CONCERT PROGRAM

Sir Andrew Davis conducts Mahler 5

Friday 18 March at 8pm Saturday 19 March at 2pm Monday 21 March at 6:30pm Robert Blackwood Hall Arts Centre , Arts Centre Melbourne, Hamer Hall Hamer Hall WHAT’S ON MARCH – MAY 2016

THE GODFATHER SCHUBERT’S UNFINISHED BACH SUITES LIVE IN CONCERT SYMPHONY Thursday 28 April Thursday 31 March Friday 22 April Friday 29 April Friday 1 April Saturday 30 April Schubert’s plangent Unfinished An offer you can’t refuse. Francis Symphony is the ideal coupling Two of the most popular suites of Ford Coppola’s legendary film with for the Requiem by Gabriel Fauré, the Baroque period, featuring the Nino Rota’s glorious score played which features the celebrated famous Badinerie and Air in D major, live by the MSO. See and hear The Pie Jesu solo. The Melbourne are paired with two of Haydn’s finest Godfather as never before. Symphony Orchestra Chorus symphonies: ‘La Passione’, socalled is joined by Australian soloists: because of the fierce intensity of the soprano Jacqueline Porter and music, and the ‘Oxford’, considered bass James Clayton. one of the pinnacles of Haydn’s symphonic output.

THREE OF THE BEST METROPOLIS NEW BRAHMS’ FOURTH SYMPHONY Sunday 1 May MUSIC FESTIVAL Friday 27 May Saturday 14 May Saturday 28 May Three very different and captivating Wednesday 18 May trios by three very different German conductor Christoph Saturday 21 May composers. From France, the String Konig directs a program of three Trio by neoclassicist Jean Françaix. The 2016 Metropolis New Music masterpieces. Ravel’s Le tombeau From the United States, the Piano Festival is especially metropolitan in de Couperin is followed by Bartók’s Trio by Charles Ives. And from the content and spirit. Its theme, Music rarely performed Viola Concerto Czech composer Bedřich Smetana, of the City, will examine all facets with British virtuoso Lawrence his impassioned Piano Trio. of city life, through time, place and Power. Brahms’ Symphony No.4 history. The director of Metropolis completes the program. 2016 is dynamic American conductor, pianist and composer Robert Spano.

2 ARTISTS Melbourne Symphony Orchestra Sir Andrew Davis conductor Pierre-Laurent Aimard piano

REPERTOIRE Ravel Piano Concerto for the Left Hand — Interval — Mahler Symphony No.5

This concert has a duration of Pre-Concert Talk Post-Concert Talk approximately 1 hour and 50 7pm Friday 18 March, 8:30pm Monday 21 March, minutes, including a 20-minute Foyer, Robert Blackwood Hall Stalls Foyer, Hamer Hall interval. 1pm Saturday 19 March, Join MSO Director of Artistic Stalls Foyer, Hamer Hall This performance will be recorded Planning Ronald Vermeulen for live broadcast on ABC Classic Warren Lenthall will present for a post-concert conversation FM on Saturday 19 March at 2pm. a talk on the artists and works with Sir Andrew Davis. featured in the program.

