PLAYS BAROQUE

SUNDAY 5 MARCH 2017

CONCERT PROGRAM WELCOME ABOUT THE MSO

Welcome to the Established in 1906, the Melbourne first Chamber Symphony Orchestra (MSO) is an concert of 2017. arts leader and Australia’s oldest Our diverse professional orchestra. Engaging over Chamber Series 2.5 million people each year, the MSO brings a touch reaches a variety of audiences through of delight, quirk live performances, recordings, TV and and celebration radio broadcasts and live streaming. to your Sunday morning. Within the As a truly global orchestra, the MSO series you can expect everything from collaborates with guest artists and arts the sonorous and virtuosic sounds organisations from across the world. Its of woodwind, to the dynamic and international audiences include China, distinctively local flavours of the where MSO performed in 2016 and MSO’s Composer in Residence, Elena Kats-Chernin, right through to today’s Europe where the MSO toured in 2014. oh-so-intriguing Baroque concert and The MSO performs a variety of a tasty entrée to our Mozart Festival concerts ranging from core classical when MSO Plays Mozart over the first performances at its home, Hamer Hall weekend in June. at Arts Centre Melbourne, to its annual In 2017 the MSO celebrates a variety free concerts at Melbourne’s largest of composers and this year’s Mozart outdoor venue, the Sidney Myer Music Festival delivers the greatest pieces Bowl. The MSO also delivers innovative and lesser-known gems by the great and engaging programs to audiences composer brought to life by the MSO of all ages through its Education and under the masterful British conductor, Outreach initiatives. Richard Egarr. Hear renowned works like Eine Kleine Nachtmusik, The MSO also works with Associate Symphony No.40, the Requiem and the Conductor Benjamin Northey and extraordinary score to the Academy the Melbourne Symphony Orchestra Award®-winning film Amadeus based Chorus, as well as with such eminent on the composer’s life, all in a two- recent guest conductors as Thomas week festival during July. Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark It’s a wonderful experience to see Wigglesworth, Markus Stenz and and hear our musicians up close and Simone Young. It has also collaborated personal. What a way to start your with non-classical musicians including Sunday morning with the glorious Burt Bacharach, Nick Cave, Sting, sounds of a chamber performance! I look forward to sharing our 2017 Tim Minchin, Ben Folds, DJ Jeff Mills season with you. and Flight Facilities.

Sophie Galaise Managing Director Melbourne Symphony Orchestra 2 ARTISTS Soprano Antoinette Halloran Violin Işin Cakmakçioğlu Viola Gabrielle Halloran Cello David Berlin Harpsichord Donald Nicolson Presenter Mairi Nicolson

REPERTOIRE Leclair Overture in A Handel Un’ alma inamorata Schmelzer Duodena Selectarum Sonatorum: Sonata No.12

INTERVAL Stradella Sinfonia in D minor Vivaldi Lungi dal vago volto Biber Harmonia artificiosa-ariosa: Partia No.4

Running time 1 hour and 50 minutes including a 20-minute interval.

3 IŞIN CAKMAKÇIOĞLU In 1996, Gabby returned to Europe VIOLIN on an MSO Friends study grant and attended summer schools in Salzburg Işin Cakmakçioğlu has been a member and Siena (with Yuri Bashmet), of the Melbourne Symphony Orchestra followed by lessons with David Takeno since migrating to Australia in 1993 in London. She has been a member and teaches at the University of of MSO for more than 20 years, and Melbourne. performs regularly with MSO Chamber Born in Germany of Turkish parents, Players. Işin completed a Bachelor of Music at the Istanbul University Conservatorium and was awarded a state scholarship DAVID BERLIN to study at the Hochschule für Musik CELLO in Vienna and at the Royal Academy of David Berlin holds the position of MS Music in London, where he completed Newman Family Principal Cello Chair a Master of Music. at the Melbourne Symphony Orchestra Işin has performed solo and chamber and has held the position of Principal music concerts in Turkey, Britain, Cello since 1989. David studied the Germany, France, Luxembourg, Israel, cello with Lois Simpson at the Sydney Malaysia, Brunei and New Zealand. Conservatorium and with Channing His interest in contemporary music Robbins at the Juilliard School of has led to continuous collaborations. Music in New York. Işin regularly performs for Melbourne David has made numerous Composers League and in ABC appearances as soloist with these and Classic FM chamber music broadcasts other Australian orchestras and has featuring works by Australian been invited to play guest Principal composers. Cello with the Sydney and Tasmanian Symphony orchestras, Australian Chamber Orchestra and the Australian GABRIELLE HALLORAN World Orchestra. VIOLA In London in 1992, David gave the Gabrielle (Gabby) Halloran has been a world premiere performance of the member of the Melbourne Symphony complete works for cello and piano by Orchestra’s Viola section since 1993. Franz Liszt, with Leslie Howard. Gabby studied viola at the VCA with David plays on a cello made by Lawrie Jacks and at the Mozarteum Ivan Zgradic in Sherman Oaks, Salzburg with revered Austrian California in 1982. teacher Thomas Riebl. During her time in Salzburg, Gabby performed in various chamber ensembles, including concerts in Paris for the Mozart Bicentenary in 1991.

