PLAYS TCHAIKOVSKY

17–20 MARCH 2017

CONCERT PROGRAM WELCOME ABOUT THE MSO

I am delighted to Established in 1906, the Melbourne welcome you to the Symphony Orchestra (MSO) is an first program in our arts leader and ’s oldest Great Classics Series. professional orchestra. Chief Conductor Sir Andrew Davis has Tonight’s performance, been at the helm of MSO since 2013. led by Chief Conductor Engaging more than 2.5 million Sir Andrew Davis, people each year, the MSO reaches takes you on a storytelling adventure a variety of audiences through live through Strauss’ cheeky tone poem performances, recordings, TV and Till Eulenspeigels lustige Streiche, then radio broadcasts and live streaming. introduces you to the pianist of the As a truly global orchestra, the MSO moment, Daniil Trifonov, who performs collaborates with guest artists and Rachmaninov’s great Piano Concerto No.1. arts organisations from across the The Great Classics Series features music world. Its international audiences that acts as a wonderful reminder that include China, where the MSO they are not just musical pieces, but performed in 2016 and Europe where stories of the composer, of the performer the MSO toured in 2014. and of the orchestra. The MSO performs a variety of Carmina Burana, Beethoven’s Pastoral, concerts ranging from core classical Schumann’s Third Symphony and performances at its home, Hamer Schubert’s Ninth Symphony all form Hall at Arts Centre Melbourne, to its the 2017 Classics Series, providing the annual free concerts at the Sidney perfect excuse for a night out in the city. Myer Music Bowl. The MSO also delivers innovative and engaging I would like to thank our partners at BMW programs to audiences of all ages for their generous support of this series. through its Education and Outreach The Melbourne Symphony Orchestra is initiatives. dedicated to providing the best live music for Victoria and through the support The MSO also works with Associate of our partners we are able to deliver Conductor, Benjamin Northey, and classical music to the wider cultural life the Melbourne Symphony Orchestra of this city. Chorus, as well as with such eminent recent guest conductors as John As part of the MSO’s Month of Giving, Adams, Tan Dun, Charles Dutoit, I invite you to consider supporting your Jakub Hrůša, Mark Wigglesworth, orchestra through a donation of any Markus Stenz and Simone Young. size so that we can continue to bring It has also collaborated with non- you music that inspires, educates and classical musicians including Nick engages the future. Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities. Sophie Galaise Managing Director Melbourne Symphony Orchestra 2 ARTISTS Melbourne Symphony Orchestra Conductor Sir Andrew Davis Piano Daniil Trifonov

REPERTOIRE Strauss Till Eulenspiegels lustige Streiche Rachmaninov Piano Concerto No.1

INTERVAL Tchaikovsky Symphony No.6

Running time 1 hour and 50 minutes

3 SIR ANDREW DAVIS CONDUCTOR Sir Andrew Davis began his tenure as the BBC Symphony Orchestra, Chief Conductor of the Melbourne Conductor Emeritus of the Royal Symphony Orchestra in January 2013. Liverpool Philharmonic and Engagements this season include former Music Director of the the MSO, the Montreal Symphony Glyndebourne Festival Opera. Orchestra, the Cleveland Symphony In addition, he has appeared with Orchestra, the Toronto Symphony virtually every other internationally Orchestra, the BBC Symphony prominent orchestra, including Orchestra, and the Bergen and Royal the Berlin Philharmonic, the Royal Liverpool Philharmonics, as well as the Concertgebouw, the Rotterdam Edinburgh International Festival. Philharmonic, and all the major Recently, at Lyric Opera the English British orchestras. conductor led Massenet’s Don A vast discography documents Quichotte and Berlioz’s epic Les Sir Andrew's artistry, with recent Troyens. Sir Andrew joined the Toronto CDs including works of Berlioz, Symphony Orchestra in performances Elgar, Grainger, Delius, Ives, Holst of his own reorchestration of Handel’s (nominated for a Grammy in 2015 Messiah, which has just been released for Best Choral Performance), on Chandos Records. and York Bowen (nominated for a Following the end of the Lyric Grammy in 2012 for Best Orchestral season, Sir Andrew made return Performance). appearances with the orchestras Image courtesy Dario Acosta Photography. of Bergen, Liverpool, Melbourne (including the MSO’s tour to China), Detroit, and Frankfurt. Conductor Laureate of the Toronto Symphony Orchestra (he was previously that ensemble's Principal Conductor), Sir Andrew is also Conductor Laureate of