3 WELCOME MELBOURNE SYMPHONY ORCHESTRA

I am delighted to welcome you to this concert at the The Melbourne Symphony Orchestra (MSO) was beginning of the season in which the MSO and I reach established in 1906 and is ’s oldest orchestra. the halfway mark in our transversal of Gustav Mahler’s It currently performs live to more than 250,000 people symphonies. annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre The Fifth. Mahler’s first purely instrumental Melbourne, to its annual free concerts at Melbourne’s symphony since the First, is extraordinary orchestral largest outdoor venue, the Sidney Myer Music Bowl. The showpiece. It begins funereally, with a commanding Orchestra also delivers innovative and engaging programs phrase on solo trumpet, but ends in triumph: a to audiences of all ages through its Education and reflection of the composer’s burgeoning relationship Outreach initiatives. with Alma Schindler, who would become his wife. Sir Andrew Davis gave his inaugural concerts as the It is an enormous pleasure to welcome tonight an MSO’s Chief Conductor in 2013, having made his debut old musical friend of mine, the great French pianist with the Orchestra in 2009. Highlights of his tenure Pierre-Laurent Aimard, who is soloist in Ravel’s Piano have included collaborations with artists such as Bryn Concerto for the Left Hand. This magnificent concerto Terfel, Emanuel Ax, Truls Mørk and Renée Fleming, and (in common with ones by Britten, Korngold and the Orchestra’s European Tour in 2014 which included Hindemith) was commissioned by Austrian virtuoso appearances at the Edinburgh Festival, the Amsterdam Paul Wittgenstein, who lost his right arm during World Concertgebouw, the Mecklenburg-Vorpommern War I. Intriguingly, Ravel composed this work at the Festival and Copenhagen’s Tivoli Concert Hall. Further same time as he was writing the Piano Concerto in G, current and future highlights with Sir Andrew Davis which he regarded as more of a divertissement. include a complete cycle of the Mahler symphonies. With this program we hope to divert you in the Sir Andrew will maintain the role of Chief Conductor grandest manner! Enjoy! until the end of 2019. The MSO also works with Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Sir Andrew Davis Stenz and Simone Young. It has also collaborated with Chief Conductor non-classical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities. The Melbourne Symphony Orchestra reaches a wider audience through regular radio broadcasts, recordings and CD releases, which include recent discs of Strauss’ Four Last Songs, Don Juan and Also sprach Zarathustra with Sir Andrew Davis and Erin Wall on ABC Classics. On the Chandos label the MSO has recently released Berlioz’ Harold en Italie with James Ehnes and Ives’ Symphonies Nos. 1 and 2, both led by Sir Andrew Davis.

The Melbourne Symphony Orchestra is funded principally by the through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, The Melbourne Symphony Orchestra acknowledges the Jobs, Transport and Resources. The MSO is also funded Traditional Owners of the Land on which we perform – by the City of Melbourne, its Principal Partner, Emirates, The Kulin Nation – and would like to pay our respects to corporate sponsors and individual donors, trusts and their Elders and Community both past and present. foundations.

4 SIR ANDREW DAVIS PIERRE-LAURENT AIMARD CONDUCTOR PIANO

Sir Andrew Davis is Music Director and Principal Born in Lyon, Pierre-Laurent Aimard studied at the Conductor of the and Chief Paris Conservatoire with Yvonne Loriod and in London Conductor of the Melbourne Symphony Orchestra. with Maria Curcio. Early career landmarks included In a career spanning over 40 years, he has been the winning the 1973 Messiaen Competition at of 16. musical and artistic leader at several of the world’s Pierre-Laurent regularly performs throughout the most distinguished opera and symphonic institutions, world with major orchestras. Conductors with whom including the BBC Symphony Orchestra (1991-2004), he has worked include Esa-Pekka Salonen, Vladimir Glyndebourne Festival Opera (1988-2000), and the Jurowski, Peter Eötvös, Sir Simon Rattle and Riccardo Toronto Symphony Orchestra (1975-1988). He recently Chailly. In the 2015/16 season he is Artist-in-Residence received the honorary title of Conductor Emeritus from with the Vienna Symphony Orchestra and will perform the Royal Liverpool Philharmonic Orchestra. all of Beethoven’s piano concertos under the baton One of today’s most recognised and acclaimed of Philippe Jordan. He is also Artistic Director of the conductors, Sir Andrew has conducted virtually Aldeburgh Festival, founded by Benjamin Britten, Peter all the world’s major orchestras, opera companies, Pears and Eric Crozier. and festivals. This year he celebrates his 40-year Pierre-Laurent has a broad repertoire. A noted association with the Toronto Symphony, and aside from exponent of contemporary music, he gave the world performances with the Melbourne Symphony, he will premiere of ’s Responses; Sweet conduct the BBC Symphony Orchestra at , disorder and the carefully careless, as well as Elliott Philharmonia Orchestra at the Three Choirs Festival, Carter’s last piece Epigrams for piano trio (both works and the Scottish Chamber Orchestra at the Edinburgh written for him). International Festival. Pierre-Laurent was Musical America’s Instrumentalist Born in 1944 in Hertfordshire, England, Sir Andrew of the Year in 2007. His first recording for Deutsche studied at King’s College, Cambridge, where he was Grammophon (Bach’s Art of Fugue) received both the an organ scholar before taking up . His Diapason d’Or and Choc du Monde de la Musique wide-ranging repertoire encompasses the Baroque to awards. Other recordings include Ives’ Concord Sonata; contemporary, and his vast conducting credits span the Songs (with Susan Graham), The Liszt Project in 2011 and symphonic, operatic and choral worlds. Debussy’s Préludes in 2012. Sir Andrew was made a Commander of the British Empire in 1992, and a Knight Bachelor in 1999.

