THE PLANETS A Journey in Music and Film

Saturday 2 June at 2pm Monday 4 June at 6.30pm Melbourne Town Hall Alexander Shelley conductor Melbourne Symphony Orchestra Chorus Jonathan Grieves-Smith chorus master

Mozart Symphony No.41 Jupiter INTERVAL Holst

Accompanied by a high-definition film, produced and directed by Duncan Copp

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the violinist and entrepreneur Wolfgang Salomon. Amadeus Mozart The title Jupiter has a neoclassical (1756–1791) ring. Images of stately architecture and godly nobility are conjured up by Symphony No.41 in C, K.551 the grand opening of the symphony, Jupiter but it is doubtful whether Mozart I Allegro vivace had any extra-musical ideas in mind. II Andante cantabile The rich orchestral exposition of III Menuetto e Trio (Allegretto) the first movement concludes with a IV Molto allegro quotation from a comic aria Mozart had composed for an opera buffa. The Classical Viennese symphony The concept of a ‘masterpiece’ establishes a balance between serious deserving to be played over and and comic elements and makes no over again with a permanent place barrier between them; this same in the concert repertoire developed theme becomes the basis of the at the end of the 18th century, with powerful development section. the growth of a paying music public and orchestras devoted to public In the slow movement expressive concert-giving. It is no accident that figures for the strings are punctuated this was the time when pieces began by strong chords, and a disturbing to acquire nicknames – the late undercurrent of emotion is symphonies of are the maintained by syncopations and best example: Surprise, Miracle, Military repeated figures. Leading notes and so on. Musicians often complain emphasise the chromaticism of the that the titles are misleading, and, music with its constantly shifting more seriously, that lack of a title has harmonic colours, a feature so prevented many a fine work from Mozartian that it is immediately becoming well-known. recognisable when Haydn, in the symphony he was writing when he Only rarely was the title given by the heard of Mozart’s death (No.98), composer. On the autograph of this, quotes from this movement. his last symphony, Mozart wrote only ‘Sinfonia’. According to musicologist The Menuetto is this symphony’s and Mozart expert Neal Zaslaw, the most subtle movement, the one title Jupiter probably originated in whose achievement may slip past Cover photo London, where it may have been the listener’s attention because it is Jupiter and Io – © Duncan Copp & NASA JPL coined by Haydn’s London sponsor, dressed in the most conventional

CONCERT INFORMATION This concert has a duration of approximately two hours, including an interval of 20 minutes. Monday evening’s performance of this program will be recorded for later broadcast around Australia on ABC Classic FM (on analogue and digital radio), and for streaming on its website. Please turn off your mobile phone and all other electronic devices before the performance commences. If you do not need your printed program after the concert, we encourage you to return it to the program stands located in the foyer. Melbourne Symphony Orchestra programs can be read on-line or downloaded up to a week before each concert, from www.mso.com.au. about the music

18th-century garb. But who else wrote It was not in Holst’s character to crave any minuet like this, with its subtly success. His major interest was in scored beginning wrapped in waving creating something new with every string figures, its chromaticism, and work, and fame only made that more its brief but powerful reminders of difficult for him. As his daughter the majesty of the whole symphony? Imogen recalled in 1974: ‘He thought The Trio seems more continuous with that the few years when he was the minuet than usual, though its successful were a waste of time.’ beginning arrests the ear, causing The ‘few years’ were those following us to wonder what will follow. Many the first public performance of have found in this Trio more than an The Planets in November 1920. He outline of the theme of the great last became famous almost overnight movement. and, since the idea of exploiting the In 19th-century Germany the Jupiter work’s success filled him with horror, was known as ‘the symphony with the it may be surmised that he was not fugal finale’. Learned commentators equipped for celebrity status. As he have pointed out that it is not in fact told a friend: ‘If nobody liked your a fugue, but a sonata-form movement work…you’re in no danger of letting with fugato episodes. The thematic the public make you repeat yourself.’ basis of this movement is a four-note (1874–1934) Holst reached this reluctant fame tag used by many composers: Haydn, The Planets – Suite for Large as a composer from a very practical Mozart himself, and others from Orchestra, Op.32 musical background. Neuritis Palestrina through Bach to Brahms. made him switch as a young man The coda of the movement, where Mars, the Bringer of War from his chosen instrument of five motives are combined in inverted Venus, the Bringer of Peace piano to trombone, on which he counterpoint, is not an effect inviting Mercury, the Winged Messenger became a professional, supporting analysis, but sweeps the listener away Jupiter, the Bringer of Jollity his composing by playing in through its exciting power. Mozart Saturn, the Bringer of Old Age bands, concert orchestras and remains an entertainer even at his Uranus, the Magician in the opera pit. Thus his earlier most serious. Neptune, the Mystic academic training, at the Royal Abridged from a note by David Women of the Melbourne College of Music, was supplemented Garrett © 2001 Symphony Orchestra Chorus by this substantial practical The Melbourne Symphony Orchestra first experience of instrumentation and performed Mozart’s Symphony No.41 on 27 June compositional technique. 1940 at a Celebrity Orchestral concert conducted At the same time his musical interests by Sir Thomas Beecham. Tadaaki Otaka conducted the most recent performance, on 16 were expanding from his early love February 2011 at the Sidney Myer Music Bowl. of Wagner to the composers of the first British musical renaissance, particularly Byrd, Morley, Weelkes and Purcell. With his friend Vaughan INTERVAL Williams, Holst became an enthusiast for and collector of British folk songs. He also gave up the trombone to become a full-time music teacher. These changes to his life are reflected in his music: the folk-imbued orchestral work A Somerset Rhapsody and his choral ballet The Morning of the Year; the many part-songs inspired by the English madrigal composers; and the works that capture the values he promoted as a teacher, including the St. Paul’s and Brook Green suites for strings, both written for his pupils at St. Paul’s Girls School. about the music

