theodor Billroth.

The first is in C minor – a key in which Beethoven composed significant, often ‘tragic’ works, and there is a certain muscularity to the outer movements which recall the older composer. (Scholar Karl Geiringer goes so far as to point to a ‘sombre passion and sullen determination’ in the piece.) More to the point, Brahms’ thematic invention is, like Beethoven’s, amazingly economical: many of his themes stress the stepwise interval of the second, and indeed part of the main melodies of the second and final movements can be traced to the opening theme of the first.

© Gordon Kerry 2009

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10% OFF THE BEST AVAILABLE RATE FOR ASQ MEMBERS*

The Grand Hotel Melbourne is proud to be the preferred accommodation partner for the Australian String Quartet when they tour Melbourne throughout the National Season 2014.

As part of our partnership we are delighted to offer ASQ members 10% off the best available rate*. which includes our newly refurbished apartment style rooms.

To book please call 1300 361 455 and mention ASQ to take advantage of this offer, or email grandhotelmelbourne@accor.com

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MGALLERY. A COLLECTION OF MEMORABLE HOTELS: EUROPE - AFRICA - MIDDLE EAST - CARIBBEAN - ASIA - PACIF IC

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10% OFF THE BEST AVAILABLE RATE FOR ASQ MEMBERS*

The Grand Hotel Melbourne is proud to be the preferred accommodation partner for the Australian String Quartet when they tour Melbourne throughout the National Season 2014.

As part of our partnership we are delighted to offer ASQ members 10% off the best available rate*. which includes our newly refurbished apartment style rooms.

To book please call 1300 361 455 and mention ASQ to take advantage of this offer, or email grandhotelmelbourne@accor.com

*Offer valid until 31/12/14, subject to availability and not available over special event periods. Mention ASQ for discount.

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Stephen Whittington (born 1953)Windmill

Stephen Whittington is Head of Sonic Arts at the Elder Conservatorium of Music, University of Adelaide. As a pianist and composer he has appeared in recitals and at festivals in Australia, the United States, Canada, China, Malaysia, South Korea, Sweden, France, Austria, Italy and Great Britain. His interest in the relationship between music and other art forms has led to the creation of a series of one-man multimedia performances, including The Last Meeting of the Satie Society (Adelaide Festival, 2000), Mad Dogs and Surrealists (Art Gallery of SA, 2004), Rhythmus 09 (Adelaide International Film Festival, 2009) and The Music of Light (Adelaide International Film Festival, 2011). On 5 September 2012, he directed John Cage Day, a commemoration of the 100th anniversary of the birth of American composer and interdisciplinary artist John Cage, which included Stephen’s eight-hour long performance of ASLSP (As SLow aS Possible) on the Elder Hall organ. He has written music in many different forms, including three string quartets: Windmill (1991), …from a thatched hut (2010), and Music for Airport Furniture (2011).

Stephen Whittington

The composer writes:

Windmill (1991) was my first work for string quartet. It was composed as a result of encouragement from Australian violinist Brenton Langbein, without whose support I would probably not have attempted something as odd (or so it seemed at the time) as deliberately causing a string quartet to sound like a piece of rusty machinery. The result was a work that evokes a distinctive marker of human habitation found throughout rural and outback Australia, the windmill. It turns in the wind, pumping up life-giving water in a lonely and often desolate landscape. If you get close enough to it you can hear its distinctive sound, creaking and squeaking away, stopping occasionally, resuming as the breeze picks up. That is the sound I tried to evoke in Windmill. Apart from its functional aspect, the windmill is also a symbol of the human determination to survive in an inhospitable climate, a symbol of hope, of courage, and of despair.

© Stephen Whittington 1991

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M A R G A R E T R I V E R W E E K E N D O F M U S I C

Fri 3 – Sun 5 October 2014

D U N K E L D F E S T I V A L O F M U S I C

Fri 11 – Sun 13 April 2014 (SOLD OUT)Sun 13 – Tue 15 April 2014

For more information and bookings visit asq.com.au or call on 1800 040 444

Escape to the truly magical surrounds of Dunkeld in the Southern Grampians of Victoria or the Margaret River region in Western Australia for three days of exquisite chamber music, indulgent dining and fine wines.