5 MAURICE RAVEL Piano Concerto for the Left Hand (1875-1937) Lento – Andante – Allegro – Tempo primo

Pierre-Laurent Aimard piano

Ravel’s Piano Concerto for the Left Hand is of such rollick. Perversely, the composer saves his deepest ferocious technical difficulty that its dedicatee and first statements, and his greatest virtuosity, for his ‘lame’ performer, Paul Wittgenstein, begged the composer for work. It unfolds almost as a concerto grosso, with the some simplification. Ravel, however, was a little too fond pianist responding to the orchestra in dazzling cadenzas. of his ‘neat and nice labours’, according to the London Here the soloist really is tragic hero, triumphing against Musical Times, and refused outright. orchestra and handicap. The first performance occurred not with the The concerto begins with cellos and double bass in composer at the helm, but with Robert Heger their lowest register, creating less a sound than a mere conducting, in Vienna, prompting much speculation feeling of darkness. A contrabassoon in its lowest range about ‘artistic personalities’. It was not until several introduces fragments of the theme. Other instruments years later, in 1933, that the concerto was heard in Paris. gradually enter the fray until the texture builds to an All differences apparently resolved, Ravel conducted the enormous climax, and the piano enters, in a cadenza Orchestre Symphonique de Paris, while Wittgenstein of extraordinary virtuosity. The orchestra responds performed. and builds to an even greater plane, before the piano returns and surprises us with transparent lyricism. This We can be glad today of Ravel’s pride in his introduces the central section, of distinct jazz influence. ‘neat and nice labours’, as the Concerto for the Left Parallel triads skid downwards through the piano; a Hand occupies a unique place in the repertoire. tarantella recalls the opening melody. Finally, Ravel But Wittgenstein can hardly be accused of faint- returns to his opening material, and a yet more dazzling heartedness. Brother of the philosopher Ludwig, he piano cadenza. The piece ends almost too abruptly, with lost his right arm at the Russian front in 1914, but what the composer described as a ‘brutal peroration’. resolved to continue his career as concert pianist. He commissioned works for left hand alone from Ravel makes few concessions to single-handedness, Prokofiev, Hindemith and Britten. Ravel’s Left Hand and the piano part is expressed in virtuosic, stereo Concerto was published in 1931, as Wittgenstein’s sound. The pianist Alfred Cortot suggested that a two- ‘exclusive property’. handed arrangement would do nothing to diminish the music, but would rather allow it a more permanent Compositions for the left hand were not without place in the repertory. The Ravel family refused. The precedent – pianists, it seems, had been losing their concerto exists as a unique piece of musical illusion, arms or hands or disabling themselves since time and perhaps they wished to preserve this. immemorial. And for some reason the right hand was always the first to go. Schumann famously ruined his The first performances received an excited right hand through ‘overdone technical studies’, perhaps audience and critical response, not least because of involving the use of a mechanical device; in the 19th the work’s outpouring of sentiment. The concerto’s century a Count Géza Zichy contributed a concerto for overt emotionalism refutes Stravinsky’s dismissal of left hand after losing his right arm hunting. Leopold the composer as ‘the Swiss watchmaker’. Musicologist Godowsky, who lost the use of his right hand in a Henry Prunières noted wistfully that he should have stroke, had by good fortune previously composed 22 liked Ravel to have ‘been able to let us observe more studies on Chopin etudes for left hand alone. frequently what he was guarding in his heart, instead of accrediting the legend that his brain alone invented Ravel studied Saint-Saëns’ Six Studies for the Left these admirable sonorous fantasmagorias. From the Hand in his preparation for this concerto, and may opening measures [of the concerto], we are plunged into have been exposed to Scriabin’s Prelude and Nocturne a world to which Ravel has but rarely introduced us.’ for Left Hand Alone. Ravel’s solutions to the problem of ‘half a pianist’, however, are entirely his own. The It was to be a short-lived introduction. Ravel soon difficulty, he claimed, was ‘to avoid the impressions of exhibited symptoms of the debilitating brain disease insufficient weight in the sound-texture’, something that was to end his life. He composed three songs for a he addressed by reverting to the ‘imposing style of the projected film about Don Quixote which, along with the traditional concerto’. two piano concerti, became his unexpected swansong. The Left Hand concerto and the G major concerto for © Anna Goldsworthy both hands were composed simultaneously, in the years The Melbourne Symphony Orchestra first performed Ravel’s 1929 to 1931, but the two works could scarcely be more Piano Concerto for the Left Hand in April 1951 with conductor different. The Concerto in G is a popular and enduring Harry Hutchins and soloist Richard Farrell, and most recently work, but essentially a divertissement – a good-hearted in 1994 with and Leon Fleisher.