4 DONALD NICOLSON ANTOINETTE HALLORAN HARPSICHORD SOPRANO Donald Nicolson undertook In 2015/2016 Antoinette Halloran sang postgraduate studies at the Royal the title role in Madama Butterfly and Conservatorium in The Hague, the Fata Morgana in The Love for Three Netherlands studying under Ton Oranges for Opera Australia, and Mrs Koopman and Tini Mathot, focussing Lovett in a new production of Sweeney especially on the interpretation of Todd for Victorian Opera and New the sixteenth-century English virginal Zealand Opera (Helpmann Award music and the keyboard music of nomination). seventeenth-century France. 2017 engagements include a major Now a Melbourne-based role début for West Australian Opera, harpsichordist, organist and pianist, The Fox in The Cunning Little Vixen Donald is a prominent figure in for Victorian Opera, associate artist performance and research of the for José Carreras’ National Tour music of seventeenth- and eighteenth- and concert appearances with the century Europe, continuing to Melbourne, West Australian and work on both sides of the Tasman Christchurch Symphony Orchestras. as keyboardist for the ACO, MSO, Antoinette also featured as a guest SSO, and New Zealand Symphony judge and panellist on the ABC Orchestra. He has directed numerous television series Operatunity Oz, performances from the harpsichord appeared regularly on the hit show including the Melbourne Symphony Spicks and Specks and was a presenter and Australian Chamber Orchestras, for ABC’s Art Nation – covering stories and teaches baroque practice at the on opera and music theatre. University of Melbourne. Currently Donald is completing his PhD (Musicology and Performance) MAIRI NICOLSON at the University of Melbourne PRESENTER investigating societal, rhetorical and Mairi Nicolson can be heard six days a reflexive elements in the performance week on ABC Classic FM – Weekday of the Unmeasured Preludes of Louis Afternoons from midday to 4pm and Couperin. The Opera Show, Saturdays at 4pm.

Mairi regularly presents pre-concert artist talks, and hosts live broadcasts from Melbourne for the Melbourne Symphony Orchestra, Opera Australia, Musica Viva and the Melbourne International Chamber Music Competition. She has toured to Europe twice as broadcaster with the MSO.

5 PROGRAM NOTES

JEAN-MARIE LECLAIR HEINRICH IGNAZ FRANZ (1697-1764) VON BIBER (1644-1704) Overture in A, Op.13, No.3 Grave – Allegro – Largo – Allegro assai Harmonia artificiosa-ariosa: Partia No.4 GEORGE FRIDERIC HANDEL Adagio – Allegro – Adagio (1685-1759) Allamanda Cantata: Un’alma innamorata, Trezza: Presto HWV 173 Aria Recitative: Un’alma innamorata Canario Aria: Quel povero core Gigue: Presto Recitative: E pur benche egli veda Polcinello: Presto Aria: lo godo, rido e spero The Portuguese word barocco Recitative: In quanto a me ritrovo describes a misshapen pearl. It was Aria: Ben impari come se ama first used to disparage the dramatic asymmetries in architecture and the JOHANN HEINRICH SCHMELZER visual arts that appeared in reaction (1620-1680) to the ordered calm of Renaissance Duodena selectarum sonatarum: art. What we now call Baroque music Sonata No.12 was born in Florence in the late Adagio – Allegro – Andante 16th century, when the Florentine Camerata, a group of artists led ALESSANDRO STRADELLA by Vincenzo Galilei (father of the (1639-1682) astronomer), sought to recreate the sung dramas of ancient Greece and Sinfonia in D minor, No.2 accidentally invented opera. The Andante – Allegro spiccato – Adagio – music of the late Renaissance was Vivo – Adagio – Allegro dominated by the vocal polyphony of church music, the stylised fanfares and ANTONIO VIVALDI dances of aristocratic or royal court, (1678-1741) and the more domestic forms of the Cantata: Lungi dal vago volto, RV 680 solo song or the ensemble form of the Recitative: Lungi dal vago volto madrigal. The ‘democratic’ textures of Aria: Augelletti, voi col canto polyphony didn’t suit the requirements of the Florentine Camerata; out of Recitative: Allegrezza, mio core the need to differentiate character Aria: Mi stringerai sì came monody, where a single melodic line carries the musical argument, supported by a strong bass part and