The ASQ’s flagship regional festivals present the Quartet alongside leading guest artists in a diverse program of chamber music. Set in charming regional venues and complemented by the regions finest fare, these festival events are a highlight in the Australian String Quartet’s calendar.

Make an ASQ festival part of your travel plans for 2014 and savour the music.

Silent Strings Amplify without feedback, practice at a whisper...

*The RRP is the recommended retail price set by Yamaha Music Australia, the Australian distributor of the product and may not have necessarily been sold at this price point in the past or sold in the future. All prices were current at the time of printing February 2014. Yamaha Music Australia cannot be held responsible for price rises or reductions after this date. Errors and omissions excepted. Stock subject to availability.

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Silent Strings Amplify without feedback, practice at a whisper...

*The RRP is the recommended retail price set by Yamaha Music Australia, the Australian distributor of the product and may not have necessarily been sold at this price point in the past or sold in the future. All prices were current at the time of printing February 2014. Yamaha Music Australia cannot be held responsible for price rises or reductions after this date. Errors and omissions excepted. Stock subject to availability.

For the live performer For the discerning professional

SV200 SVV200$2,199RRP* $2,799RRP*

SLB200

$4,899RRP*

SVC110

$3,799RRP*

By selecting the best spruce, maple and ebony, the silent range feels as natural as an acoustic instrument and captures each nuance of your performance. Whether amplified on stage through a sound system, listening to yourself play in a “virtual” concert hall through headphones, or jamming with your favourite artist via mp3, Yamaha’s range of Silent Strings are beautifully crafted and offer unparalleled tone quality.

SV250

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George Crumb (born 1929)Black Angels: Thirteen Images From the Dark LandI. Departure1. Threnody I: Night of the Electric Insects2. Sounds of Bones and Flutes3. Lost Bells4. Devil-music5. Danse MacabreII. Absence6. Pavana Lachrymae7. Threnody II: Black Angels!8. Sarabanda de la Muerte Oscura9. Lost Bells (Echo)III. Return10. God-music11. Ancient Voices12. Ancient Voices (Echo)13. Threnody III:

Night of the Electric Insects

George Crumb is one of the most frequently performed composers in today’s world, and the winner of Grammy and Pulitzer Prizes. Crumb’s music often juxtaposes contrasting styles, ranging from music of the western tradition, to hymns and folk music, to non-Western musics. Many works include programmatic, symbolic, mystical and theatrical elements.

Crumb retired from his teaching position at the University of Pennsylvania after more than 30 years of service, and makes his home in Pennsylvania, in the same house where he and his wife of more than 60 years raised their three children. George Crumb’s music is published by C.F. Peters and an ongoing series of ‘Complete Crumb’ recordings, supervised by the composer, is being issued on Bridge Records.

Black Angels, inspired by the Vietnam War, draws from an arsenal of sounds including

George Crumb

shouting, chanting, whistling, whispering, gongs, maracas, and crystal glasses. The score bears two inscriptions: ‘in tempore belli’ (in time of war) and ‘Finished on Friday the Thirteenth, March, 1970.’ Crumb has written that ‘things were turned upside down. There were terrifying things in the air… they found their way into Black Angels.’

In his own words, Crumb describes the work:

Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption).

The numerological symbolism of Black Angels, while perhaps not immediately perceptible to the ear, is nonetheless quite faithfully reflected in the musical structure. These ‘magical’ relationships are variously expressed: e.g., in terms of length, groupings of single tones, durations, patterns of repetition, etc. ... There are several allusions to tonal music: a quotation from Schubert’s Death and the Maiden quartet; an original Sarabanda; the sustained B-major tonality of God-Music; and several references to the Latin sequence Dies Irae (day of wrath). The work abounds in conventional musical symbolisms such as the diabolus in musica (the interval of the tritone) and the trillo di Diavolo (the Devil’s Trill, after Tartini).