His interests outside music The Planets in its complete form was also carried important musical not played publicly for another two implications for him. His reading of years. The swiftness of its success Hindu literature and philosophy in at that point may be judged by the translation led him to compose the circumstances of its United States remarkable chamber opera debut. An intense dispute arose (1908). Learning Sanskrit allowed between the orchestras of New York him to translate the texts he used and Chicago for the country’s first in his four sets of Hymns from the Rig performance, resolved only when Veda (1908–12); and his fondness of both organisations agreed to perform the Falstaff character gave him the the piece on the same evening (New Mars Rover 2 © JPL and NASA impetus for his opera At the Boar’s York coming in by a nose because of Head (1924). the time difference). Mars, the Bringer of War So it was with his interest in the The boldness of Holst’s invention The pounding 5/4 rhythms of Mars planets of our solar system. In a letter and the brilliance of his picture- have been used in countless films of 1913 he wrote: ‘As a rule I only painting have ensured the work’s and documentaries to depict the study things that suggest music to enduring popularity, as has its horror of the Great War, yet this me. That’s why I worried at Sanskrit. frequent appearance (or plagiarism) movement – the first Holst wrote Then recently the character of each in documentaries and movies. – was completed in short score just planet suggested lots to me, and I The Planets’ importance also lies in before war broke out. It begins with have been studying astrology fairly the image it gives us of the musical a menacing theme emerging over a closely. It’s a pity we make such a idioms in the ‘British ether’ during tread of timpani, strings (using the fuss about these things. On one the 20th century’s second decade; wood of the bow) and harp rising in side there’s nothing but abuse and Stravinsky, Rimsky-Korsakov, Debussy, crescendo to a powerful statement ridicule, with the natural result that Sibelius, Wagner and Elgar all make before the central episode introduces when one is brought face to face guest appearances in the piece, yet, fanfares suggesting, or mocking, with overwhelming proofs there is a as musicologist Gerald Abraham put military glory. The concluding section danger of going to the other extreme. it, ‘each is dissolved in the alembic brings the two main ideas together in Whereas, of course, everything in the of Holst’s creative imagination.’ a ferocious collision which results in world – writing a letter, for instance The Planets also points towards a chaos and oblivion. – is just one big miracle itself. Or British musical language in which the rather, the universe itself is one.’ Long folk-song tradition plays a small part after the music of The Planets had in a more ambitious, cosmopolitan been completed, Holst was casting his endeavour. This is why many critics friends’ horoscopes. regard as Holst’s natural successor. Although he began composing The Planets in 1914, his teaching The Planets is scored for a large commitments allowed him only orchestra that includes six horns, sporadic work on the piece, and he two tubas, six timpani (requiring two did not finish all seven movements players), two harps, celeste, organ and until 1916. (Incidentally, the work a generous percussion complement is not a complete journey through including xylophone. In the final the solar system: Earth is omitted, movement only, Holst calls for a six- and American astronomer Clyde part chorus of female voices. Tombaugh did not discover Pluto until 1930.) His friend and musical patron Balfour Gardiner gave Holst the present of a private orchestral performance in 1918, conducted by Adrian Boult. Holst was delighted and astonished: he had been convinced that a performance of so complex a work for so large an orchestra would be impossible in war-time conditions. about the music

© JPL & NASA © JPL & NASA © JPL & NASA

Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Venus is a picture of beauty and Here the main theme darts from Jupiter’s dazzling syncopated opening serenity, and perhaps the movement section to section in appropriately could well be the theme for a TV most influenced by the music of mercurial fashion, until the violin news program. A kind of rotund Debussy and Ravel in its shimmering announces a delicate variant of it jollity soon descends upon the textures. The horns, woodwinds in the sinuous manner of Rimsky- movement, before a sudden change to and harps dominate much of the Korsakov’s Sheherazade. But this newly 3/4 brings in its wake one of Holst’s piece and establish its atmosphere, fashioned theme does not stay long noblest melodies, known in its own Holst delaying the entry of the upper in one place either, and is passed in right as the patriotic hymn I vow to strings to magical effect. turn to oboe, flute and celeste before thee my country. Jupiter has long been the full orchestra takes it up at the The Planets’ most popular movement. climax. The movement does not so much conclude as dart away.