4 DANIIL TRIFONOV PIANO Since winning the Rubinstein and Born to professional musician parents Tchaikovsky Competitions in 2011, in Nizhny Novgorod in 1991, Daniil Daniil Trifonov has travelled the world Trifonov performed his first concert as recitalist and concerto soloist. He with orchestra at the age of eight. He has appeared with many of the world’s attended Moscow’s Gnessin School major orchestras and at leading venues of Music and currently studies at the and festivals. Cleveland Institute of Music. Recent highlights include the complete This tour, which includes performances Rachmaninov Piano Concerto cycle with the Symphony and West with the New York Philharmonic, Australian Symphony Orchestra, is his Munich Philharmonic and the Australian debut. Philharmonia Orchestra; the premiere Image courtesy Dario Acosta Photography. of Trifonov’s own piano concerto with the Pittsburgh Symphony Orchestra; a four-concert residency at Wigmore Hall; and a performance with the Royal Stockholm Philharmonic as part of the Nobel Prize Awards. In May 2016 he received a Royal Philharmonic Society Award. This season he is Capell-Virtuos with the Staatskapelle Dresden, with associated concerts at the BBC Proms, Salzburg Easter Festival and Vienna Musikverein. Trifonov signed with Deutsche Grammophon in 2013, and his recordings on that label include works by Liszt, Rachmaninov, Chopin, Scriabin and Medtner.

5 PROGRAM NOTES

RICHARD STRAUSS © Symphony Australia The Melbourne Symphony Orchestra first performed Till (1864–1949) Eulenspiegel’s Merry Pranks on 10 November 1945, with Joseph Post conducting, and most recently in August 2013 Till Eulenspiegels lustige Streiche under Johannes Fritzsch. (Till Eulenspiegel’s Merry Pranks), Op.28 SERGEI RACHMANINOV Originally conceived as a staged (1875–1943) work, Strauss’ 1895 symphonic poem Piano Concerto No.1 in F sharp minor, Till Eulenspiegel tells the story of the Op.1 eponymous character of German Vivace folklore, who is said to have lived during the 14th century. His exploits Andante reflect the growing self-assertiveness Allegro vivace of the peasants against the authority of Daniil Trifonov Piano the upper classes at that time, and he became the hero of an expanding pool ‘It’s incredible how many stupid things of anecdotes. I did at the age of 19. All composers do ‘Once upon a time there was a roguish it.’ That was Rachmaninov’s view, in jester,’ wrote Strauss in the score 1931, of the piano concerto – his first – above the opening phrases; and above that he had written 40 years earlier. the horn call, ‘whose name was Till If we look at the title of the work we Eulenspiegel.’ Strauss uses rondo see Opus 1 and assume that we have form, describing Till’s adventures in before us the first official fruit of the episodes which contrast with the Rachmaninov’s musical imagination. reappearing signature material. Our It was a graduation piece and he hero is unlucky in love; dressed as a played the first movement with some priest he ‘oozes unction and morality’. success as part of a very long student’s He commits any number of pranks, but concert conducted by the Moscow the main theme continues to return, Conservatory’s director V. I. Safonov. and Till is restored to where he started. Not in Safonov’s good books at the Finally, our hero’s antics catch up with time, Rachmaninov still felt sufficiently him and he is punished in a rather confident about the piece to challenge terminal way: ‘There he dangles, some of the maestro’s interpretative the breath leaves his body, the last ideas. convulsion and Till’s mortal self is The work was published finished.’ A gory ending, but we sense immediately – and therein lay the the composer’s delight even in this, as seed of Rachmaninov’s growing he leaves us, smiling, with Till’s death concern. Had the work remained in throes, and an echo of the beginning. manuscript it would probably not