© George Crumb 1970

$350,000+ Allan Myers AO & Maria Myers AO$250,000+ Klein Family Foundation$50,000+ Clitheroe FoundationLyndsey & Peter HawkinsHunt Family FoundationThe Ian Potter FoundationMichael Lishman$30,000+ Nicholas & Elizabeth CallinanRichard & Tess Harvey AMJanet & Michael HayesNorma LeslieThyne Reid Foundation$20,000+ David & Pam McKeePeter & Pamela McKee$15,000+ Mr Philip Bacon$10,000+ Josephine DundonJoan LyonsMacquarie Group FoundationMrs Diana McLaurin$5,000+ Berg Family FoundationJohn ClaytonAngela FlanneryHilmer Family FoundationM & F Katz Family FoundationMr Robert KenrickThe Robert Salzer FoundationKevin LongSkye McGregor

P. M. MenzThe Late Elisabeth Murdoch AC DBEJohn O’HalloranMrs Jane PorterTony & Joan SeymourPeter & Melissa Slattery$2,000+ Don & Veronica AldridgeBernard & Jackie BarnwellGraham & Charlene BradleyAlexandra & Julian BurtHillier Carter PropertiesRic Chaney and Chris HairJohn & Libby ClappGeoff ClarkDr Peter CliftonDavid Constable AMMaurice & Tess CrottiDr Neo DouvartzidisMichael J DrewMargaret FlatmanJohn Funder & Val DiamondDr E.H & Mrs A. HirschAnita Poddar & Peter HoffmannJanet Holmes à Court ACKeith Holt & Anne FullerMr S JohnsRenata & Andrew KaldorKevin & Barbara KaneMichael & Susan KiernanThe Hon Christopher Legoe QC & Jenny LegoeDr Robert MarinSimon Marks-IsaacsHelen and Phil MeddingsSusan & Frank MorganMrs Frances Morrell

Mrs Jenny Perry (in memory of John)Patricia H ReidSusan M RenoufTrish & Richard Ryan AOPaul & Margarita SchneiderVivienne SharpeAndrew SissonKeith & Dianne SmithDr Nigel & Mrs Chris Steele Scott OAMElizabeth SymeGary & Janet TilsleyMr Eng Seng TohIan Wallace & Kay FreedmanMarjorie WhiteLyn Williams AMJanet WorthAnnie & Philip Young$1,000+ David & Liz AdamsPeter AllanJohn & Angela ArthurJohn & Mary BarlowPhilip BarronDianne Barron-DavisSimon BathgateJean & Geoff BaulchAlison BeareCandy BennettMs Baiba BerzinsBHP Billiton’s Matched Giving ProgramHeather Bonnin OAMStephen & Caroline BrainThomas BreenDavid & Kate BullenPam CaldwellCaptain & Mrs D P ClarkeDavid Cooke

Colin & Robyn CowanRobin Crawford & Judy JoyeMarie DalzielJiri & Pamela FialaPhilip Griffiths ArchitectsProfessor Keith HancockDr Penny Herbert in memory of Dunstan HerbertHiggins Coatings Pty LtdJim & Freda IrenicKevin & Barbara JarryLynette and Gregory JaunayBrian L Jones OAMRod & Elizabeth KingHon Diana Laidlaw AMKeith & Sue LangleyDavid & Anne MarshallHE & RJ McGlashanMrs Inese MedianikVictor & Barbara MulderDonald Munro AM & Jacquelyn MunroJonathan Nicholson & Jennifer StaffordKen NielsenEllen & Marietta ResekJohn & Etelka RichardsChris & Fran RobertsJill RussellJeanette Sandford-Morgan OAMMichael & Chris ScobieDick and Caroline SimpsonPamela and Tony SlaterCarl VineTed & Robyn WatersPamela YuleFay Zaikos

The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contribution remains anonymous. The following donations reflect cumulative donations made from 2008 onwards.

The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444.