5 – 9 June, Melbourne Town Hall Bringing the magic of music to Melbournians of all ages

Last year, the Melbourne Symphony Orchestra’s Education Week saw more than 10,000 school students, parents and teachers experiencing the spectacular sights and sounds of a symphony orchestra – many for the very first time. In this year’s Education Week, the Orchestra will present 13 concerts across five days, including a full spectrum of interactive concerts for school students. Highlights include Symphony in a Day – our collaboration with over 100 community musicians from across Victoria – which will culminate in a larger-than-life performance of symphonic greats on Saturday 9 June at 8.30pm. For more information on Education Week please contact MSO Education on 9626 1198 or visit mso.com.au We hope to see you there! about the music

© JPL & NASA © JPL & NASA

Saturn, the Bringer of Old Age Uranus, the Magician and ice. Technically speaking this is This was Holst’s favourite movement. Dukas’ Sorcerer’s Apprentice is the a study in sonority, where nothing The quiet tolling of two chords on seed only of this rollicking essay rises above pianissimo and where what flutes and harp, suspended over in orchestral colour. The coldly seems like the suggestion of melodic fragmentary double bass phrases, impressive four-note motive heard at movement is really no more than the brilliantly suggests both the vastness the outset gives way to a swaggeringly swinging of a musical pendulum. of space and a process of gradual colourful essay in 6/4 time, with The most substantial thing to grab decay. Gradually, the atmosphere plenty of percussive activity. The onto in this void is a pattern of four becomes ceremonial, in the manner magician’s temperament gradually rising notes intoned by female voices of a processional, until there is an becomes quite demonic, before a as an ethereal chant, until the whole outburst of anger, replete with clashes mad organ glissando ushers in a diaphanous apparition gradually of bells and brass. The retreat from surprisingly quiet ending. drifts away. this climax involves a return to the Neptune, the Mystic Phillip Sametz © 1999/2008 opening’s quietude, but this time with The Melbourne Symphony Orchestra first a greater warmth, perhaps even an Holst’s determination to think for himself is the reason The Planets performed The Planets on 3 August 1955 with acceptance of the condition suggested conductor Walter Susskind and the Ladies of the by the movement’s title. In Saturn came into existence at all, but this Oriana Madrigal Choir, and most recently in and the final movement,Neptune , we movement is perhaps the most daring April 2008, when the Orchestra and the Women hear the music that was to have the and original of all. In Neptune we seem of the Melbourne Symphony Orchestra Chorus greatest bearing on Holst’s future to have been cut off from the human were conducted by . development as a composer. qualities and ambitions – even the grotesque ones – with which Holst has characterised the other planets, and are adrift in a place of stars

Organ Classics at Town Hall Flamboyant organist Cameron Carpenter will put the renowned Melbourne Town Hall organ through its paces in Poulenc’s popular Organ Concerto. Friday 22 June at 7.30pm Tickets FROM Monday 25 June at 6.30pm $60 Melbourne Town Hall

BOOK NOW at mso.com.au or call 1300 723 038 The Planets – An HD Odyssey The images selected to create The Planets – An HD Odyssey are taken from data returned by planetary spacecraft which have explored our solar system over the past four decades. Also used in the production are a number of movies which were created by the scientist teams. These animate specific features of particular planets. For example, a number of ‘weather movies’ are shown during © NASA JPL the Jupiter movement and a rendering of both radar SATURN images and topographic information allows a visualisation of flying over the volcanoes of Venus. Duncan Copp holds a Master’s degree in satellite remote The graphics in the production are computer generated sensing and a Doctorate in Astronomy, both from the and great care was taken to create the most realistic University of London, and he was a member of NASA’s renditions using read data returned from spacecraft. The Venus mapping team. He is a freelance producer, director, majority of the images come from the latest missions and presenter and science writer, and has researched and are produced in High Definition. All represent some of presented award-winning series for the BBC. Last year he the most spectacular results made by NASA and a number completed Star City, a feature documentary for National of other organisations dedicated to unlocking the secrets Geographic on the natural history of the Milky Way galaxy. of the Earth’s planetary neighbourhood. DUNCAN COPP producer and director

