MELBOURNE RECITAL CENTRE PRESENTS DEBUSSY STRING QUARTET 7.30PM, SATURDAY 16 SEPTEMBER 2017 DEBUSSY STRING QUARTET

Christophe Collette violin Marc Vieillefon violin Vincent Deprecq Cédric Conchon cello

‘Their feat can hardly be overstated… Shostakovich would have thrilled to every second.’ THE GUARDIAN

Saturday 16 September 7.30pm Elisabeth Murdoch Hall

Approximate Duration: One hour and 45 mins including one 20-minute interval

Stream a selection of these works by Debussy String Quartet on Melbourne Recital Centre’s Spotify playlist.

Melbourne Recital Centre acknowledges the people of the Kulin nation on whose land this concert is being presented.

2 PROGRAM

DMITRI SHOSTAKOVICH (b. St Petersburg, Russia 1906 — d. , (b. Bonn, Germany 1770 — d. Vienna, Austria 1827) Russia 1975) String Quartet No.11 in F minor, From Two Pieces for String Quartet, Op.95 ‘Serioso’ Op.36a: Elegy Allegro con brio String Quartet No.11 in F minor, Op.122 Allegretto ma non troppo Introduction: Andantino  Allegro assai vivace ma Scherzo: Allegretto serioso — Più Allegro Recitative: Adagio Larghetto espressivo — Etude: Allegro Allegretto agitato — Allegro Humoresque: Allegro Elegy: Adagio INTERVAL Finale: Moderato — Meno mosso — Moderato (b. Ciboure, France 1875 — d. Paris, France 1937)

String Quartet No.7 in F-sharp minor, String Quartet in F, M.35 Op.108 Allegro moderato Allegretto Assez vif, très rythmé Lento Très lent Allegro — Allegretto Vif et agité

3 ABOUT THE MUSIC

Dmitri Shostakovich

Two Pieces for String Quartet, String Quartet No.11 in F minor, Op.36a: Elegy Op.122 Shostakovich’s two movements for string Introduction: Andantino quartet predate his famous string quartet Scherzo: Allegretto repertoire. Both are adaptations of earlier Recitative: Adagio works by the same composer. The Elegy we Etude: Allegro hear tonight is derived from Katerina’s aria Humoresque: Allegro in Act I, Scene 3 of the opera Lady Macbeth Elegy: Adagio of Mtsensk, while the Polka first appeared in Finale: Moderato — his ballet score for The Age of Gold. Meno mosso — Moderato Shostakovich made these arrangments over On a visit to Leipzig in 1950, Shostakovich the course of a single evening in 1931 as a sat on the jury of a piano competition to gift to the Vuillaume Quartet. mark the 200th anniversary of Bach’s death. The Elegy, which must surely stand as one He was so impressed with one of the young of the composer’s most beautiful utterances, contestants, Tatiana Nikolayeva, playing originally accompanied a lament sung by selections from Bach’s Well-Tempered the principal character of the opera as she Klavier, that he set about composing for her, contemplates a life of oppressive misery likewise, his own set of 24 preludes and and life-denying boredom trapped inside fugues for piano, one in every major and a loveless marriage. minor key. Having completed this ambitious task in less than six months, he Although he was to develop into one of the secretly set himself an even more arduous greatest string quartet composers, this early goal, this time one entirely unprecedented movement predates Shostakovich’s first full in music history, of producing a parallel set string quartet by some seven years. of 24 string quartets. He’d already composed Words by Peter Tregear © 2010 four, the first in 1938, all in different keys, but it wasn’t until 1960, after finishing his seventh, that he divulged his ambitious plan publicly. His co-creators in this huge task were the members of the of Moscow, to whom he entrusted the premiere of each new work. Together, Shostakovich and these four players clocked up 10 quartets.