6 GUSTAV MAHLER Symphony No.5 in C sharp minor (1860-1911) Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo-Finale (Allegro)

Mahler’s first four symphonies were more or less The Adagietto – arguably the most famous single programmatic in their intention, drawing their movement in all the Mahler symphonies – is essentially inspiration from folk poetry, incorporating themes a song without words. Scored for harps and strings from songs, and (in all but the first) using the human alone, it is closely related to Mahler’s song ‘Ich bin der voice. The Fifth, on the other hand, revealed no obvious Welt abhanden gekommen’ (I am lost to the world). program and was scored for orchestra alone. According to Mahler’s colleague Willem Mengelberg, the Adagietto was intended as a declaration of love It was written in 1901-02 around the time of for Alma. More like a fascinated bystander than a Mahler’s rather hasty betrothal to Alma Schindler. conductor, Mengelberg wrote in his score: While no period in Mahler’s life could be described as unequivocally happy, there is no doubt that the Instead of a letter, he sent her this manuscript without Fifth Symphony was conceived at a time of substantial further explanation. She understood and wrote back personal and professional satisfaction. Yet any sign that he should come! Both have told me this … If music of outward pleasure or optimism tends to be avoided, is a language, then this is proof. He tells her everything at least early on in the symphony; pointedly, and in tones and sounds in music. notoriously, it begins with a funeral march. And also in Mengelberg’s score at the beginning At the premiere in Cologne on 18 October 1904, of the Adagietto was the following brief poem, possibly the reception was mixed. Revision after revision written by Mahler himself: ensued, and so thorough was Mahler’s reworking Wie ich Dich liebe that, while the symphony’s popularity grew, each Du meine Sonne performance was nevertheless different from the last. Ich kann mit Worten Dir’s nicht sagen The symphony follows Mahler’s principle of Nur meine Sehnsucht kann ich Dir klagen ‘progressive tonality’, working its way from C sharp Und meine Liebe minor to a conclusion in a triumphant D major. It Meine Wonne! passes through a vast range of moods – ‘passionate, How I love you, wild, pathetic, sweeping, solemn, gentle, full of all my sun, the emotions of the human heart’, in Bruno Walter’s I cannot tell you in words, memorable description. I can only pour out to you my longing The opening movement begins with a distinctive and my love, trumpet call which recurs as the movement proceeds. my delight! As if to belie the claim that the symphony is ‘absolute’ The Rondo-Finale shares material with each of the rather than ‘programmatic’ music, the main theme is previous four movements, particularly with the Funeral based on a song by Mahler (‘Der Tamboursg’sell’) about March and the Adagietto. Merging elements of fugue a drummer boy facing execution. There are two trios: and sonata form into a unified whole, it is a joyous the first in B flat minor with a brief violin theme, celebration which begins with a series of folk-like the second a quieter section in A minor following figures on solo wind instruments. The main rondo the return of the march theme. After an impassioned theme is first stated on the horns and the other ideas climax, the movement dies away amid echoes of the are woven contrapuntally around this. When the main opening trumpet call. melody from the Adagietto returns it is so transformed Mahler leaves no doubt as to the intended mood of with energy that it is practically unrecognisable. The the second movement – marked ‘Stormy, with utmost development is elaborate, and the movement as a whole vehemence’. Much of the material derives from that in works its way towards the ecstatic brass chorale of the the first movement and there is a distinct reminiscence conclusion – as close as the melancholy Mahler ever of the march rhythms. A brass chorale in part came to writing an ‘Ode to Joy’. anticipates the conclusion of the symphony as a whole. Abridged from a note by © Martin Buzacott The Scherzo’s main thematic material is in the form The Melbourne Symphony Orchestra first performed of a joyous ländler. Ideas tumble over themselves the Adagietto from Mahler’s Symphony No.5 at an ABC in an inventive contrapuntal display while a slower Patriotic Concert on 21 March 1946 with conductor waltz theme is juxtaposed with the main material. . The Orchestra first performed the complete Contrasting trios add a more sombre note and in one of symphony in September 1949 under conductor Percy Code, these there occurs a striking obbligato passage for the and most recently in July 2013 with Simone Young. principal horn.