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KING & WOOD MALLESONS IS DELIGHTED TO BE AN ONGOING Salinger has received accolades since its beginnings in 1986. SUPPORTER OF THE MELBOURNE The quality, character and heritage of Salinger is reflected in every bottle. SYMPHONY We source the very best parcels of sparkling fruit to ORCHESTRA. make Salinger each year. www.kwm.com This 2006 vintage is a classic. nobody hearing his first published HOLST’S COMET orchestral work, the Suite de ballet of Phillip Sametz examines the 1899, would imagine that Holst was nature of Holst’s greatest hit its composer: it sounds more like an amalgam of Sullivan and Grieg, albeit For Max Bruch, it was his first violin a skilful and sometimes beautiful one. concerto; for Litolff his Scherzo; for Humperdinck Hansel and Gretel. For Within the next few years Holst’s Holst, it was The Planets. All these interests – musical, literary and composers are known to the general spiritual – would expand rapidly. He public almost solely because they was an artist for whom non-musical wrote one “enduring” piece each. stimuli meant as much to the nature of his work as did musical ones. The The overnight success of The Planets opulence of The Mystic Trumpeter astonished Holst, who had written it (1904), for soprano and orchestra, slowly, over a period of years, out of a derives from the combination of two personal interest in the character of of his early influences, Walt Whitman each planet. He was a naturally shy and Wagner. and reserved man, the last person who would wish to write a ‘hit.’ The In A Somerset Rhapsody (1906) he celebrity The Planets brought with it explores his recent discovery of was anathema to the composer. ‘It English folksong, which he was able made me realise the truth of “Woe to transmute with astonishing results to you when all men speak well of in his first completely individual you”’, he told a friend. Still, fame had work, the opera Savitri (1905), which its amusing moments, as when one is one of the most startling and admirer wrote to him: ‘Dear Sir, As original pieces to have been written you have painted The Planets in music, in Britain. Taken from an episode could you do the eight [sic] wives of in the Mahabharata, it has a cast of Henry VIII?’ three, an orchestra of 12 and a small off-stage female chorus who vocalise By the time the work received its on a single vowel. There is hardly first complete public performance in any scenery. A note in the score 1920, Holst was a vastly experienced says that the work ‘is intended for musician. A teacher and performer performance in the open air, or else (he had played trombone on Brighton in a small building’. For the first few Pier, in opera orchestras, and in minutes the voices of the two main Wurm’s White Viennese Band, among © JPL & NASA characters are heard unaccompanied, other places), he had been writing and when, at the passage beginning EARTH music for more than 20 years. But

Born in Edinburgh, Donald Runnicles OBE is now Chief Conductor of the BBC Scottish Symphony Orchestra. In the DONALD RUNNICLES more than 30 years since he left his home town, Donald Runnicles has travelled extensivelly and featured at the BBC IN CONVERSATION Proms, the Berlin State Opera, the Met, San Francisco Opera, the Vienna State Opera, and has directed many of the world’s major orchestras. The Melbourne Symphony Friends are very proud to present a unique opportunity to hear and meet him in person. Tuesday 12 June at 6.30pm Iwaki Auditorium, ABC Southbank Members $30 guests $35 includes drinks and nibbles © San Francisco Opera

Bookings and enquiries Please call Joyce Bown on 9558 3383 or Maureen Kable 9859 9974 (1908–12), which contain some of his most innovative choral writing. The third set, for female voices and harp, cannot have been far from Britten’s mind when he wrote his Ceremony of Carols. Similarly, the impact of Savitri on the composer who was to create the term ‘chamber opera’ must have been profound. Critic and author Roger Covell has noted that, in these and other respects, ‘Holst is Britten’s most immediate ancestor in English music.’ Holst, incidentally, would later learn Greek in order to translate passages from the Apocryphal Acts of St John for his Hymn of Jesus (1917). The Planets brings the language of © JPL & NASA many of these pieces together: the climax of Savitri finds an echo in SATURN ‘It is Maya!’, the character Satyavan Saturn, the gossamer texture of the is accompanied by wordless chorus Hymn to the Waters (from Group 3 holding a suspended ‘pedal’ chord, of the Rig Veda hymns) finds an we realise we are in the presence of a orchestral equivalent in Mercury, and vivid and unique imagination. But, as so on. Mercury then served as the basis musicologist Gerald Abraham wrote for much of Holst’s 1921 ballet score later, ‘no opera could more austerely The Lure. Similarly, the final moments discard everything that appeals to an of Neptune inform the , audience’. Indeed Holst was rarely again based on Whitman, of 1919. interested in ‘appealing’. He was But in two important respects interested in working his passions The Planets is untypical of Holst’s into his music. In 1926 he wrote to his work. It is for a large orchestra, and friend : is quite long (around 50 minutes). ‘…I still believe in the Hindu doctrine Most of Holst’s music is short, and of Dharma, which is one’s path in created for small forces. In the life. If one is lucky enough…to have pieces written after The Planets, the a clearly appointed path to which size of the ensembles tends to get one comes naturally…one ought to smaller and the textures sparer, as try and stick to it. And I am oriental he became interested in English enough to believe in doing so without madrigal composers and in the worrying about the “fruits of action”, absolute possibilities of counterpoint. that is, success or otherwise.’ As early as 1916, in the Four Songs for Voice and Violin, he creates a complete Savitri arose out of Holst’s reading of world of feeling on the smallest scale. Hindu literature and philosophy in (1927), although written translation. He once told his daughter for conventional orchestral forces, is Imogen: ‘Never learn anything until supremely quiet, rising above piano not knowing it becomes a positive only in two short sections. Even in nuisance to you’ and eventually the Moorside Suite (1928), written for a he learned Sanskrit at London’s major British brass band contest, Holst School of Oriental Languages. He spends much of his time exploring became fluent enough to translate quieter sonorities. The work’s second from it and, in addition to Savitri, movement, in particular, sounds like a immediately began writing four sets chamber work. of Choral Hymns from the Rig Veda In any case, the length of The Planets is somewhat deceptive, disguising as it does seven short character pieces. Holst was painfully aware that sustaining large forms was not one of his gifts, and there is only one other really ‘big’ piece from his maturity, his (1924), an intense and resourceful setting of Keats’ poems, including the Ode on a Grecian Urn, in four substantial movements. He did not write a really long work again after that. None of Holst’s pieces offers a complete view of his interests and musical style, but, from Savitri onwards, they are all Holst nonetheless. His integrity as an artist was immense, and it is this resoluteness of purpose that shines through so clearly in all his best music. If you enjoy The Planets, take a look at his work using a focal point that gives you another view. © Phillip Sametz