4 In 1964, however, time began to take its inevitable toll. That year the quartet’s original viola player, Vadim Borisovsky, retired, and in the summer of 1965 the second violinist, Vasily Shirinsky, died. Shostakovich was almost 60 when, in January 1966, he composed the Eleventh Quartet in Shirinsky’s memory. Then, late on the night of the work’s premiere, 28 May The layout and contents of the seven- 1966, he himself suffered a serious heart movement work are far removed from the attack that confined him to hospital for traditional four-movement scheme of the two months. Sensing time was short, he Classical quartet. The self-explanatory thereafter took the precaution of dedicating movement titles suggest instead a the next three quartets (Nos 12—14), succession of contrasting character-pieces, composed between 1968 and 1973, to the such as might be found in a series of remaining members of the Beethoven Schumann piano pieces or Shostakovich’s Quartet. But a year after completing the own early piano Aphorisms. Yet they form Fifteenth Quartet, the most important an unexpectedly cohesive whole, as a result member of the team, Shostakovich himself, of being played without any break, and died, not yet two-thirds of the way toward because of the tight web of thematic their projected total of 24. connections between them. For instance, It was the opinion of one member of the the sixth-movement Elegy continues the Quartet that Shostakovich had long-since musical argument begun in the slow opening become obsessed with death. Death entered movement. And the Finale commences by the quartet-cycle fully as a theme with the taking up again the contrasting basic idea of Seventh Quartet, dedicated to the memory the fast Scherzo, while further elements of of the composer’s first wife. Perhaps the late the Scherzo seed ideas in the other two fast Shirinsky had been especially fond of the movements, the Etude and Humoresque, Seventh’s nevertheless catchily amusing main reminiscences perhaps of the dedicatee’s rhythmic motif (short-short-long, short-short- vitality and wit. Shostakovich registers the long); often supposed to represent fate most extreme note in the Recitative, music knocking, it too features prominently in the of such nightmare discordance that its most Eleventh Quartet in his memory. likely impetus must, indeed, have been fear of death. Words by Graeme Skinner © 2017

5 ABOUT THE MUSIC

Dmitri Shostakovich (continued)

String Quartet No.7 in F-sharp minor, 15 string quartets, the Seventh is written Op.108 without pause between movements. Its brevity and the reappearance in the last Allegretto movement of musical motifs from the first Lento and second movements suggest a view of Allegro — Allegretto the entire quartet as a single movement in By 1960 Shostakovich no longer had to fear sonata form, with the first movement persecution by the Soviet state. His main Allegretto as the primary theme; the second problem now, beyond bouts of poor health, movement Lento as a contrasting theme; was the regime’s fond embrace and and the last movement a development of attendant obligations. As the country’s star the themes followed by the recapitulation. composer, he felt smothered by his This view is supported by the gradually honours and official duties. He told a friend, increasing presence of Shostakovich’s ‘I am frightened that I will choke in an personal four-note ‘DSCH’ pattern across ocean of awards.’ the three movements as a unifying element. Appointed to government posts, he was put (The up-down pattern of the notes D, E-flat, forward as a cultural figurehead and C, B spells DSCH for Dmitri SCHostakowitsch expected to attend plenary sessions, in German musical notation.) congresses and peace conferences. He gave Two themes alternate in the first-movement speeches and published articles using Allegretto, a short, twisting three-note gallop officially prepared texts. He was also and a contrasting rhythmic line in the cello. requested to compose a steady stream of Unusually for Shostakovich, both themes patriotic songs and film scores. In 1960 he are harmonically resolved when they was elected First Secretary of the Russian reappear later in the movement. The Composers’ Union, and later that year he grieving second movement Lento is was pressured to join the Communist Party. unsettled by a restless, weaving The Seventh Quartet was composed in accompaniment and a startling glissando memory of Nina Vazar, the mother of his slide in the viola and cello. The third children whom he married twice and who movement explodes with a violent fugue died in 1954. As music historian Judith Kuhn based on the DSCH note pattern. The music has observed, in addition to the formal builds to a frantic climax, and the quartet’s dedication to her, the first and third opening theme returns, forcefully at first, movements of the Seventh Quartet end in then in the grieving voice of the second the key of F-sharp major, the key of the ‘love movement. The music gradually fades to a theme’ in the composer’s opera Lady quiet pizzicato, and the quartet ends with a Macbeth of Mtsensk, which is also dedicated gentle cadence. to Nina Vazar. The shortest of Shostakovich’s Words by Robert Strong © 2013

