Belshazzar’s Feast

Friday 25 and Saturday 26 May at 8pm Town Hall Bramwell Tovey conductor and piano Deborah Humble mezzo-soprano Jonathan Lemalu bass-baritone Melbourne Symphony Orchestra Chorus Jonathan Grieves-Smith chorus master

Britten The Young Person’s Guide to the Orchestra Lambert The Rio Grande INTERVAL Walton Belshazzar’s Feast

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version of the piece therefore retains a sense of the film’s exploration of (1913–1976) one group at a time, though this has led to misguided criticism of the work The Young Person’s Guide to the as simplistic. Orchestra, Op.34 The theme is the Hornpipe from a suite composed by Purcell for the play Britten had long been a devotee of Abdelazar, or the Moor’s revenge. Britten’s Henry Purcell, admiring Purcell’s variations systematically explore each ‘ingenuity and colour’ in setting group of woodwinds and strings, the English to music. He and his partner, harp, brass and finally percussion the tenor Peter Pears, had included treating the tune in a way which is Purcell’s songs in their recitals perfectly idiomatic to its instrument, since the late 1930s. This interest or group, each time (compare the was further stimulated in 1945 harp’s variation with the trombones’, when England marked the 250th for instance). Britten then puts the anniversary of Purcell’s early death orchestra back together in that most with works such as Britten’s String integrated of forms, the fugue, with Quartet No.2. The quartet, though, each group re-entering the texture was also a by-product of Britten’s one by one, gradually building to a intense and tragic . powerful climax. Yet when Britten was asked to ‘write a Gordon Kerry © 2006 Britten in 1948 short film for the Education Ministry’ called Instruments of the Orchestra, The Melbourne Symphony was the first of the he returned to Purcell for thematic former ABC orchestras to perform The Young material and created one of his most Person’s Guide to the Orchestra, on 16 December 1947 under conductor Bernard emotionally unencumbered works. Heinze. The MSO’s most recent performance Britten called the piece The Young took place in 2006 under the direction of Person’s Guide to the Orchestra, and was Benjamin Northey. infuriated when the BBC preferred to use the more pompous sub-title Variations and Fugue on a theme of Henry Purcell. He insisted that it was exactly what he called it – a piece offering young people a way of hearing and identifying the different instruments and instrumental groups. The concert

CONCERT INFORMATION This concert has a duration of approximately two hours, including an interval of 20 minutes. Friday evening’s concert 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