© JPL & NASA

JUPITER AND IO about the artists

THORSTEN HOENIG

Alexander Shelley MELBOURNE SYMPHONY conductor ORCHESTRA CHORUS A regular visitor to Australia and New Zealand, Jonathan Grieves-Smith Chorus Master Alexander Shelley recently extended his current tenure Under the artistic leadership of Jonathan Grieves- as Principal Conductor of the Nuremberg Symphony Smith, the Melbourne Symphony Orchestra Chorus Orchestra until 2017. is establishing an international reputation for its Since his win at the 2005 Leeds Conductors Competition, outstanding performances and recordings. Known as the he has worked with many of the major orchestras in Melbourne Chorale until 2008, it has since then been the UK, Germany and Scandinavia, with recent and integrated with the Melbourne Symphony Orchestra. forthcoming debuts including the Royal Philharmonic The Chorus sings with the finest conductors, including Orchestra, Komische Oper Berlin, Berlin Konzerthaus Sir Andrew Davis, Mark Wigglesworth, Bernard Labadie, Orchestra, Seoul Philharmonic, Malaysian Philharmonic, Stephen Layton, , Masaaki Suzuki and Sapporo Symphony, Netherlands Radio Philharmonic, Manfred Honeck. Recent highlights include Britten’s War Gothenburg Symphony, Zurich Chamber Orchestra, , Kancheli’s Styx, Haydn’s , Elgar’s The Orchestre National de Montpellier, and the Houston, North Dream of Gerontius, Rachmaninov’s The Bells and Wagner’s Carolina and Pacific Symphony orchestras in the US. The Flying Dutchman. He made his professional opera debut in The Merry The Chorus is committed to developing and performing Widow for Royal Danish Opera in 2008, and returned in new Australian and international choral repertoire. 2011 for a new production of Gounod’s Romeo and Juliet. Recent commissions include Brett Dean’s Katz und Forthcoming opera plans include La bohème for Opera Spatz (commissioned with the Swedish Radio Choir), Lyra at the National Arts Centre in Ottawa and a new Ross Edwards’ Mountain Chant (commissioned with production of The Marriage of Figaro for Opera North Cantillation), Paul Stanhope’s Exile Lamentations in 2013. (commissioned with Sydney Chamber Choir and London’s He has an ongoing relationship with the German Elysian Singers), and Gabriel Jackson’s To the Field of Stars Chamber Philharmonic Bremen, and is Artistic Director (commissioned with the Netherlands Chamber Choir of their groundbreaking Zukunftslabor project, and Stockholm’s St Jacob’s Chamber Choir). The Chorus which engages young audiences through innovative has also premiered works by MacMillan, Pärt, Henze, programming concepts. In 2001 he founded the Schnittke, Bryars, Silvestrov, Maskats, Machuel and Vasks, Schumann Camerata with whom he presents ‘440Hz’, a and more. series of concerts involving prominent German television, The Chorus has performed in Brazil, and in Kuala stage and musical personalities, which Shelley conceived Lumpur with the Malaysian Philharmonic Orchestra, with as an initiative to attract young adults to the concert hall. The Australian Ballet, Sydney Symphony Orchestra, West The son of professional musicians, Alexander Shelley Australian Symphony Orchestra, with Barbra Streisand, at studied cello at the Royal College of Music in London and the Melbourne International Arts Festival, at the 2011 AFL at the Robert Schumann Hochschule, Düsseldorf, and Grand Final and at the Sydney Olympic Arts Festival. The conducting with Thomas Gabrisch. Chorus records for Chandos and MSO Live, and continues its relationship with ABC Classics with the recent release of Brahms’ Ein deutsches Requiem with the MSO. about the artists The Chorus SOPRANOS Sue Robinson Alexandra Hadji Susannah Polya Alexandra Patrikios Susie Novella Anne Payne Tania Jacobs Brigid Maher Teresa Ingrilli Camilla Gorman Zoe Nikakis Coleen Arnott ALTOS Eirlys Chessa Aleksandra Acker Emily Brink Alison Ralph Eva Butcher Andrea Higgins Gwen Kennelly Christina McCowan Helena Ring Elin-Maria Evangelista Jillian Graham Emma Warburton Jodie Paxton Helen MacLean Juliana Hassett Helen Staindl Julie Arblaster JONATHAN GRIEVES-SMITH Jane Brodie Katherine Tomkins Chorus Master Jenny Stengards Madelaine Howard Jill Giese English conductor and chorus master, Jonathan Grieves- Melika Mehdizadeh Tehrani Kerry Roulston Smith has established an international reputation for his Naomi Hyndman Kristine Hensel compelling performances and breadth of artistic vision. Olivia Jones Lauren Simpkins He has been Chorus Master of the Melbourne Symphony Penny Huggett Libby Timcke Orchestra Chorus (formerly Melbourne Chorale) Phillipa Allen Norma Tovey since 1998, and prior to that was Chorus Master of the Rita Fitzgerald Ros Harbison Huddersfield Choral Society, the