6 Ludwig van Beethoven

String Quartet No.11 in F minor, Op.95 ‘Serioso’ Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso — Più Allegro Larghetto espressivo — Allegretto agitato — Allegro Among its near neighbours, Beethoven’s String Quartet in F minor of 1810 is an oddity. Surrounding it, chronologically, are musical works overwhelmingly positive in mood, among them the delightful E-flat major String Quartet, Op.74 of 1809, nicknamed The first movement has neither of the ‘The Harp’, and the ebullient Seventh and automatic large-scale structural repeats Eighth Symphonies, both completed in 1812. previously used to extend such movements. But the F minor Quartet, alone, is a dark and As for the central development section somewhat enigmatic piece. The circumstances (which in earlier quartets might, coupled to of its composition are equally singular. the reprise, have been expected to be heard Unusually, Beethoven wrote it without a twice), once was apparently enough for the commission, which suggests that it was an influential early 20th-century critic, Donald especially personal project. Remarkably too, Tovey, who characterised it as ‘a short he himself gave the Quartet a nickname, the process of Mozartean straightforwardness ‘Quartetto serioso’. It is also quite short, seldom and Beethovenish violence’. The constant lasting more than 20 minutes in performance. return of unison passages suggests that the Indeed, everything about the F minor hearing-impaired Beethoven found himself Quartet seems pared back to its essentials. repeatedly losing patience with the distorting effects of harmony, preferring instead to present his themes in their most basic guise.

7 ABOUT THE MUSIC

Ludwig van Beethoven (continued)

The second movement is a sort of quick But Beethoven (who did not call it that) ‘slow movement’, whose speed lends it a accentuated the differences between it and sense of emotional remoteness, it being happier scherzos by marking it ‘ma serioso’. hard to attribute traditional slow-movement The rhythmic abruptness of its outer affections such as pathos or passion to sections contrasts with a central episode music so cool and impassive. The descending which is almost lugubrious. The fourth scale for the cello at the start, and the movement begins with a few bars marked smooth slurs and meandering harmonies of Larghetto espressivo, giving way to the the main melody almost suggest the steady incessant turmoil of the Allegretto agitato. sound of an organ, and the old-fashioned The work’s two final gestures are both ‘church’ style of composition is further unexpected. First, the music winds down hinted at in the fugal middle section. completely, dynamically to triple piano, harmonically to a pedal on the tonic F (in The third movement, which follows the the bass), and finally melodically and second without a break, is what might be rhythmically onto two sustained, apparently called a scherzo. terminal chords. Then suddenly Beethoven seems to snap out of his seriousness and into a lighter mood. The music slides into F major, changes time signature, and quickens pace to Allegro, for an oddly extroverted close. Words by Graeme Skinner © 2017

8 ABOUT THE MUSIC

Maurice Ravel

String Quartet in F, M.35 Allegro moderato Assez vif, très rythmé Très lent Vif et agité Remarkably, Ravel’s String Quartet — one of the standard quartets of the 20th-century repertoire — was actually a student work. He composed it in late 1902 and early 1903 while still enrolled at the Paris Conservatoire, around the time of his second unsuccessful attempt to win the Prix de Rome. Certainly the composer’s youth is evident in what you have written in your quartet.’ the obvious influences upon the String Perhaps this disagreement between the Quartet — in particular the impressionist older, disapproving Fauré and the younger, mood and extraordinary tone colours which more appreciative Debussy was symbolic, seem to have derived from Debussy whose for there can be no doubt that the String own String Quartet (with which Ravel’s is Quartet was to prove a landmark on Ravel’s often coupled on recordings) appeared journey toward a distinctively ‘new’ musical almost a decade earlier. But there is greater language in subsequent works. evidence still of the older, more mature But for all his concerns about the final Ravel in the translucent instrumental movement, the String Quartet was textures, the economy and aloof style of nevertheless dedicated to Fauré and his utterance, the neo-classical, indeed almost influence remains prevalent throughout the Mozartian elegance of formal construction, work, not least in its structural precision and and the exotic touches inspired by the music maturity. (Ironically, in the wash-up of the of the Far East. String Quartet’s premiere, Ravel fell out with The premiere of the String Quartet by the Debussy rather than Fauré.) Sonata form is Heymann Quartet at the Société Nationale still treated with respect in the Quartet and on 5 March 1904 excited much comment. the impressionist tinges never result in lack Ravel’s own teacher, Gabriel Fauré, sternly of clarity. As one commentator noted, advised his pupil to revise the final ‘Perfection rather than innovation was movement, while Debussy himself famously Ravel’s aim’ — an ambition which he told Ravel, ‘In the name of the gods of music, achieved with conspicuous facility. and in mine, do not touch a single note of

9 ABOUT THE MUSIC

Maurice Ravel (continued)