7 SUPPORTERS

Artist Chair Benefactors Impresario Patrons Suzanne Kirkham Max and Jill Schultz, Jeffrey Vivien and Graham Knowles Sher, Diana and Brian Snape Harold Mitchell AC Chief $20,000+ Dr Elizabeth A Lewis AM AM, Geoff and Judy Steinicke, Conductor Chair Michael Aquilina Peter Lovell Mr Tam Vu and Dr Cherilyn Patricia Riordan Associate Perri Cutten and Jo Daniell Annette Maluish Tillman, William and Jenny Conductor Chair Margaret Jackson AC Matsarol Foundation Ullmer, Bert and Ila Vanrenen, Joy Selby Smith Orchestral Mimie MacLaren Mr and Mrs D R Meagher Kate and Blaise Vinot, Barbara Leadership Chair John McKay and Lois McKay Wayne and Penny Morgan and Donald Weir, Brian and The Gross Foundation Maestro Patrons Marie Morton FRSA Helena Worsfold, Anonymous (12) Dr Paul Nisselle AM Principal Second Violin Chair $10,000+ Lady Potter AC Player Patrons $1,000+ Sophie Rowell, The Ullmer John and Mary Barlow Stephen Shanasy Anita and Graham Anderson, Family Foundation Associate Kaye and David Birks Gai and David Taylor Christine and Mark Armour, Concertmaster Chair Paul and Wendy Carter The Hon. Michael Watt QC and Arnold Bloch Leibler, Marlyn MS Newman Family Principal Mitchell Chipman Cecilie Hall and Peter Bancroft OAM, Cello Chair Jan and Peter Clark Jason Yeap OAM Adrienne Basser, Prof Weston Principal Flute Chair – Sir Andrew and Lady Davis Anonymous (5) Bate and Janice Bate, Dr Anonymous Future Kids Pty Ltd Julianne Bayliss, Timothy and Gandel Philanthropy Associate Patrons Margaret Best, David and Program Benefactors Robert & Jan Green $2,500+ Helen Blackwell, Michael F In memory of Wilma Collie Boyt, Philip and Vivien Brass Meet The Orchestra Dandolo Partners, Will and David Krasnostein and Pat Charitable Foundation, M Ward Made possible by The Ullmer Dorothy Bailey Bequest, Stragalinos Breheny, Lino and Di Bresciani Family Foundation Barbara Bell in memory of Mr Greig Gailey and Dr Elsa Bell, Mrs S Bignell, Bill OAM , Mr John Brockman East meets West Geraldine Lazarus Bowness, Stephen and Caroline OAM and Mrs Pat Brockman, Supported by the The Cuming Bequest Brain, Leith and Mike Brooke, Suzie Brown, Jill and Li Family Trust Ian and Jeannie Paterson Rhonda Burchmore, Bill and Christopher Buckley, Lynne The Pizzicato Effect Onbass Foundation Sandra Burdett, Oliver Carton, Burgess, Dr Lynda Campbell, (Anonymous) Elizabeth Proust AO John and Lyn Coppock, Miss Andrew and Pamela