Hallé Choir, and Music Roxana Foucroy Rosemary McKelvie Director of Brighton Festival Chorus. Shaunagh O’Neill Siobhan Ormandy Sheila Baker An outstanding interpreter of Baroque and Romantic Sue Hawley repertoire, Jonathan is a passionate advocate for new music, commissioning and conducting premieres by composers Brett Dean, John Woolrich, Paul Stanhope, Gabriel Jackson, Giya Kancheli, Gavin Bryars, Richard Mills, Alfred Schnittke, Ross Edwards, , Arvo Pärt and Peteris Vasks. Jonathan has trained choirs for performances and recordings with the world’s leading conductors including Sir Simon Rattle, Seiji Ozawa, Valery Gergiev, Sir , Sir Andrew Davis, , Mark Wigglesworth, James Levine, Lorin Maazel, Yuri Temirkanov and Sir Roger Norrington. As guest conductor he has worked with the Academy of St Martin in the Fields Chorus, Sydney Chamber Choir, the BBC Singers, Cantillation, Sydney Philharmonia Choirs, Dartington International Summer School, the Flemish Federation of Young Choirs, and Europa Cantat. Conducting highlights include tours of Brazil with the Chorus of Rome’s Accademia di Santa Cecila, with pianist The Geelong Regional Library Corporation Nelson Freire and the London Mozart Players, and with has bought CDs of all the music in this year’s the Melbourne Chorale (now MSO Chorus). With the MSO Geelong Series. Hallé Orchestra and soloists Bryn Terfel and Tasmin If you’d like to listen again, or prepare for the next Little he conducted Walton’s Belshazzar’s Feast and the concert, why not borrow a CD? The easiest way is Elgar Violin Concerto; and with the Royal Philharmonic to place a free reservation via the library’s website Orchestra, he conducted Mendelssohn’s Symphony No.2 www.geelonglibraries.vic.gov.au and the library Lobgesang at the Brighton Festival. will contact you when it’s available. the orchestra Melbourne Symphony Orchestra Tadaaki Otaka Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair First Violins Second Violins Gabrielle Halloran Flutes Bassoons Trumpets Tuba Wilma Smith Matthew Tomkins Cindy Watkin Prudence Davis Elise Millman Geoffrey Payne Tim Buzbee Harold Mitchell AC Principal Caleb Wright Principal Acting Principal Principal Principal Concertmaster Chair Merewyn Bramble* Robert Macindoe Wendy Clarke Matthew Shane Hooton Timpani Isabel Morse* Erica Kennedy*# Associate Principal Associate Principal Ockenden*## Associate Principal Christine Turpin Simon Oswell* Roy Theaker Guest Principal Monica Curro Sarah Beggs William Evans Principal Associate Assistant Principal Cellos Brock Imison Julie Payne Concertmaster Percussion David Berlin Piccolo Acting Associate Mary Allison Robert Clarke Michael Kisin Principal Andrew Macleod Principal Trombones Isin Cakmakcioglu Principal Principal Principal Brett Kelly Cong Gu Sarah Morse Natasha Thomas Principal John Arcaro Peter Edwards Andrew Hall Associate Principal Oboes Robert Cossom Assistant Principal Rachel Homburg Horns Kenneth Nicholas Bochner Jeffrey Crellin Shaun Christine Johnson Andrew Bain McClimont Kirsty Bremner Assistant Principal Principal Trubiano*## Philip Lajta Principal Associate Principal MSO Friends Chair Miranda Brockman Vicki Philipson David Shafir Bostjan Lipovsek* Michael Bertoncello Harp Sarah Curro Rohan de Korte Associate Principal Isy Wasserman Guest Principal Julie Raines Lerida Delbridge Philippa West Sharon Draper Ann Blackburn* Bass Trombone Geoff Lierse Principal Peter Fellin Patrick Wong Joan Evans Geoffrey Dodd* Eric Klay Associate Principal Deborah Goodall Roger Young Keith Johnson Principal Alannah Lorraine Hook Lynette Rayner* Angela Sargeant COR ANGLAIS Saul Lewis Guthrie-Jones* Kirstin Kenny Stephanie Dean* Michelle Wood Michael Pisani David Bobroff*†† Principal 3rd CELESTE Ji Won Kim Svetlana Principal Guest Principal Eleanor Mancini Violas Bogosavljevic* Trinette Donald Nicolson* Anne Martonyi Fiona Sargeant Clarinets McClimont TENOR TUBA ORGAN Mark Mogilevski Acting Principal Double Basses David Thomas Rachel Silver Matthew Van Michelle Ruffolo Steve Reeves Rachel Shaw* Emmerik* Calvin Bowman* Justin Williams Elisabeth Murdoch Kathryn Taylor Principal Acting Associate Principal Clarinet Alice Rickards*† Principal Andrew Moon Chair Associate Principal Trevor Jones Philip Arkinstall Assistant Principal Sylvia Hosking Associate Principal Assistant Principal Katie Betts Craig Hill * Guest Musician Christopher Cartlidge Damien Eckersley † Courtesy of BBC Scottish Symphony Orchestra Bass Clarinet Lauren Brigden Benjamin Hanlon †† Courtesy of Iceland Symphony Orchestra Jon Craven Katharine Brockman Suzanne Lee # Courtesy of Orchestra Victoria Principal Simon Collins Stephen Newton ## Courtesy of Australian Opera and Ballet Orchestra