The opening movement, beginning Allegro The strictness of form is relaxed slightly in moderato, is built on two traditional themes. the slow movement, which is more The first is a stylish melody stated immediately improvisatory in character, and more throughout the entire quartet, while the episodic in its sequences. The tempi change second appears on the first violin over rapid continually and the opening theme of the figurations in the second violin and viola. As first movement returns here in quite a the movement proceeds through the first of different guise. In true chamber music its several climaxes, the striking instrumental fashion, themes and ideas (two of which are effects begin (note, for instance, the introduced by the viola) are tossed back and extraordinary tone colour produced by the forth between the protagonists. first violin and viola playing two octaves A vigorous flourish renews the sense of apart). But for all the deft handling of the urgency in the helter-skelter finale. The instrumental writing, it remains as close as unusual rhythm (based on five-in-a-bar) Ravel ever came to a traditional sonata form creates an off-beat feel, but passages of a opening movement. more expressive character continually The rapid, pizzicato opening of the second emerge amidst the disconcerting effects. movement, Assez vif, represents sheer The opening theme of the quartet returns exhilaration, with an inherent tension once more, suitably contorted within the between 3/4 and 6/8 rhythms. It’s been ‘new sound world’ of the finale, both suggested that Ravel was imitating an rounding off the work as a whole, but also Indonesian gamelan orchestra in this pointing toward a new direction in Ravel’s movement, but it’s difficult to imagine the later music. No wonder it made the extravagant trills and tremolos which begin venerable Fauré feel uncomfortable! and end phrases being played on anything Words by Martin Buzacott © Reprinted with other than European instruments. There is a permission by Symphony Australia. formal second subject (bowed and marked ‘Bien chanté’) and a slower, more reflective middle section introduced by the cello. Then the movement closes with a brief, frenzied reprise of the opening.

10 ABOUT THE DEBUSSY STRING QUARTET

Through its passionate commitment to are incorporated as choreographed speak in a unique voice, eschewing the elements while performing on their creation of an international quartet sound, respective instruments in concert with the the Debussy String Quartet has established dancers: Boxe Boxe. its reputation as one of the finest quartets The Debussy String Quartet’s extensive touring and recording today. discography includes the acclaimed Decca Formed in 1990 by a group of young musicians label release of the landmark Mozart Requiem studying at the Conservatoire de Lyon (France), recording, in the 1802 transcription by Peter the Quartet has gained international renown Lichtenthal (about which a documentary for its exciting performances and award- film has also been made). The Arion label winning recordings. In major concert halls produced several volumes in the ‘French from New York to Tokyo they perform a Music’ collection (Bonnal, Ravel, Fauré, wide range of works, and are perhaps most Witkowski, Lekeu) and the complete well known for their devotion to the French Shostakovich Quartets, among other works. repertoire. The Quartet’s performances of The Quartet’s mixed chamber music the Ravel, Debussy and Fauré quartets are repertoire includes its highly regarded legendary, and these four musicians continue album recording of the Brahms and Weber to create new audiences for works of their clarinet quintets with clarinetist Jean countrymen such as Lalo, Lekeu, Milhaud and Francois Verdier and a highly acclaimed the late romantic composer, Ermand Bonnal. collaboration with the pianist François Chaplin in several Mozart piano concertos. Winners of the Evian International String In addition, their discography includes the Quartet Competition, the Debussy String complete works of Webern for string quartet Quartet performs about 80 concerts a year (for Harmonia Mundi), which received the in Europe, Asia, and North America. They coveted Choc award of Le Monde de la are regular guests at some of the most Musique. In 2016, their new records include distinguished concert halls including the soundtrack to the TV show Opus and the Concertgebouw (Amsterdam), Auditorio jazz album, Filigrane (for Radio France). Nacional de Musica (Madrid), Grand Theatre Earlier this year, the Debussy’s released a (Geneva), Konzerthaus (Berlin), Théâtre du new record of Marc Mellits’s quartets Châtelet, Musée du Louvre (Paris) and at available under the Evidence Classics label. many of Europe’s finest festivals. The Debussy String Quartet is based in Lyon, In addition to mixed chamber music with France. Its members are the founders of Les renowned colleagues, the Quartet has Cordes en Ballade, a chamber music festival embarked on an adventurous collaboration and an academy of chamber music in the with the famed modern dance ensemble, South of France, where they perform and Compagnie Käfig (choreographer Mourad teach each summer. Merzouki), for a new project in which they