Crockett, Rae Rothfield MSO EDUCATION Ann Darby in memory of Leslie Jennifer Cunich, Pat and Bruce Glenn Sedgwick Supported by Mrs Margaret J. Darby, Mary and Frederick Davis, Merrowyn Deacon, Maria Solà, in memory of Ross AM and Dr Ian Ross Davidson AM, Natasha Davies, Sandra Dent, Dominic and Malcolm Douglas Peter and Leila Doyle, Lisa Natalie Dirupo, Marie Dowling, MSO UPBEAT Drs G & G Stephenson. In Dwyer and Dr Ian Dickson, John and Anne Duncan, Kay Supported by honour of the great Romanian Jane Edmanson OAM, Dr Helen Ehrenberg, Gabrielle Eisen, Betty Amsden AO DSJ musicians George Enescu and M Ferguson, Mr Bill Fleming, Vivien and Jack Fajgenbaum, MSO CONNECT Dinu Lipatti Mr Peter Gallagher and Dr Grant Fisher and Helen Bird, Supported by Jason Yeap OAM Lyn Williams AM Karen Morley, Colin Golvan Barry Fradkin OAM and Dr Kee Wong and Wai Tang QC and Dr Deborah Golvan, Pam Fradkin, Applebay Pty Benefactor Patrons Anonymous (1) Charles and Cornelia Goode, Ltd, David Frenkiel and Esther $50,000+ Frenkiel OAM, Carrillo and Principal Patrons Susan and Gary Hearst, Colin Ziyin Gantner, David Gibbs Betty Amsden AO DSJ Heggen in memory of Marjorie $5,000+ and Susie O’Neill, Merwyn Philip Bacon AM Heggen, Gillian and Michael and Greta Goldblatt, Dina and Marc Besen AC and Linda Britten Hund, Rosemary and James Ron Goldschlager, George Eva Besen AO David and Emma Capponi Jacoby, John and Joan Jones, Golvan QC and Naomi Golvan, John and Jenny Brukner Tim and Lyn Edward Kloeden Foundation, Sylvia Dr Marged Goode, Philip Rachel and the Hon. Alan John and Diana Frew Lavelle, H E McKenzie, Allan and Raie Goodwach, Louise Goldberg AO QC Susan Fry and Don Fry AO and Evelyn McLaren, Don and Gourlay OAM, Ginette and The Gross Foundation Danny Gorog and Lindy Anne Meadows, Andrew and André Gremillet, Max Gulbin, David and Angela Li Susskind Sarah Newbold, Ann Peacock Dr Sandra Hacker AO and Mr Harold Mitchell AC Lou Hamon OAM with Andrew and Woody Ian Kennedy AM, Jean Hadges, MS Newman Family Nereda Hanlon and , Sue and Barry Peake, Paula Hansky OAM and Jack Joy Selby Smith Hanlon AM Mrs W Peart, Ruth and Ralph Hansky AM, Tilda and Brian Ullmer Family Foundation Hans and Petra Henkell Renard, S M Richards AM Haughney, Julian and Gisela Anonymous (1) Hartmut and Ruth Hofmann and M R Richards, Tom and Jenny and Peter Hordern Elizabeth Romanowski, Heinze, Penelope Hughes, Jenkins Family Foundation