6 PROGRAM NOTES

have haunted him so, but its status Those passages that do suggest as his first opus number began the Rachmaninov of the Op.39 to irritate him more and more. Etude‑Tableaux (1916–17) – and this is principally in sections of the finale – How hard on himself Rachmaninov do not alter the status of the work as a could be when he was in a dark young man’s achievement. He altered mood! His embarrassment lay in what many aspects of the piece, making he saw as the concerto’s structural thematic presentation, orchestration weaknesses, its technical clumsiness and the solo part more subtle and and the formal problems that sophisticated (yet still very demanding compromised the presentation of his and virtuosic – tailor-made for a pianist melodic ideas, particularly in the finale. of Rachmaninov’s fearsomely complete The moment Rachmaninov chose to technique and romantic disposition). undertake his long-awaited revision But some things he left alone; of the concerto was, to say the least, the concerto has a freshness and historically charged. In the Russian impulsiveness Rachmaninov was not summer of 1917 he experienced some to capture again. These qualities are unpleasant encounters with Bolshevist evident throughout the revised version. agitators at his country estate, Rachmaninov was always a rhapsodic Ivanovka. (After the revolution his composer but, in its outer movements, house would be virtually destroyed.) this concerto is distinguished by His deep sorrow at the political the high level of contrast in tempo turmoil in his homeland was a major between its major musical statements. preoccupation – he found it impossible After the grim call to action which to concentrate on new composition. opens the work, the bravura flourish Returning to Moscow, he shut himself which follows it and the lyrical opening up in his flat and decided that this was idea for the strings, the second the moment to put the First Concerto’s major theme sets off at a scampering demons to rest. In so doing he kept Vivace. The movement continues himself oblivious to the shouting and in this way, each theme – and its sounds of gunfire in the surrounding development – given its own very streets. By the time he completed distinct setting until the cadenza, a his revision in November Russia’s brilliant, lengthy showpiece that takes revolutionary government was in place. up around a quarter of the movement. Only a few weeks later Rachmaninov Here all the important melodic and his family would leave Russia for material reaches a point of bravura the last time. summation before the orchestra His re-examination of his teenage joins for the breathless final bars. concerto did not result in an overhaul The slow movement emerged largely of the work’s musical language. intact from Rachmaninov’s revisions.

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It is an oasis of lyrical simplicity, in PETER ILYICH TCHAIKOVSKY which the lovely theme is presented (1840–1893) by the soloist without accompaniment, Symphony No.6 in B minor, Op.74, before the orchestra takes it up, Pathétique now accompanied with decorative figurations from the piano. Throughout Adagio – Allegro non troppo the concerto, Chopin’s influence is Allegro con grazia very evident in the voicing of the Allegro molto vivace slower music for the piano, and this Finale (Adagio lamentoso – Andante) movement is the closest Rachmaninov came to inhabiting the world of a The myth of the-Pathétique-as-suicide- Chopin nocturne. note (not to mention Tchaikovsky’s ‘suicide’ itself) has been more or less Like the first movement, the finale debunked in the past two decades. opens with an orchestral call to arms, There are no grounds for doubting that but the results are more dashing, as the Tchaikovsky died from post-choleric piano leaps in almost immediately with complications; the theory that his old a playful response that turns out to be classmates decided in a ‘court of honour’ the movement’s major theme. This idea that he should commit suicide to avoid develops by way of particularly incisive disgrace has been undermined; and his dialogue between piano and orchestra, social, financial and artistic situation much of it the result of Rachmaninov’s all speak against any other motivation revisions. In fact this movement for suicide, even if he continued to be received the greatest overhaul in the troubled by his homosexuality. 1917 version. The languorous central episode for the strings, with filigree The Sixth Symphony, specifically, seems commentary from the piano at the to have been a source of immense pride, end of each phrase, was originally satisfaction and joy to him. And shortly transformed into a grandiose final after its premiere he’s reported to have statement to conclude the movement. said, ‘I feel I shall live a long time.’ Now the closing section is a highly He was wrong. His audience, now accented Russian dance of great in mourning and seeking ‘portents’, rhythmic exhilaration. immediately heard the Sixth Symphony © Phillip Sametz (the Pathétique) in a new way. The Melbourne Symphony Orchestra first performed this concerto during a country tour in November 1960 New significance was given to the with conductor Henry Krips and soloist Max Olding. The appearance in the first movement of an Orchestra most recently performed it in June 2011 with Jakub Hrůša and Simon Trpčeski. Orthodox burial chant, ‘Repose the Soul’ – a hymn sung only when someone has died – and to the otherworldly, dying character of the adagio finale.