6 PROGRAM NOTES

coloured by emotionally affecting ceremonies and courtly or public harmony. The bass part would soon entertainment. Like many musicians, evolve into what was termed basso Jean-Marie Leclair combined continuo, where the line was reinforced composition with performance (he by a keyboard instrument that helped was a fine violinist) and his other to fill out the texture. Baroque music achievements included a mastery of was, therefore, flexible and capable lacemaking. Born in Lyon, he studied of sudden contrasts between solo in Turin and held musical posts in Paris introspection and choral affirmation, under Louis XV and in the Netherlands between song and dance; it was, in a under the Princess of Orange (a former word, dramatic. student of Handel’s). He retired to Paris in his late 40s and composed his The visual arts of the Baroque only opera, Scylla et Glaucus, in 1746. created breathtaking effects from The Overture to that work, based on the manipulation (and sometimes the Greek myth about a sea-god’s distortion) of light and colour, tragic love for a beautiful nymph, perspective and proportion, and was recycled as the third of Leclair’s through the use of a welter of instrumental overtures in his Op.13 ornamental detail, such as we see in set. Following the common French the architecture of Bernini or Wren, template, this begins with a slow or the paintings of Caravaggio or introductory section, marked Grave, Velazquez. In literature something which is dominated by ceremonious similar happens in the powerful dotted rhythms and upward flourishes rhythm and sometimes tortuous from the violin. This contrasts with syntax of Milton’s poetry. In the period a lighter Allegro section in 2/4. A between Galilei and Monteverdi and songlike Largo, (marked dolce – the generation of Bach, Vivaldi and sweetly) follows, before a concluding, Rameau, music dramatically embodied feverish Allegro assai. the religious mysteries of ascendant Protestantism and the equally The Baroque love for drama is present assertive Catholicism of the Counter- in the sacred cantatas of Bach, and Reformation, as well as the ritualised in the secular ones that he and his life in the courts of Versailles and contemporary Handel composed for Westminster. aristocratic entertainment. In 1707 George Frideric Handel, ‘the Saxon’, Aristocratic courts, like major was attached to the court of the churches, were the major employers Marchese Ruspoli who in the summer of composers and trained musicians decamped with his whole household during the Baroque period, especially to a villa near Vignanello. Among during the middle of the 17th century. the works composed for that period They could be called upon to create is the cantata Un’alma innamorata music for religious observance, secular (A soul in love), which playfully

7 PROGRAM NOTES

sets off the pains and heartache sections, introducing a three-to-a-bar caused by love against the laughter dance at the close. and joy of the unencumbered soul. Alessandro Stradella’s D minor The form of this work is three pairs Sinfonia is also a multi-sectional work. of recitatives and arias, where the Stradella begins with a moderate- recitatives, which broadly follow paced chromatic section where the speech rhythm, introduce the ideas strings call and respond to each other. that are subsequently developed and There follows a faster fugato section elaborated more formally in the arias. whose counterpoint is set off by the Here the young Handel shows how Adagio, full of emotive strong-beat eagerly he had absorbed the lessons dissonance, that it introduces. A gigue- of Italianate writing, notably in the like section intervenes before another sometimes gymnastic writing for the Adagio, leading to an energetic finale voice. in 3/4. Italian composers, naturally enough, Stradella was a prolific composer dominated much of the Baroque whose life reads like a pulp novel, period, and foreigners like Leclair involving fraud (by him), adultery, and Handel both studied in Italian violent crime (against him) including cities. Johann Heinrich Schmelzer, his murder at the age of 42. (In this however, made history as the first he resembles Leclair, who was also Austrian-born Kapellmeister, or head of murdered.) music, at the Imperial Court in Vienna in 1679. He had of course worked Born in Venice in 1678 and ordained under the previous Kapellmeister for a priest in 1703, Antonio Vivaldi too many years, producing, among other had a colourful life, and enjoyed things, numerous suites of dance great success during his lifetime as music. Vienna always had a thing violin virtuoso, entrepreneur and for dance, and not just for humans composer. His works included some – among Schmelzer’s many balletti 500 concertos as well as many operas, is one to accompany a horse-ballet instrumental sonatas and a large body with a series of dances to accompany of sacred music. His playing was the formal movement of the horses clearly prodigious. One contemporary and accompanying saltatori, or describes how Vivaldi ‘put his fingers acrobats. He was also a prolific but a hair’s breadth from the bow, composer of instrumental concert so that there was scarcely room for music, including the ‘Twelve Selected the bow’. It would seem that Vivaldi Sonatas’ published in Nuremberg in pioneered technical advances, such 1659. The twelfth, originally for two as using the highest register of the violins, viola da gamba and continuo, strings, which were unknown at the is a single-movement piece made time. up of alternating Adagio and Allegro