MANAGEMENT Board Executive Artistic Operations Marketing Gabriela Ramos Development Harold Mitchell AC Wayne Box Huw Humphreys Lou Oppenheim Michael Buckland Assistant Marketing Cameron Mowat Chairman Acting Chief Director, Artistic Director of Operations Acting Director of Coordinator Director of Executive Officer Planning Dr Bronte Adams Angela Chilcott Marketing Eileen Nesbitt Development Peter Biggs Julia Bryndzia Andrew Pogson Assistant Orchestra Joanna Krezel CRM Coordinator Jessica Frean Hon. Alan Executive Assistant Assistant Artistic Manager Marketing Manager Stella Barber Philanthropy Goldberg AO QC Administrator Paul Freeman Dana Nikanpour Consultant Manager Ann Peacock Business Anna Melville Production Manager Marketing Manager Historian Jennifer Tighe Jennifer Kanis Nerolie Grant Artistic Coordinator Sponsorship and Alastair McKean Acting Chief Luke Campbell Phillip Sametz Box Office Events Manager Michael Ullmer Financial Officer Bronwyn Lobb Production Communications Martine O’Connor Box Office Manager Kee Wong Raelene King Education Manager Coordinator Manager Arturs Ezergailis Development Officer Personnel Manager Jonathan Andrew Kiley Alison Macqueen Paul Clutterbuck Company Grieves-Smith Production Technician Publicist Senior Subscriptions Rosemary Shaw Kaanji Secretary Chorus Master Officer Development Skandakumar Kerstin Simon Wilson Oliver Carton Coordinator Accountant Helena Balazs Schulenburg Interactive Scott Campbell Chorus Artist Liaison Marketing Manager Subscriptions Officer Nathalia Andries Coordinator Finance Officer Alastair McKean Nina Dubecki Lucy Bardoel Orchestra Librarian Front of House Dale Bradbury Education Assistant Supervisor Project Manager – Kathryn O’Brien Tessitura Assistant Librarian Jennifer Poller Michael Stevens Marketing Coordinator Operations Assistant

HONORARY LIFE MEMBERS John Brockman OAM Professor John Hopkins OBE Sir Elton John donors

The MSO’s work can be attributed to the generosity of many collaborators, individuals, trusts and foundations. We are grateful for your support, which helps us enrich people’s lives through inspiring music now and for the future. To support us with a tax-deductible private gift, or bequest, please contact Jessica Frean on 03 9626 1107 or [email protected].

MSO Foundation The MSO Foundation will permanently strengthen the MSO for an inspiring future in our community. Orchestra Chair Leadership Campaign (In recognition of outstanding support) Harold Mitchell AC – Harold Mitchell AC Concertmaster Chair Dame Elisabeth Murdoch AC OBE – Elisabeth Murdoch Principal Clarinet Chair The Cybec Foundation – Patricia Riordan Associate Conductor Chair MSO Friends – MSO Friends Chair

Impresario Patrons (pledging $20,000+ annually) John McKay and Lois McKay, Bevelly and Harold Mitchell AC, Dame Elisabeth Murdoch AC DBE, Ines Scotland