8 PROGRAM NOTES

Even if the symphony is not a suicide Pictures at an Exhibition), and later note, there is a programmatic and Rachmaninov (in The Isle of the Dead). semi-autobiographical underpinning to In the Sixth Symphony Tchaikovsky the symphony that is the source of its comes to terms with his professed unusual form and turbulent emotions. inadequacies in structural matters. Tchaikovsky admitted the existence His solution in the first movement was of a program but was cagey about the to extend the exposition section, so details, perhaps because it reflected well suited to his melodic gifts, and his romantic feelings for his nephew to compress the development section and the dedicatee, ‘Bob’ Davidov. The in which he felt his skills inadequate. closest we have is a sketched scenario, The music begins in the depths with devised originally for an abandoned the dark colour of the bassoon and symphony in E flat but appearing to yet somehow Tchaikovsky sustains correspond with much of the Sixth a downward trajectory, or the Symphony: impression of one, for the whole work. 'Following is essence of plan for a In the third movement the idea of symphony Life! First movement – all ‘disappointment’ is replaced by impulse, confidence, thirst for activity. something more malevolent. In purely Must be short (Finale death – result of musical terms it conflates two musical collapse). Second movement love; third figures – feverish tarantella triplets and disappointment; fourth ends with a a spiky march – but the juxtapositions dying away (also short).' and incursions into each other’s There are aspects of this program thematic territory create a disturbing and the Sixth Symphony that suggest sense of antagonism. The movement’s suffering, but for Tchaikovsky the applause-provoking conclusion could composition of the symphony was a be triumphant, or it could be the crash cathartic experience rather than an of self-delusion. expression of current sufferings. The finale may not fit the formula In its art this is Tchaikovsky’s most established by Tchaikovsky’s classical innovative symphony. He dares predecessors, but within the emotional to conclude with a brooding slow journey of the symphony its stark movement and uses boldly dramatic sense of tragedy provides an inevitable gestures to give the music its conclusion – all the more powerful emotional impulse. The ‘limping’ for the grace and jauntiness of the elegance of the second-movement preceding movements.

waltz would have been less surprising, Yvonne Frindle © 2008 to Russians at least – its five-beat The Melbourne Symphony Orchestra was the first of the Australian state symphony orchestras to perform this metre was a part of a tradition that work, on 19 September 1939 under . The was embraced by Borodin, Rimsky- Orchestra most recently performed it in September 2014 Korsakov and Mussorgsky (in his with Diego Matheuz.