solo piano carries the main impetus of jazz feeling, directing the choral (1905–1951) and orchestral forces to the work’s climactic moments with brash The Rio Grande for chorus, cadenzas. The jazz-driven energy orchestra and piano relents only following thundering Bramwell Tovey piano climaxes, which give way to moments Deborah Humble mezzo-soprano of reflective repose – particularly at Melbourne Symphony Orchestra the conclusion, where it concedes Chorus to the solo alto voice to reflect Jonathan Grieves-Smith nostalgically once the party is over. chorus master Lambert didn’t like the piece to be considered only as ‘symphonic jazz’, Don’t make the mistake of thinking as an English imitation of Rhapsody of the ‘Rio Grande’ we know from in Blue. His enthusiasm for jazz John Wayne Westerns; the river (rio) extended to a genuine, if romantic, referred to here is one in Brazil, and appreciation of ‘negro’ culture the inspiration is the glamorous, and aesthetic in general. He once vivacious and sexy world of Rio de commented that he’d like to hear Rio Janeiro’s Carnaval. The poem itself Grande sung by a ‘negro’ choir, like is vague on details, having been those of the plantations that Delius dreamt up in the imagination of a knew during his years in America (an 20-something Englishman educated evocation that is particularly evident at Eton and Oxford – Sacheverell in the last minute of the piece, where Sitwell, youngest of that distinguished the choir hums under the alto solo). family of literary gentry. With its completely fresh take on So the poem that provides the text for the genre of the ‘choral fantasia’ this work may be more evocative of (derived from the famous Beethoven the exuberance of ‘Jazz Age’ London, example), The Rio Grande rocketed suggesting the glittering social life Lambert to fame and became that preceded the Wall Street Crash. immediately popular, repeatedly Certainly the music has more to do featured in throughout with jazz than with Brazil. The young the 1930s. Lambert didn’t live long Constant Lambert was prominent enough to realise his full potential among a generation of composers as a composer: The Rio Grande was in for whom the discovery of jazz was some ways the pinnacle of an almost- an exciting liberation. They didn’t brilliant career. Andrew Motion’s necessarily know exactly how to multi-generational biography of ‘make jazz’ – at least not ‘real’ or ‘hot’ Constant, alongside his father jazz – but they definitely got its spirit (Australian artist George W.) and son of energetic and bodily pleasure, (manager of The Who, Kit) in The and they were skilful in extracting Lamberts (Chatto, London, 1986) tells characteristic musical devices from the fascinating yet devastating story. jazz which could be slotted into a James Koehne © 2012 classical context. The Rio Grande was first performed in These devices can be heard in The Rio February 1928 by the BBC and pianist Angus Grande (1927): syncopated (off-the- Morrison under the direction of the composer. The beat) rhythm and ‘blues’ harmonies Melbourne Symphony Orchestra has performed represent the most common aspects the work only twice: on 29 September 1945 with of jazz influence in early 20th- conductor Bernard Heinze and Mary MacLeod, with the Royal Melbourne Philharmonic Choir century classical music, and Lambert and the ABC Wireless Chorus; and on 12 March discussed them insightfully in his 1955 under Joseph Post, with Sylvia Fisher, Henri engaging account of the music of Penn and the RMP Choir. the times, Music Ho!: A Study of Music in Decline (1934). The Rio Grande gains its drive from an underlying regular pulse that is enlivened by syncopation’s push-and-pull. The about the music

To where, in the square, they dance THE RIO GRANDE and the band is playing; By the Rio Grande Such a space of silence through the They dance no sarabande town to the river On level banks like lawns above the That the water murmurs loud glassy, lolling tide; Above the band and crowd together; Nor sing they forlorn madrigals And the strains of the sarabande, Whose sad note stirs the sleeping gales More lively than a madrigal, Till they wake among the trees and Go hand in hand shake the boughs, Like the river and its waterfall And fright the nightingales; As the great Rio Grande rolls down to But they dance in the city, down the the sea. public squares, Loud is the marimba’s note On the marble pavers with each Above these half-salt waves, colour laid in shares, And louder still the tympanom, At the open church doors loud with The plectrum, and the kettle-drum, light within. Sullen and menacing At the bell’s huge tolling, Do these brazen voices ring. Mary Evans By the river music, gurgling, thin They ride outside, Through the soft Brazilian air. Above the salt-sea’s tide. Osbert and Sacheverell Sitwell 1933 The Comendador and Alguacil are Till the ships at anchor there there Hear this enchantment On horseback, hid with feathers, loud Of the soft Brazilian air, and shrill By those Southern winds wafted, Blowing orders on their trumpets like Slow and gentle, a bird’s sharp bill Their fierceness tempered Through boughs, like a bitter wind, By the air that flows between. calling From The Thirteenth Caesar, and other Poems They shine like steady starlight while by Sacheverell Sitwell. those other sparks are falling Reprinted by kind permission of Gerald In burnished armour, with their Duckworth & Co., London. plumes of fire, Tireless while all others tire. The noisy streets are empty and hushed is the town INTERVAL

New from the Melbourne Symphony Orchestra on ABC Classics 476 4811 476 4842 Brahms: A German Rachmaninoff: Symphony No. 2 ‘A truly tremendous piece of art which moves the entire The latest addition to the MSO Live Available at ABC Shops, being in a way little else does.’ – Clara Schumann collection: Rachmaninoff’s glorious Second Symphony, conducted by Tadaaki Otaka. ABC Centres and Soloists and Nicole Car join the Melbourne Symphony Orchestra and Chorus This rich, Romantic symphony is one of the good music stores. (Chorusmaster: Jonathan Grieves-Smith) in this new most popular of all Russian orchestral works. For more information visit studio recording of Brahms’s greatest choral work, www.abcclassics.com conducted by Johannes Fritzsch. about THE MUSIC