Maestro Patrons (pledging $10,000+ annually) M P Chipman, Andrew and Theresa Dyer, Rachel and Hon. Alan Goldberg AO QC, Tom Jacob, Mimie MacLaren, Onbass Foundation, Elizabeth Proust AO, Michael and Jenny Ullmer, Matthew VanBesien and Rosie Jowitt, Lyn Williams AM, Anonymous (2) Principal Patrons (pledging $5000+ annually) Kaye and David Birks, The Cuming Bequest, Tim and Lyn Edward, Susan Fry and Don Fry AO, Jill and Robert Grogan, Louis Hamon OAM, Hartmut and Ruth Hofmann, Peter and Jenny Hordern, Mr Greig Gailey and Dr Geraldine Lazarus, Norman and Betty Lees, Mr and Mrs D R Meagher, Wayne and Penny Morgan, Ian and Jeannie Paterson, Mrs Margaret S. Ross AM and Dr Ian C. Ross, Joy Selby Smith, Kee Wong and Wai Tang, Anonymous (1) Associate Patrons (pledging $2500+ annually) Dr Bronte Adams, Will and Dorothy Bailey Bequest, Peter and Mary Biggs, Mrs S Bignell, Mr John Brockman OAM and Mrs Pat Brockman, David and Emma Capponi, Paul Carter, Mr Dominic Dirupo and Ms Natalie Dwyer, Peter and Leila Doyle, Dr Helen M Ferguson, Robert and Jan Green, John and Agita Haddad, Nereda Hanlon and Michael Hanlon AM, Susan and Gary Hearst, Gillian and Michael Hund, Peter Lovell, Jan Minchin, Marie Morton, Dr Paul Nisselle AM, Ann Peacock, Rae Rothfield, Craig and Jennifer Semple, Maria Sola and Malcolm Douglas, Gai and David Taylor, Mr Tam Vu and Dr Cherilyn Tillman, Carol VanBesien, Bert and Ila Vanrenen, Hon. Michael Watt QC and Cecilie Hall, Barbara and Donald Weir KSJ, Joanne Wolff, Brian and Helena Worlsfold Anonymous (2) Player Patrons (pledging $1000+ annually) Marlyn and Peter Bancroft OAM Colin Golvan SC Allan and Evelyn McLaren Mrs Suzy and Dr Mark Suss Mr Marc Besen AO and Mrs Eva Besen AO George H Golvan QC Dr Gabriele Medley AM Margaret Tritsch Stephen and Caroline Brain Dr Marged Goode John and Isobel Morgan Mrs Barbara Tucker M Ward Breheny Jean Hadges The Novy Family P and E Turner Jennifer Brukner Stuart and Sue Hamilton Laurence O’Keefe and Mary Vallentine AO Jill and Christopher Buckley Tilda and Brian Haughney Christopher James Hon. Rosemary Varty Bill and Sandra Burdett Julian and Gisela Heinze Lady Potter AC Wah Yeo AM Jan and Peter Clark Hans and Petra Henkell Peter Priest Sue Walker AM Judith M Connelly Dr Alastair Jackson Dr Sam Ricketson Pat and John Webb Ann Darby in memory of Leslie J. Darby Stuart Jennings and Diana Mummë Hugh T Rogers AM Erna Werner and Neil Werner OAM Panch Das and Laurel Young-Das Dr Elizabeth A Lewis AM Tom and Elizabeth Romanowski Nic and Ann Willcock Pat and Bruce Davis Norman Lewis in memory of Delina Schembri-Hardy Marian and Terry Wills Cooke Sandra Dent Dr Phyllis Lewis Max and Jill Schultz Ruth Wisniak and Prof John Miller AO Lisa Dwyer and Dr Ian Dickson Dr Anne Lierse David Shavin QC Peter and Susan Yates John and Anne Duncan Jeff Loewenstein Chris and Jacci Simpson Mark Young William J Forrest AM Christopher and Anna Long Gary Singer and Geoffrey A Smith Anonymous (8) Joanna Foulkes Vivienne Hadj and Rosemary Madden Dr Robert Sloane and Denise Sloane David I Gibbs and Susie O’Neill Sandra and Leigh Masel Mr Sam Smorgon AO and Merwyn and Greta Goldblatt Trevor and Moyra McAllister Mrs Minnie Smorgon MSO Conductor’s Circle We are privileged to be included in the bequest planning of our Conductor’s Circle members. Jenny Anderson John and Joan Jones Mr Tam Vu The MSO gratefully acknowledges Joyce Bown Elizabeth Proust AO Marian and Terry Wills Cooke the support received from the Kenneth Bullen Penny Rawlins Mark Young Estates of: Luci and Ron Chambers Joan P Robinson Anonymous (15) Gwen Hunt Sandra Dent Molly Stephens C P Kemp Lyn Edward Pamela Swansson Peter Forbes MacLaren Alan Egan JP Dr Cherilyn Tillman Prof Andrew McCredie Louis Hamon OAM Mr and Mrs R P Trebilcock Jean Tweedie Tony Howe Michael Ullmer Herta and Fred B Vogel MSO Projects Many projects need specific support. We sincerely thank the following for their vital support for the MSO’s Education and Emerging Artist Programs. The Pratt Family Foundation Rob Cossom: Snare Drum Award The Cybec Foundation: Cybec 21st Century Australian Composers Program The Trust Company as trustee of the Fred P. Archer Trust Schapper Family Foundation The RM Ansett Trust as administered by Equity Trustees To find out more about these and other special projects, such as the MSO Instrument Fund, please visit www.mso.com.au. Powercor – a major sponsor of the MSO’s Regional Touring Program

Powercor – a majorPowercor sponsor Australia of and the the Melbourne Symphony Orchestra – 2011 Australian The MSO MSO’s RegionalBusiness Touring Arts Program Foundation award winners in recognition of their shared dedication Powering Melbourne Symphonyto taking Orchestra the arts to presents regional Victoria an all-Mozart programfor more than 15 years. its way to 8pm Tuesday 5 April 7pm pre-concert talk Powering the Ballarat’s Her Majesty’s Theatre To find out more about what Powercor Ballarat MSO through Purchase tickets on 03 5333Australia 5888, isat doingHer Majesty’s in the Theatre, community visit or at the door one hour www.powercor.com.auprior to the concert. Regional Victoria To find out more about what Powercor Australia is doing in the community visit www.powercor.com.au