9 MELBOURNE SYMPHONY ORCHESTRA

FIRST VIOLINS SECOND VIOLINS CELLOS Dale Barltrop Matthew Tomkins David Berlin Concertmaster Principal Principal # # Eoin Andersen The Gross Foundation MS Newman Family Concertmaster Robert Macindoe Rachael Tobin Sophie Rowell Associate Principal Associate Principal Associate Concertmaster Monica Curro Nicholas Bochner The Ullmer Family Foundation# Assistant Principal Assistant Principal Peter Edwards Danny Gorog and Miranda Brockman # Assistant Principal Lindy Susskind Geelong Friends # Kirsty Bremner Mary Allison of the MSO Sarah Curro Isin Cakmakcioglu Rohan de Korte Michael Aquilina# Freya Franzen Keith Johnson # Peter Fellin Anonymous Sarah Morse Deborah Goodall Cong Gu Angela Sargeant Lorraine Hook Andrew Hall Michelle Wood # Andrew and Judy Rogers # Kirstin Kenny Andrew and Theresa Dyer Francesca Hiew Rachel Atkinson* Ji Won Kim Tam Vu, Peter and Eleanor Mancini Lyndsey Hawkins# # DOUBLE BASSES David and Helen Moses Rachel Homburg Mark Mogilevski Isy Wasserman Steve Reeves Principal Michelle Ruffolo Philippa West Kathryn Taylor Andrew Moon Patrick Wong Associate Principal Michael Aquilina# Roger Young Jacqueline Edwards* Sylvia Hosking Amy Brookman* Assistant Principal Oksana Thompson* Madeleine Jevons* Damien Eckersley Benjamin Hanlon VIOLAS Suzanne Lee Christopher Moore Stephen Newton Principal Sophie Galaise and Di Jameson# Clarence Frase# Fiona Sargeant Emma Sullivan* Associate Principal Esther Toh* Lauren Brigden Katharine Brockman FLUTES Anthony Chataway Prudence Davis Gabrielle Halloran Principal # Trevor Jones Anonymous Cindy Watkin Wendy Clarke Associate Principal Elizabeth Woolnough Sarah Beggs Caleb Wright Katie Yap*

10 PICCOLO TRUMPETS MSO BOARD Andrew Macleod Geoffrey Payne Chairman Principal Principal Michael Ullmer Shane Hooton OBOES Associate Principal Managing Director Sophie Galaise Jeffrey Crellin Julie Payne Principal William Evans Board Members Thomas Hutchinson Rosie Turner* Andrew Dyer Associate Principal Danny Gorog Ann Blackburn TROMBONES Brett Kelly Michael Pisani Brett Kelly Principal David Krasnostein CLARINETS Ben Lovell-Greene David Li David Thomas Helen Silver AO Principal BASS TROMBONE Margaret Jackson AC Philip Arkinstall Mike Szabo Company Secretary Associate Principal Principal Oliver Carton Craig Hill TUBA BASS CLARINET Timothy Buzbee Jon Craven Principal Principal TIMPANI BASSOONS Brent Miller Jack Schiller Principal PERCUSSION Elise Millman Robert Clarke Associate Principal Principal Natasha Thomas John Arcaro Robert Cossom CONTRABASSOON

Brock Imison HARP Principal Yinuo Mu Principal HORNS Grzegorz Curyla*‡ Guest Principal Saul Lewis # Position supported by Principal Third * Guest Musician Jenna Breen † On exchange from West German Radio Symphony Abbey Edlin ‡ Courtesy of Malaysian Nereda Hanlon and Philharmonic Orchestra Michael Hanlon AM# Trinette McClimont Robert Shirley*