11 INSPIRED GIVING

LEADERSHIP CIRCLES Paul Donnelly & Dr Peter Rogers & Cathy Rogers ($2500+) The Leadership Circles Brigitte Treutenaere Peter Rose & Christopher Menz John & Mary Barlow comprise individual donors Margaret Farren-Price & In Memory of Pauline Speedy Arnold & Mary Bram whose lead gifts support the Prof Ronald Rob & Philippa Springall Jacinta Carboon* Centre’s core concert program Farren-Price AM Pamela Swansson Dr Shirley Chu & and its mission to be a singular Eda Ritchie AM Sally Webster Wanghua William Chu place of inspiration, creativity, Janet Whiting AM & Phil Lukies Christine & Michael Clough self-expression, learning and Composers Circle ($4000+) Kathryn Fagg* Anonymous (1) enrichment through music. Supporters ($500+) Joyce Marks & Danielle Davis* John & Lorraine Bates Anonymous (1) Dr Cherilyn Tillman & Tam Vu Artist Development Robert & Jan Green Jenny Anderson Inaugural Artist Development & Henkell Family Fund Peter J Armstrong ($1000+) Music Education Benefactor Jenny & Peter Hordern Min Li Chong Anonymous (2) The Late Betty Amsden ao Message Consultants Australia Prof John Daley & ARM Architecture Peter Jopling am qc James Ostroburski & Rebecca Coates Peter J Armstrong* Mrs Margaret S Ross am & Leo Ostroburski Sylvia Geddes Bailey-Lord Family* Dr Ian C Ross Drs Victor & Karen Wayne Penelope Hughes Fiona Bennett* Barbara Kolliner & Mary Beth Bauer* Children & Families Musicians Circle ($2500+) Peter Kolliner OAM Jane Bloomfield The Late Betty Amsden AO Liz & Charles Baré Dr Anne Lierse Helen Brack Ann Lahore Dr Diane Tibbits Norah Breekveldt* Master Class Diana Lempriere Price/Lowy Family in memory Zoe Brinsden* Joyce Marks & Danielle Davis ELISABETH MURDOCH of John Price Barbara Burge Shelley & Euan Murdoch CREATIVE DEVELOPMENT Ensemble Giovane Paul Donnelly & Sirius Foundation FUND Brigitte Treutenaere Mary Vallentine AO Named after the Centre’s Great Performers W K Clark & B Heilemann* Anonymous (1) Founding Patron, this Fund Prelude Circle ($1000+) Dr Jane Gilmour OAM & Brian & Esther Benjamin supports projects that make a Adrienne Basser Terry Brain* Paulette & Warwick Bisley difference to young artists and Helen Brack Andrea Goldsmith The John & Jennifer Brukner accessibility to music. Bill & Sandra Burdett Robert & Jan Green Foundation Maggie Cash ($20,000+) Prof Andrea Hull AO* George & Laila Embelton John Castles AM & Annamila Pty Ltd Dr Garry Joslin & Geoff & Jan Phillips Thelma Castles OAM The John & Jennifer Brukner Prof Dimity Reed AM Maria Sola Julie Ann Cox & Laurie Cox AO Foundation Liane Kemp* Signature Events Kathy & George Deutsch Anne Kantor AO & Sally MacIndoe Inaugural Signature Events Mary Draper Dr Milan Kantor OAM Annette Maluish Benefactors Lord Francis Ebury & Norene Leslie McCormac* ($10,000+) Yvonne von Hartel AM & Lady Suzanne Ebury Andrew Millis & Barnadown The Pratt Foundation Robert Peck AM of Maggie Edmond Run Heathcote Wines* Angelina & Graeme Wise peckvonhartel architects Susan Fallaw Dr Richard Mills AM The Leo & Mina Fink Fund ($4000+) Rosemary O’Connor* Local Heroes Angela Glover John Calvert-Jones AM & Tim Orton & Barbara Dennis Inaugural Local Heroes Ann Gordon Janet Calvert-Jones AO Prof David Penington AC & Benefactor Jan Grant Andrew & Theresa Dyer Dr Sonay Penington The Klein Family Foundation Nance Grant AM MBE & Jo Fisher* Howard Penny Majlis Pty Ltd Ian Harris Yvonne von Hartel AM & Geoff & Jan Phillips Maria Sola Sue Hamilton & Robert Peck AM of ($500+) Stuart Hamilton AO MUSIC CIRCLE PATRONS peckvonhartel architects Stirling Larkin, In memory of Beryl Hooley PROGRAM Lyndsey & Peter Hawkins Australian Standfirst° Stuart Jennings Providing support essential Dr Alastair Jackson Ann Bryce Dr Garry Joslin & to the breadth, diversity and Christine Sather* John Castles AM & Prof Dimity Reed AM quality of the Centre’s artistic Andrew & Jan Wheeler Thelma Castles OAM Snowe Li program. Lyn Williams AM Jim Cousins AO & Maria Mercurio YMF Australia Libby Cousins Magnum Opus Circle Baillieu Myer AC & Sarah Myer George & Laila Embelton ($20,000+) Stephen Newton AO Joshua Evans° Melbourne Recital Centre Dr Paul Nisselle AM Margaret Farren-Price & Board of Directors Greg Noonan Prof Ronald Farren-Price AM Kathryn Fagg Elizabeth O’Keeffe Naomi Golvan & Peter & Cally Bartlett Helen Perlen George Golvan QC Stephen Carpenter & Dr Robert Piaggio Nance Grant AM MBE & Leigh Ellwood Kerryn Pratchett Ian Harris Joseph Corponi Sandra Robertson & The Hon Mary Delahunty Philip Cachia