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Dr Alastair Jackson, Basil and The Mahler Syndicate Conductor’s Circle The MSO relies on your Rita Jenkins, Stuart Jennings, David and Kaye Birks, John Current Conductor’s ongoing philanthropic George and Grace Kass, Irene and Jenny Brukner, Mary Circle Members support to sustain Kearsey, Brett Kelly and Cindy and Frederick Davidson AM, Jenny Anderson, David access, artists, education, Watkin, Ilma Kelson Music Tim and Lyn Edward, John and Angelovich, G C Bawden and L community engagement Foundation, Dr Anne Kennedy, Diana Frew, Francis and Robyn de Kievit, Lesley Bawden, Joyce Bryan Lawrence, William and and more. Hofmann, The Hon Dr Barry Bown, Mrs Jenny Brukner and Magdalena Leadston, Norman Jones AC, Dr Paul Nisselle the late Mr John Brukner, Ken We invite our supporters Lewis in memory of Dr Phyllis AM, Maria Solà in memory Bullen, Luci and Ron Chambers, to get close to the Lewis, Dr Anne Lierse, Ann of Malcolm Douglas, The Hon Sandra Dent, Lyn Edward, MSO through a range and George Littlewood, Violet Michael Watt QC and Cecilie Alan Egan JP, Gunta Eglite, and Jeff Loewenstein, The of special events and Hall, Anonymous (1) Louis Hamon OAM, Carol Hay, Hon Ian Macphee AO and supporter newsletter Tony Howe, Audrey M Jenkins, Mrs Julie Mcphee, Elizabeth The Full Score. MSO Roses John and Joan Jones, George H Loftus, Vivienne Hadj Founding Rose and Grace Kass, Mrs Sylvia The MSO welcomes your and Rosemary Madden, Jenny Brukner Lavelle, Pauline and David support at any level. In memory of Leigh Masel, Lawton, Lorraine Meldrum, John and Margaret Mason, Roses Donations of $2 and Cameron Mowat, Laurence In honour of Norma and Lloyd Mary Barlow, Linda Britten, over are tax deductible, O’Keefe and Christopher Rees, Ruth Maxwell, Trevor Wendy Carter, Annette and supporters are James, Rosia Pasteur, Elizabeth and Moyra McAllister, David Maluish, Lois McKay, Pat recognised as follows: Proust AO, Penny Rawlins, Menzies, Ian Morrey, Laurence Stragalinos, Jenny Ullmer Joan P Robinson, Neil Roussac, $1,000 (Player), $2,500 O’Keefe and Christopher Rosebuds Anne Roussac-Hoyne, Jennifer James, Graham and Christine (Associate), $5,000 Maggie Best, Penny Barlow, Shepherd, Drs Gabriela and Peirson, Margaret Plant, (Principal), $10,000 Leith Brooke, Lynne Damman, George Stephenson, Pamela Kerryn Pratchett, Peter Priest, (Maestro), $20,000 Francie Doolan, Lyn Edward, Swansson, Lillian Tarry, Dr Eli Raskin, Bobbie Renard, (Impresario), $50,000 Penny Hutchinson, Elizabeth Cherilyn Tillman, Mr and Mrs Peter and Carolyn Rendit, A Lewis AM, Sophie Rowell, R P Trebilcock, Michael Ullmer, (Benefactor) Dr Rosemary Ayton and Dr Cherilyn Tillman Ila Vanrenen, Mr Tam Vu, Dr Sam Ricketson, Joan P The MSO Conductor’s Marian and Terry Wills Cooke, Robinson, Zelda Rosenbaum Circle is our bequest Foundations and Trusts Mark Young, Anonymous (23) OAM, Antler Ltd, Doug and program for members Elisabeth Scott, Dr Sam The A.L. Lane Foundation The MSO gratefully who have notified of The Annie Danks Trust Smorgon AO and Mrs Minnie acknowledges the a planned gift in their Smorgon, John So, Dr Norman Collier Charitable Fund support received from Will. and Dr Sue Sonenberg, Dr Creative Partnerships Australia Michael Soon, Pauline Speedy, Crown Resorts Foundation and the Estates of: Enquiries: the Packer Family Foundation State Music Camp, Dr Peter Angela Beagley, Gwen Hunt, Ph: +61 (3) 9626 1248 The Cybec Foundation Strickland, Mrs Suzy and Dr Pauline Marie Johnston, C P Gall Foundation Mark Suss, Pamela Swansson, Kemp, Peter Forbes MacLaren, Email: philanthropy@ The Harold Mitchell Tennis Cares- Tennis Australia, Prof Andrew McCredie, Miss mso.com.au Foundation Frank Tisher OAM and Dr Sheila Scotter AM MBE, Molly Helen Macpherson Smith Trust Miriam Tisher, Margaret Stephens, Jean Tweedie, Herta Ivor Ronald Evans Foundation, Tritsch, Judy Turner and and Fred B Vogel, Dorothy Wood Neil Adam, P & E Turner, managed by Equity Trustees Mary Vallentine AO, The Limited Honorary Appointments The Marian and EH Flack Trust Hon. Rosemary Varty, Leon Mrs Elizabeth Chernov The Perpetual Foundation – and Sandra Velik, Elizabeth Education and Community Alan (AGL) Shaw Endowment, Wagner, Sue Walker AMElaine Engagement Patron Walters OAM and Gregory managed by Perpetual Sir Elton John CBE Walters, Edward and Paddy The Pratt Foundation Life Member White, Janet Whiting and Phil The Robert Salzer Foundation Lukies, Nic and Ann Willcock, The Schapper Family The Honourable Marian and Terry Wills Cooke, Foundation Alan Goldberg AO QC Pamela F Wilson, Joanne Wolff, The Scobie and Claire Life Member Peter and Susan Yates, Mark Mackinnon Trust Geoffrey Rush AC Young, Panch Das and Laurel Ambassador Young-Das, YMF Australia, John Brockman AO Anonymous (17) Life Member