8 PROGRAM NOTES

In 1711, Vivaldi was lucky enough to Like Vivaldi, Bohemian-born Heinrich meet up with the Amsterdam-based Ignaz Franz von Biber was a brilliant printer Estienne Roger, who had violinist and, though few written revolutionised the printing of music. records survive, we know that he Instead of moveable type, Roger impressed the Prince Archbishop of engraved plates, and used beams Salzburg, at whose court Biber was to link shorter notes like quavers based, and the Emperor Leopold I and semiquavers. The music could sufficiently to be ennobled in 1690. therefore be printed as often as Biber’s Harmonia artificiosa-ariosa is a needed, and it had the great virtue of collection of seven partias (or partitas) being much more legible. for various combinations of strings Vivaldi’s present-day reputation rests and continuo, which was published in part on his The Four Seasons, a after his death. Like Bach’s Partitas, frankly programmatic work. French these are effectively suites of dances composers had cultivated a tradition introduced by a sonata/sinfonia/ of music imitating nature, but Vivaldi overture. Biber begins with a slow- was one of the first Italian composers fast-slow ‘sonata’ before an elegant to experiment in this vein. Vivaldi’s Allamanda (or allemande) and a lively, rhetoric exquisitely depicts the but by-then archaic Trezza. There is seasons’ progress, described also a short Aria whose pensiveness is in sonnets (possibly written by him) dispelled by a Canario (a dance from which he affixed to the score. the Canary Islands) and a pair of fast dances, the gigue and a Polcinello, a It is not too far-fetched to hear Vivaldi’s reference to the commedia dell’arte love of musical onomatopoeia in his character resurrected by Stravinsky. cantata, Lungi dal vago volto. This, like Handel’s Un’alma innamorata, Biber’s music is later Baroque in the is made up of recitative-and-aria original sense, as well as ‘historically’: pairings, though in this case there are he creates elements of beautiful only two. The text ‘voices’ a shepherd strangeness by slightly distorting who cannot live without his lover, the familiar forms and sounds. Part of that shepherdess Elvira. The first recitative is achieved by the use of scordatura, describes his lovesickness, while in where stringed instruments are the first aria the poet address the little retuned to make possible unusual or birds (represented by the ornate violin difficult fingerings. In this work the obbligato line). The birds, as the next viola is retuned.

recitative suggests, have successfully © Gordon Kerry 2017 lured Elvira into the forest, and the final aria is a joyful outpouring of the poet’s love.

9 SUPPORTERS

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

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

11 SUPPORTERS

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 Sir Elton John CBE Lynne Damman Laurence O'Keefe and Life Member The MSO Conductor’s Francie Doolan Christopher James The Honourable Alan Circle is our bequest Lyn Edward Audrey M Jenkins Goldberg AO QC program for members Penny Hutchinson John and Joan Jones Life Member who have notified Elizabeth A Lewis AM George and Grace Kass of a planned gift in Sophie Rowell Geoffrey Rush AC Mrs Sylvia Lavelle their Will. Dr Cherilyn Tillman Pauline and Ambassador David Lawton The Late John Enquiries TRUSTS AND Cameron Mowat Brockman OAM P (03) 9626 1104 FOUNDATIONS Rosia Pasteur Life Member E philanthropy@ Alan (AGL) Shaw Elizabeth Proust AO Her Excellency the mso.com.au Endwoment, managed Penny Rawlins Honourable Linda ◊ by Perpetual Joan P Robinson Marion Dessau AC Signifies Adopt Collier Charitable Fund Neil Roussac Patron an MSO Musician Crown Resorts Anne Roussac-Hoyne supporter Ann and Andrew Serpell Ila Vanrenen Foundation and Life Member 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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Treat your family to a morning, an afternoon or an evening with the MSO in 2017.

Supporting Partners PIXAR IN CONCERT 7–8 April*

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MEET THE ORCHESTRA + JAMES MORRISON 20 May Quest Southbank  e CEO Institute PETER AND THE WOLF IN HOLLYWOOD 16 September

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Treat your family to a morning, an afternoon or an evening with the MSO in 2017.

PIXAR IN CONCERT 7–8 April*

JAMS FOR JUNIORS April–October

MEET THE ORCHESTRA + JAMES MORRISON 20 May

PETER AND THE WOLF IN HOLLYWOOD 16 September

THE COMPOSER IS DEAD WITH FRANK WOODLEY 11 November

HARRY POTTER AND THE PHILOSOPHER’S STONE/ CHAMBER OF SECRETS 16–18 November

*Relaxed and autism friendly performance also available.

Book now mso.com.au

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