12 The Hon Justice Michelle Colin Golvan QC & ($10,000+) SHARE THE MUSIC Gordon & The Hon Kenneth Dr Deborah Golvan The Late Betty Amsden AO PROGRAM M Hayne AC QC Timothy Goodwin Annamila Pty Ltd This program enables John Howie AM & The Hon Hartley Hansen QC & John Calvert-Jones AM & disadvantaged children and Dr Linsey Howie Rosalind Hansen Janet Calvert-Jones AO adults to attend concerts by Peter Jopling AM QC & Robert Heathcote & Peter Jopling AM QC & providing tickets and transport Dr Sam Mandeng Meredith King Dr Sam Mandeng free of charge. Over 500 of Anthony J & Philippa M Kelly The Hon Peter Heerey AM QC & Allan Myers AC QC & these visits take place each Snowe Li ° Sally Heerey Maria Myers AC year through the generosity Message Consultants Australia Judge Sara Hinchey & Lady Marigold Southey AC of our donors. Simon & Genevieve Moore Tom Pikusa ($4000+) ($10,000+) Travis Pemberton John Howie AM & Deborah Dadon AM Krystyna Campbell-Pretty Ralph & Ruth Renard Dr Linsey Howie Katherine Greiner AO John & Susan Davies Rae Rothfield Pandora Kay & John Larkins The Hon Justice Michelle Prof Richard Smallwood AO & Anthony J & Philippa M Kelly Gordon & The Hon ($4000+) Mrs Carol Smallwood Maryanne B Loughnan QC Helen & Michael Gannon Kenneth Hayne AC QC Lady Marigold Southey AC Banjo McLachlan & Peter & Ruth McMullin Susan Thacore Paul Mahony ($2500+) Louise & Martyn Myer Elizabeth O’Keeffe Anne Burgi & Kerin Carr LEGAL FRIENDS OF Foundation Ralph & Ruth Renard Dorothy Karpin MELBOURNE RECITAL In honour of Kath Vallentine Michael Shand QC CENTRE ($1000+) Tom Smyth Each year the group brings ($2500+) Keith & Debby Badger The Hon Judge Josh Wilson & Rohan Mead together music lovers from the John & Mary Barlow Dr Silvana Wilson Lady Primrose Potter AC legal profession to help fund Kaye & David Birks Maria Hansen one or more concerts by an ($500+) ($1000+) In memory of Beryl Hooley artist appearing as part of the Ingrid Braun Helen Brack George & Grace Kass Centre’s Great Performers Series. Elizabeth Boros The Leo & Mina Fink Fund Prof John Langford AM & Katherine Brazenor Jenny & Peter Hordern Legal Friends Inaugural The Late Christina McCallum The Hon Stephen Charles & Barbara Kolliner & Patrons Ann Miller Jennifer Charles Peter Kolliner OAM The Hon Justice Michelle Greg Shalit & Miriam Faine Georgie Coleman Prof John Langford AM & Gordon & The Hon Kenneth Prof Richard Smallwood AO & The Hon David L Harper AM The Late Christina McCallum M Hayne AC QC Carol Smallwood The Hon Chris Maxwell AC Cathy Lowy ($4000+) The Hon Justice O’Callaghan Dr Robert Piaggio ($500+) Naomi Golvan & Michael & Penny Rush Prof David Penington AC & Anonymous (4) George Golvan QC Dr Sonay Penington THE MARY VALLENTINE Caroline & Robert Clemente The Hon Justice Michelle Sandra Robertson & LIMITLESS STAGE FUND Vivien & Jacob Fajgenbaum Gordon & The Hon Kenneth Philip Cachia The Fund supports projects of Shulan Guo & Morris Waters M Hayne AC QC The Ullmer Family Foundation the Centre like digital Dr Robert Hetzel Peter & Ruth McMullin Leonard Vary & broadcasts, recordings, Dr Kingsley Gee Peter B Murdoch QC & Dr Matt Collins QC webcasts or other forms of Wendy Kozica, Alan Kozica & Helen Murdoch Janet Whiting AM & Phil Lukies outreach, enabling the Centre’s David OÇallaghan Maya Rozner & Alex King Angela Wood music-making to be available Dr Marion Lustig Igor Zambelli Maria McCarthy ($2500+) everywhere. Dennis & Fairlie Nassau Anonymous (1) ($500+) ($20,000+) Andrew & Georgina Porter Meredith Schilling Richard & Susan Bunting Naomi Milgrom AO Barry & Barbara Shying Peter J Stirling & Barbara Burge Kim Williams AM Rosemary Walls Kimberley Kane The Hon Alex Chernov AC QC & Melbourne Recital Centre Mrs Elizabeth Chernov ($1000+) Board of Directors *Ensemble Giovane: Donors Jim Cousins AO & Anonymous (3) Kathryn Fagg in support of Masterclasses Libby Cousins Marcia & John K Arthur Peter & Cally Bartlett Dr Garry Joslin & °Amplify: Young Donors in Peter Bartlett Stephen Carpenter & Prof Dimity Reed AM support of Artist Development Annette Blonski & Leigh Ellwood Gerry & Susan Moriarty List of patrons at Martin Bartfeld QC Joseph Corponi Greg Noonan 8 September 2017 David Byrne The Hon Mary Delahunty Helen Perlen The Hon Alex Chernov AC QC & Paul Donnelly & Susan M Renouf Mrs Elizabeth Chernov Brigitte Treutenaere Lyn Williams AM Leslie G Clements Margaret Farren-Price & Christine Clough Prof Ronald The Hon Julie Dodds-Streeton Farren-Price AM Eda Ritchie AM The John & Jennifer Brukner Foundation