William Walton Howard Coster courtesy of The National Portrait Gallery, London (1902–1983) Belshazzar’s Feast Jonathan Lemalu baritone Melbourne Symphony Orchestra Chorus Jonathan Grieves-Smith chorus master

‘No man, I thought, as slim and pale as that,’ wrote C.B. Rees after hearing the first performance of Belshazzar’s Feast in 1931, ‘could possibly be strong enough to write music of such savage splendour.’ The exciting impact of this music was irresistible, and remains so. There has always been an element of surprise in it – whence came such a startlingly novel approach to the conventions of large-scale choral/orchestral music, and who was this 29-year- old composer, ? Belshazzar’s Feast burst on the public when conducted the work at the Leeds Festival. Walton, commissioned by the BBC to write a large-scale choral work, had found it hard to choose a subject. He William walton in 1934 wanted it to be a familiar one, and the eventual proposal of Belshazzar’s fall of Belshazzar and his Babylonian use the extra brass bands. Beecham, feast, it can be seen in retrospect, empire through outraged Jewish observing the work in progress, said is a tribute to the English oratorio eyes, there is a strong suspicion that grandly ‘You’ll never hear the thing tradition, dominated from Handel both Sitwell and Walton were at more than once – throw in a brass to Mendelssohn and beyond by Old least as much attracted to the pagan band.’ Walton used two, disposed Testament subjects. Perhaps for that magnificence of the description spatially, as in Berlioz’s Requiem, on reason too, it has since been taken as to the moral repugnance of the either side of the main forces. narrative. It is certainly true that into the repertoire of most competent His time as a chorister at Christ Belshazzar’s Feast is a piece of historical choirs, although the authorities who Church Cathedral, Oxford had drama, rather than a religious ran the Three Choirs Festival long reinforced his familiarity with choral reflection on the text, but this is banned it from performance in that music, which he’d absorbed as a boy true of many of Handel’s oratorios church-based festival. in the north of England. Walton’s (including, to a degree, his own arresting idiom for choral music with The text was assembled from the Belshazzar). At the height of the orchestra also had a partial model in Bible by Osbert Sitwell, one of the Depression in 1931, the barbarism of his friend Constant Lambert’s The Rio Sitwell brothers Walton had met Babylon’s worship of the God of Gold Grande, a setting of a poem by another at Oxford and who had taken him had a secular meaning. into their home as an ‘adopted, or of the Sitwells, Sacheverell. Both elected brother’. Walton’s setting of Walton knew that a work by Berlioz Lambert and Walton were attracted their sister Edith’s poems in Façade was to be performed at the same to jazz, integrating its rhythms and (1921–2) had gained him notoriety Leeds Festival – accounts vary as to some of its instrumentation into their as a modernist and an artistic whether it was the Requiem or the Te own music. extremist. Belshazzar’s Feast, his next Deum, both of which require brass major musical encounter with words, choirs in addition to very large choral was recognised as coming from the and orchestral forces. The story is that same milieu. Walton went to Sir Thomas Beecham for advice as to whether he too should Although the text is an account of the about the music