Donors

$500+David & Elaine AnnearTerrey & Anne ArcusProf. Margaret ArstallDr Reiko AtsumiMrs J BeareTony and Carol BergGC Bishop & CM MoronyStephen BlockJohn & Christine ChamberlainCaroline & Robert ClementeMary Rose & Tim CooneyAlan Fraser CooperRae De TeligaRon DyerMartin DykstraDr & Mrs G C HallTim & Irena HarringtonGraeme HarveyMary HaydockMr Hartley HigginsDr Anthony & Emily HortonProf Alan T JamesAndrew & Fiona JohnstonRose KempStephen & Kylie KingDavid LeeceEdwina LehmannMs Rose McAleerAlison McIntyreJohn McKay and Claire BrittainJames McLeodIan & Margaret MeakinDr Colin E MooreJenny NicolTerry & Pauline O’BrienLeon & Moira PericlesBasil PhillipsGraham & Robyn ReaneyPeter RushDeborah SchultzAntony & Mary Lou SimpsonSandra StuartJames SymeNicholas WardenPeter WilkinsonJenny Wily & Adrian HawkesPat & Rosslyn Zito

$100+ Marion R AllenJulie AlmondBill AndersonSusan ArmitageSylvia BacheMerrawyn BagshawJohn BaldockPatricia BarkerJoy Barrett-LennardMrs Jillian BeareMr & Mrs Peter & Alison BeerWendy BirmanMichael BlandProfessor John BradleyDavid BrightMax & Elizabeth BullPip BurnettChris & Margaret BurrellAlastair & Sue CampbellTim & Lyndie CarracherDon CarrollMrs Ann CastonRichard and Lina CavillMax and Stephanie CharlesworthGreg Coulter & Carolyn PolsonMrs Margaret Daniel OAMSusan DavidsonMrs Daphne DaviesBruce DebelleMary DraperGraham DudleyDr H EastwellMrs Alexandra ElliottMrs Charlotte EnglandSusan FallawPhilip & Barbara FargherMrs Judy FlowerHelen ForresterMr John ForsythPamela FoulkesBill & Penny FowlerRichard FrolichChristopher FyfeProf. Robert GilbertMargrette GlynnJan GrantDieter Grant-FrostH.P. GreenbergMrs Helen GreensladeMargaret Gregory

Angela GrutznerDes GurryJean HadgesAlison HarcourtCharlie HarrisonGeoff HashimotoAnn HawkerMrs Helen HealyLaurie & Philippa HegvoldMr Trevor HenryMr Dennis HenschkeDudley and Julie HillDavid HilyardEmily HuntIain BerrimanAnthony IngersentVernon IrelandRobin IsaacsMs Nola JenningsJoan JonesMr Martin KeithAngus & Gloria KennedyWayne & Victoria LaubscherAnne LevySusan LitchfieldGrant LuxtonMargaret & Cameron MacKenzieGreg Mackie OAMJean MatthewsHelen McBrydeJohn & Jill McEwinAlison McIntyreDuncan McKayMrs Janice E MenzRichard & Frances MichellMr & Mrs I MillMs Elizabeth MorrisFlorence MorrowRobert & Heather MotteramHughbert MurphyJohn & Gay NaffineDerrick NicholasEdward NuffieldMrs Mary O’HaraJohn OvertonLee PalmerJosie PennaSabine PfuhlColin A PhysickMr William Pick

J & P PincusJanice PleydellJ & M PollMr Franz PribilThe Rev’d Dr Philip RaymontIan & Gabrielle ReeceDr James RobinsonMs Chloe RoeMrs Clare RogersLesley RussellJenny SalmonMeredyth Sarah AMThe Late Judith SchroderAdrienne ShawMrs Angela SkinnerJudy SloggettMr Michael SteeleBarbara StodartDavid & Jo TamblynRobyn TamkeJolanta TargownikJJ & AL TateMrs A.N.Robinson & Dr M.G.TingayRoger & Cherry TrengoveSue TweddellMs Jill UhrMr Ian UnderwoodBrian & Robyn WaghornProfessor Ray WalesMr David YoungSarah YuSilvana Zerella

MUSIC LIBRARY FUNDThe ASQ greatly appreciates the support of the following patrons who have generously contributed to the acquisition of musical works to establish and build the ASQ’s own music library.Mr RS Divall Carole & John GraceRoz Greenwood & Marg Phillips Janet & Michael HayesMrs Diana McLaurin Gary & Janet Tilsley

The gift of music

The Australian String Quartet’s annual program of activity delivers world-class musical performances to audiences in Australia and abroad.