9 ORCHESTRA Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Benjamin Northey Patricia Riordan Associate Conductor Chair

First Violins Violas Piccolo Trumpets Dale Barltrop Christopher Moore Andrew Macleod Geoffrey Payne Concertmaster Principal Principal Principal Eoin Andersen Fiona Sargeant Shane Hooton Concertmaster Associate Principal Oboes Associate Principal Sophie Rowell Lauren Brigden Jeffrey Crellin William Evans Associate Concertmaster Katharine Brockman Principal Julie Payne Ike See *+ Christopher Cartlidge Thomas Hutchinson Gabrielle Halloran Associate Principal Trombones Peter Edwards Trevor Jones Brett Kelly Assistant Principal Ann Blackburn Cindy Watkin Principal Kirsty Bremner Caleb Wright Cor Anglais Iain Faragher* MSO Friends Chair William Clark* Michael Pisani Kirsty Bremner Ceridwen Davies* Principal Bass Trombone Sarah Curro Isabel Morse* Mike Szabo Clarinets Peter Fellin Cellos Principal Deborah Goodall David Thomas Lorraine Hook David Berlin Principal Tuba Kirstin Kenny MS Newman Family Philip Arkinstall Timothy Buzbee Ji Won Kim Principal Cello Chair Associate Principal Principal Eleanor Mancini Rachael Tobin Mark Mogilevski Associate Principal Craig Hill Timpani Michelle Ruffolo Alex Morris* Nicholas Bochner Christine Turpin Kathryn Taylor Lloyd Van’t Hoff* Assistant Principal Principal Robert John* Bass Clarinet Oksana Thompson* Miranda Brockman Percussion Rohan de Korte Jon Craven Robert Clarke Second Violins Keith Johnson Principal Principal Matthew Tomkins Sarah Morse Bassoons John Arcaro The Gross Foundation Principal Angela Sargeant Robert Cossom Second Violin Chair Michelle Wood Jack Schiller Molly Kadarauch* Principal Evan Pritchard* Robert Macindoe Associate Principal Double Basses Elise Millman Harp Associate Principal Monica Curro Steve Reeves Yinuo Mu Assistant Principal Principal Natasha Thomas Principal

Mary Allison Andrew Moon Contrabassoon *Guest musician Isin Cakmakcioglu Associate Principal Brock Imison Freya Franzen †Courtesy of Australian Sylvia Hosking Principal Chamber Orchestra Cong Gu Assistant Principal Andrew Hall Horns ‡Courtesy of London Symphony Orchestra Francesca Hiew Damien Eckersley Timothy Jones*‡ Rachel Homburg Benjamin Hanlon Guest Principal Christine Johnson Suzanne Lee Isy Wasserman Stephen Newton Geoff Lierse Philippa West Rohan Dasika* Associate Principal Patrick Wong Flutes Saul Lewis Roger Young Principal Third Prudence Davis Aaron Barnden* Jenna Breen Jenny Khafagi* Principal Flute Chair - Anonymous Abbey Edlin Trinette McClimont Wendy Clarke Anton Schroeder* Associate Principal Robert Shirley* Sarah Beggs

10 ISRAEL KIPEN CELEBRATING A LIFELONG LOVE OF MAHLER AND THE MSO

Our matinee performance on Saturday 19 March derived the most strength. He delights in telling the coincides with the 97th birthday of a remarkable man, story of how Mahler’s father took Mahler deep into the music lover Mr Israel Kipen. His story of travelling from woods, sitting him on a tree stump, and leaving him to war-torn Europe to the safe haven of Australia in the listen to the birdsong to develop his musical ear. 1940s, is one that is known to many in our audience. Writer, philosopher, businessman and community Mr Kipen’s love of music was nourished as a youngster leader, Mr Kipen listens to music avidly each day, in Poland, through attending a synagogue whose ritual conducting from his chair. As his capacity to attend was rich in vocal music, but it was not until he arrived concerts in person diminishes, his reliance on the in Australia that he was able to commence his concert spiritual nourishment that music provides is ever going habit. greater. Since 1948 he has been a dedicated subscriber, and Mr Kipen will attend the matinee with his family, says life without the MSO would have been unthinkable. to tap into the ‘source of ongoing unlimited joy and It was at MSO concerts that he and his future wife satisfaction’ that the MSO has been for nearly six Laura Baitz first encountered each other – he remembers decades. her as a school girl in hat and gloves. Sir Andrew Davis, the staff, Board and players of Throughout a long life of music listening, Mahler’s Fifth the MSO salute Mr Israel Kipen and wish him a Symphony and Sibelius’ Fourth Symphony have been wonderful birthday, hearing his beloved Mahler 5 the two symphonic pillars from which Mr Kipen has played live.

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VICTORIA WHITELAW LINDA BRITTEN NAOMI MILGROM FOUNDATION HARDY AMIES TRINITY COLLEGE FEATURE ALPHA INVESTMENT RED EMPEROR FITZROYS

GOVERNMENT PARTNERS MEDIA PARTNERS

11 Master the art of me-time Relax to music and smooth sips of Hennessy Paradis, or a good story and a glass of Dom Perignon. Savour every indulgence in our First Class Private Suites. Principal Partner of the Melbourne Symphony Orchestra.

emirates.com/au

Complimentary Chauffeur-drive service* w Fine dining on demand w World-class service

*Complimentary Chauffeur-drive service available for First Class and Business Class, excluding Trans-Tasman services and codeshare flights operated by Qantas to Southeast Asia. Mileage restrictions apply. For full terms and conditions visit emirates.com/au. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.