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MSO PATRON Satan Jawa John Gandel AO and Peter Lovell Australia Indonesia Pauline Gandel Lesley McMullin The Honourable Institute (DFAT) Danny Gorog and Foundation Linda Dessau AC MSO Regional Lindy Susskind◊ Mr and Mrs D R Meagher Governor of Victoria Touring Robert & Jan Green Marie Morton FRSA Creative Victoria Dr Geraldine Lazarus David and Helen Moses◊ ARTIST CHAIR Cybec 21st Century and Mr Greig Gailey Dr Paul Nisselle AM BENEFACTORS Australian Composers The Cuming Bequest Ken Ong, in memory Anonymous Program Ian and Jeannie Paterson of Lin Ong ◊ Principal Flute Chair The Cybec Foundation Lady Potter AC Bruce Parncutt and Di Jameson Elizabeth Proust AO Robin Campbell Principal Viola Chair CHAIRMAN’S Rae Rothfield James and Joy Selby Smith CIRCLE $100,000+ Glenn Sedgwick Frances Pfeiffer Helen Silver AO and Pzena Investment Orchestral Leadership Marc Besen AC and Harrison Young Charitable Fund Chair Eva Besen AO Maria Solà Andrew and Judy Rogers The Gross Foundation The Gross Foundation◊ Profs. G & G Max and Jill Schultz Principal Second David and Angela Li Stephenson, in honour Stephen Shanasy Violin Chair MS Newman Family of the great Romanian HMA Foundation The Newman Family Foundation◊ musicians George D & CS Kipen on behalf Foundation Joy Selby Smith Enescu and Dinu Lipatti of Israel Kipen Principal Cello Chair Ullmer Family Onbass Foundation Gai and David Taylor The Ullmer Family Foundation◊ Foundation Juliet Tootell Mr Tam Vu and Anonymous (1) ◊ Associate Alice Vaughan Dr Cherilyn Tillman Kee Wong and Wai Tang The Hon. Michael Watt Concertmaster Chair VIRTUOSO Jason Yeap OAM QC and Cecilie Hall PATRONS $50,000+ Lyn Williams AM PROGRAM ◊ BENEFACTORS Di Jameson PRINCIPAL Anonymous (3) Harold Mitchell AC PATRONS $5,000+ Meet The Orchestra ASSOCIATE Prof Ian Brighthope Made possible by IMPRESARIO PATRONS $2,500+ Linda Britten The Ullmer Family PATRONS $20,000+ Foundation David and Emma Dandolo Partners ◊ East Meets West Michael Aquilina Capponi Will and Dorothy Bailey Supported by the The John and Jennifer Andrew and Theresa Bequest ◊ Li Family Trust Brukner Foundation Dyer Barbara Bell, in The Pizzicato Effect Perri Cutten and Tim and Lyn Edward memory of Elsa Bell (Anonymous) Jo Daniell Mr Bill Fleming Bill Bowness Schapper Family Rachel and the late John and Diana Frew Stephen and Foundation Hon. Alan Goldberg Susan Fry and Caroline Brain Collier Charitable Fund AO QC Don Fry AO Dr Mark and Mrs Ann Supported by the Hilary Hall, in memory Sophie Galaise and Bryce ◊ Hume City Council’s of Wilma Collie Clarence Fraser Bill and Sandra Burdett Community Grants Margaret Jackson AC Geelong Friends Oliver Carton ◊ Program David Krasnostein and of the MSO John and Lyn Coppock MSO Education Pat Stragalinos Jennifer Gorog Miss Ann Darby, Supported by Mimie MacLaren Louis Hamon OAM in memory of Mrs Margaret Ross AM John and Lois McKay Nereda Hanlon and Leslie J. Darby ◊ and Dr Ian Ross Michael Hanlon AM Natasha Davies, for the MSO Audience Access MAESTRO Hans and Petra Henkell Trikojus Education Fund Crown Resorts PATRONS $10,000+ Hartmut and Beryl Dean Ruth Hofmann Sandra Dent Foundation John and Mary Barlow Jack Hogan Peter and Leila Doyle Packer Family Kaye and David Birks Doug Hooley Lisa Dwyer and Foundation Mitchell Chipman Jenny and Peter Hordern Dr Ian Dickson MSO International Mary and Frederick Dr Alastair Jackson Jane Edmanson OAM Touring Davidson AM Suzanne Kirkham Dr Helen M Ferguson Supported by Sir Andrew and Dr Elizabeth A Lewis AM Mr Peter Gallagher and Harold Mitchell AC Lady Davis 12 SUPPORTERS