Through the generous support of our valued donors, we are privileged to be able to share our passion for musical excellence with diverse audiences ranging from international festivals, to regional and remote Australian communities, from the concert stage to intimate school performances and tertiary masterclasses.

In partnership with our donors, the ASQ proudly invests in the future of Australian music through our new work commissioning fund, which supports the ASQ to commission, premiere and showcase new Australian works both nationally and internationally.

Through the generosity of our donors, the ASQ gifts in excess of 100 student subscriptions annually and its Quartet Project provides further opportunities for music lovers to support the next generation of Australian music makers.

We invite you to share our passion by making a tax deductible donation or gifting a student subscription.

To make a donation freecall 1800 040 444, or complete the enclosed booking form.

Sue NinhamPHOTO BY MATT TURNER, ADELAIDE NOW

Own your own part of the ASQ

The lush visual images presented in the ASQ’s National Season 2014 brochure are the work of Australian visual artist, Sue Ninham and were commissioned by the ASQ. You have opportunity to own your own part the Season by purchasing an exclusive Sue Ninham artwork and part proceeds will go towards supporting the Quartet.

Sue paints primarily in oil on canvas and watercolour on paper through abstraction. Through constant experimentation with these materials and techniques, her work is continuously enriched through abandonment and exploration. Winner of the Adelaide Fringe Poster 2012, Sue is represented by BMGART and has work held in collections nationally and internationally.

Sue’s inspiration for the collection was drawn from conversations with the musicians. She writes “The connection between music and my art practice has always been strong. Throughout the process of making these works I listened to musical recordings that were given to me by a quartet member relating specifically to the themes of the ASQ’s 2014 program, for inspiration and interpretation. The resulting paintings with their colours, sweeping marks and movement of

Information about the paintings

Continuum, 2013 Acrylic on canvas 2m x 1.5m

Speechless, 2013 Acrylic on canvas 2m x 1.5m

Boundless, 2013 Acrylic on canvas 2m x 1.5m

Relativity, 2013 Acrylic on canvas 2m x 1.5m

For more information, call the ASQ on 1800 040 444.

forms are snapshots capturing my physical and emotional responses to those beautiful pieces..”

www.sueninham.com www.bmgart.com.au

National Wine Sponsor

Tour 1 Instrument Sponsor

Melbourne Accommodation

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Sydney Accommodation

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Perth Accommodation

Sponsor

｜ y a m a h a l o g o m a r k ｜ s t a n d a r d f o r m ｜ h o r i z o n a l ｜ m o n o c h r o m e ｜ p o s i t i v e ｜

I s o l a t i o n

N A T I O N A L S E A S O N P A R T N E R S

O F F I C I A L P A R T N E R S

I N S T R U M E N T P A R T N E R S

O T H E R P A R T N E R S

P R O J E C T P A R T N E R S

THYNE REID FOUNDATION

IAN POTTER FOUNDATION

ROBERT SALZER FOUNDATION

Major Sponsor

Government Supporters

Major Patrons

Leader Sponsor Violist Sponsor Cellist Sponsors

PHOTOGRAPHY BY JACQUI WAY

A S Q B O A R D

Paul Clitheroe AM (Chair) Alexandra Burt Nicholas Callinan Angela Flannery Janet Hayes Ulrike Klein Paul Murnane Maria Myers AO Susan Renouf Jeanette Sandford-Morgan OAM Angelina Zucco – Executive Director

Quartet-in-Residence The University of Adelaide SA 5005 Australia

T 1800 040 444 (Freecall) F +61 8 8313 4389 E asq@asq.com.au W asq.com.au Facebook.com/AustralianStringQuartet Twitter.com/ASQuartet