13 Melbourne Recital Centre acknowledges the generous support thank you of its business partners, philanthropic supporters and patrons.

Founding Patron The Late Dame Elisabeth Murdoch ac dbe

Board Members Kathryn Fagg, Chair Joseph Corponi Margaret Farren-Price Peter Bartlett The Hon Mary Delahunty Eda Ritchie am Stephen Carpenter Paul Donnelly

Founding Benefactors The Kantor Family Helen Macpherson Smith Trust Principal Government Partner The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

Business Partners

International Airline Partner Presenting Partner Learning Partner

Supporting Partners

Program Partners

Foundations

ENCORE BEQUEST PROGRAM Providing sustained support for all aspects of the Centre’s artistic program through its Public Fund. Anonymous (3) Ken Bullen The Estate of Beverley Shelton & The Late Betty Amsden ao Jim Cousins ao & Libby Cousins Martin Schönthal Jenny Anderson Dr Garry Joslin Mary Vallentine ao Barbara Blackman Janette McLellan Jennifer Brukner Elizabeth O'Keeffe

14 MELBOURNE RECITAL CENTRE PRESENTS

13 ARTISTS, 10 CONCERTS, 1 PLACE TO HEAR THEM Melbourne Recital Centre presents the world's best musicians - live and dazzling - in your favourite concert series. PROGRAM ANNOUNCED SOON

MELBOURNERECITAL.COM.AU Cnr Southbank Blvd & Sturt St PRINCIPAL GOVERNMENT PARTNER Southbank, Victoria 3006 T: +613 9699 2228 ABN 46 118 617 619

melbournerecital.com.au