Dr Karen Morley PLAYER PATRONS Jean Hadges Laurence O'Keefe and Dina and $1,000+ Paula Hansky OAM Christopher James Ron Goldschlager Merv Keehn and Alan and Christa Abdallah Colin Golvan QC and Sue Harlow Dorothy Pattison Anita and Dr Deborah Golvan Tilda and Brian Margaret Plant Graham Anderson Louise Gourlay OAM Haughney Kerryn Pratchett Christine and Peter and Lyndsey Penelope Hughes Peter Priest Mark Armour Hawkins◊ Basil and Rita Jenkins Eli Raskin Philip Bacon AM Susan and Gary Hearst Stuart Jennings Bobbie Renard Arnold Bloch Leibler Colin Heggen, in Irene Kearsey and Peter and Marlyn and Peter memory of Marjorie M J Ridley Carolyn Rendit Bancroft OAM Drysdale Heggen Brett Kelly and Dr Rosemary Ayton Adrienne Basser Rosemary and Cindy Watkin and Dr Sam Ricketson Prof Weston Bate and James Jacoby Dr Anne Kennedy Cathy and Peter Rogers Janice Bate Jenkins Family Julie and Simon Kessel Zelda Rosenbaum OAM David Blackwell Foundation George and Doug and Michael F Boyt C W Johnston Family Patricia Kline Elisabeth Scott Anne Bowden John Jones William and Dr Sam Smorgon The Late Mr John George and Grace Kass Magdalena Leadston AO and Mrs Minnie Brockman OAM and Irene Kearsey Andrew Lee Smorgon Mrs Pat Brockman Kloeden Foundation Norman Lewis, John So Dr John Brookes Sylvia Lavelle in memory of Dr Norman and Suzie and Harvey Brown Bryan Lawrence Dr Phyllis Lewis Dr Sue Sonenberg Jill and H E McKenzie Dr Anne Lierse Dr Michael Soon Christopher Buckley Allan and Ann and George Pauline Speedy Lynne Burgess Evelyn McLaren Littlewood Jennifer Steinicke Peter Caldwell Don and Anne Meadows Andrew Lockwood Dr Peter Strickland Joe Cordone Annabel and Violet and Jeff Pamela Swansson Andrew and Rupert Myer AO Loewenstein Jenny Tatchell Pamela Crockett Ann Peacock with Elizabeth H Loftus Frank Tisher OAM and Pat and Bruce Davis Andrew and The Hon Ian Macphee Dr Miriam Tisher Merrowyn Deacon Woody Kroger AO and Mrs Julie P and E Turner Wendy Dimmick Sue and Barry Peake Macphee The Hon. Rosemary Marie Dowling Mrs W Peart Vivienne Hadj and Varty John and Anne Duncan Graham and Rosemary Madden Leon and Sandra Velik Ruth Eggleston Christine Peirson Eleanor & Phillip Sue Walker AM Kay Ehrenberg Ruth and Ralph Renard Mancini Elaine Walters OAM Jaan Enden S M Richards AM and Dr Julianne Bayliss and Gregory Walters Amy & Simon Feiglin M R Richards In memory of Edward and Grant Fisher and Joan P Robinson Leigh Masel Paddy White Helen Bird Tom and Elizabeth John and Margaret Nic and Ann Willcock Barry Fradkin OAM Romanowski Mason Marian and Terry Wills and Dr Pam Fradkin Jeffrey Sher QC and In honour of Norma Cooke Applebay Pty Ltd Diana Sher OAM and Lloyd Rees Lorraine Woolley David Frenkiel and Diana and Brian Snape Ruth Maxwell Peter and Susan Yates Esther Frenkiel OAM AM Jenny McGregor AM Panch Das and Laurel David Gibbs and Geoff and Judy Steinicke and Peter Allen Young-Das Susie O'Neill William and Glenda McNaught Anonymous (16) Merwyn and Greta Jenny Ullmer David Menzies Goldblatt Kate and Blaise Vinot Wayne and George Golvan QC and Elisabeth Wagner Penny Morgan Naomi Golvan Barbara and Donald Weir Ian Morrey and Dr Marged Goode Brian and Geoffrey Minter Max Gulbin Helena Worsfold JB Hi-Fi Ltd Dr Sandra Hacker AO Anonymous (8) Patricia Nilsson and Mr Ian Kennedy AM

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THE MAHLER Linnell/Hughes Trust, The Hon. SYNDICATE managed by Perpetual Rosemary Varty The MSO relies The Pratt Foundation Mr Tam Vu on your ongoing David and Kaye Birks Marian and Terry Wills philanthropic Mary and Frederick CONDUCTOR’S Cooke support to sustain Davidson AM CIRCLE Mark Young our artists, and Tim and Lyn Edward Anonymous (23) support access, John and Diana Frew Current Conductor’s education, Francis and Circle Members The MSO gratefully community Robyn Hofmann Jenny Anderson acknowledges the The Hon Dr Barry David Angelovich engagement and support received from Jones AC G C Bawden and more. We invite our the Estates of: Dr Paul Nisselle AM L de Kievit suporters to get Angela Beagley Maria Solà Lesley Bawden close to the MSO Gwen Hunt The Hon Michael Watt Joyce Bown through a range of Pauline Marie Johnston QC and Cecilie Hall Mrs Jenny Brukner special events. C P Kemp Anonymous (1) and the late Peter Forbes MacLaren Mr John Brukner The MSO welcomes Lorraine Maxine Ken Bullen your support at any MSO ROSES Meldrum Luci and Ron level. Donations Roses Prof Andrew McCredie Chambers of $2 and over are Mary Barlow Miss Sheila Scotter Beryl Dean tax deductible, Linda Britten AM MBE Sandra Dent and supporters are Wendy Carter Molly Stephens Lyn Edward recognised as follows: Annette Maluish Jean Tweedie Alan Egan JP $1,000 (Player), Lois McKay Herta and Fred B Vogel Gunta Eglite Pat Stragalinos Dorothy Wood $2,500 (Associate), Marguerite Garnon- Jenny Ullmer $5,000 (Principal), Williams HONORARY $10,000 (Maestro), Rosebuds Louis Hamon OAM $20,000 (Impresario), Maggie Best APPOINTMENTS Carol Hay $50,000 (Benefactor). Penny Barlow Tony Howe Ambassador Lynne Damman Laurence O'Keefe and Geoffrey Rush AC The MSO Conductor’s Francie Doolan Christopher James Circle is our bequest Lyn Edward Audrey M Jenkins Life Members program for members Penny Hutchinson John and Joan Jones who have notified Elizabeth A Lewis AM Sir Elton John CBE George and Grace Kass of a planned gift in Sophie Rowell Mrs Sylvia Lavelle Ila Vanrenen their Will. Dr Cherilyn Tillman Pauline and The Late John David Lawton Brockman AO Enquiries TRUSTS AND Cameron Mowat P (03) 9626 1104 The Late Alan FOUNDATIONS Rosia Pasteur philanthropy@ Goldberg AO QC E Alan (AGL) Shaw Elizabeth Proust AO mso.com.au Endwoment, managed Penny Rawlins ◊ by Perpetual Joan P Robinson Signifies Adopt Collier Charitable Fund Neil Roussac an MSO Musician Crown Resorts Anne Roussac-Hoyne supporter Foundation and Ann and Andrew Serpell the Packer Family Jennifer Shepherd Foundation Profs. Gabriela and The Cybec Foundation George Stephenson Gandel Philanthropy Pamela Swansson The Harold Mitchell Lillian Tarry Foundation Dr Cherilyn Tillman Ken & Asle Chilton Mr and Mrs R P Trust, managed by Trebilcock Perpetual Michael Ullmer Ila Vanrenen

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Maestro Partners Offi cial Car Partner

Supporting Partners

Quest Southbank  e CEO Institute

Government Partners

Venue Partner Media Partners

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