Walton’s Belshazzar’s Feast, however, glockenspiel and triangle for the is more ambitious than Lambert’s gods of silver; the iron god is praised masterpiece. Walton said that he by male voices, violins col legno and thought of it not as an oratorio but xylophone, and the stone and brass as a choral symphony. It falls into gods in equally appropriate sounds. three continuous movements, the Here the brass bands break out to first, as in Walton’s concertos, a terrific effect. Walton, always a slow, slow movement. After a trombone even a ‘reluctant’ composer, was held fanfare, the warning of the Prophet up for seven months at the word Isaiah is declaimed by male voices ‘gold’, but the effectiveness of the in harsh, dissonant unaccompanied jagged, jazzy rhythms and sounds of recitative. The exiles’ lament is this section show that it was worth a setting of Psalm 137, in which the waiting. Walton’s characteristic lyricism has After a reprise comes the eerie an undercurrent of bitterness. When representation of the writing on the this develops into gladness, then wall, with its skeletal accompaniment, triumphant scorn and certainty of then the minimalist but Babylon’s destruction, the listener overwhelming daring of the choir’s grasps how apt is the composer’s amazed underlining of Belshazzar’s musical personality to his subject. death. The final section is a setting John Warrack has described Walton at of Psalm 81, a song of triumph over this time as a man of nervous vitality the fallen city, broken – as it needed and sense of violence, coupled with a to be, lest it become merely wearing bitter melancholy. – by a quieter passage whose imagery, The baritone soloist makes his like that of the rest of the work, entrance during the singing of grows naturally out of the text. ‘The the Psalm. Next, unaccompanied, trumpeters and pipers are silent’ – but he describes the King’s feast, not for long! enumerating the riches that make © David Garrett Babylon great, in a matter-of-fact way which made Walton refer to this The Melbourne Symphony Orchestra gave the first passage as ‘the shopping list’. The Australian concert performance of Belshazzar’s Feast, on 29 September 1938 with conductor account of the feast itself is from Malcolm Sargent, the Melbourne Philharmonic Daniel V. In a combination of march Society’s Choir, the ABC (Melbourne) Wireless and song, the various deities are Chorus and baritone Raymond Beatty. The suggested in the sounds of choir and MSO’s most recent performance was in October orchestra: golden instruments for 2003 under Markus Stenz, with the Melbourne the gods of gold; female voices, flute, Chorale Symphonic Chorus and Ensemble. The soloist was Bruce Martin. 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 about the music

CHORUS CHORUS BELSHAZZAR’S FEAST By the waters of Babylon In Babylon CHORUS there we sat down; yea, we wept. Belshazzar the king made a great Thus spake Isaiah: O daughter of Babylon who art to be feast, Thy sons that thou shalt beget destroyed, made a feast to a thousand of his they shall be taken away happy shall he be that taketh thy lords, and be eunuchs children and drank wine before the thousand. in the palace of the King of Babylon. and dasheth them against a stone. Belshazzar, whiles he tasted the wine, [Isaiah 39:7] [Psalm 137] commanded us to bring the gold and Howl ye, howl ye, therefore: For with violence shall that great city silver vessels: For the day of the Lord is at hand! Babylon be thrown down Yea, the golden vessels, which his [Isaiah 13:6] and shall be found no more at all. father, Nebuchadnezzar, By the waters of Babylon BARITONE had taken out of the temple that there we sat down; yea, we wept Babylon was a great city was in Jerusalem. and hanged our harps upon the Her merchandise was of gold and He commanded us to bring the willows. silver, golden vessels For they that wasted us of precious stones, of pearls, of fine of the temple of the house of God, required of us mirth; linen, that the king, his princes, his wives, they that carried us away captive of purple, silk and scarlet, and his concubines might drink required of us a song: all manner vessels of ivory, therein. Sing us one of the songs of Zion. all manner vessels of most precious How shall we sing the Lord’s song wood, Then the king commanded us: in a strange land? of brass, iron and marble, Bring ye the cornet, flute, sackbut, BARITONE AND CHORUS cinnamon, odours and ointments psaltery If I forget thee, O Jerusalem, of frankincense, wine and oil, and all kinds of music: let my right hand forget her cunning. fine flour, wheat and beasts, they drank wine again, If I do not remember thee, sheep, horses, chariots, slaves, yea! drank from the sacred vessels. let my tongue cleave to the roof of my and the souls of men. [Revelation And then spake the king: 18:21, 12-13] mouth, BARITONE AND CHORUS yea, if I prefer not Jerusalem Praise ye the god of gold above my chief joy. Praise ye the god of silver Praise ye the god of iron Praise ye the god of wood Praise ye the god of stone Praise ye the god of brass Praise ye the gods.

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

belshazzar’s feast PAINTED C1635 BY rembrandt

CHORUS BARITONE AND CHORUS Alleluia! Thus in Babylon the mighty city And in that same hour, as they feasted Then sing aloud to God our strength: Belshazzar the king made a great came forth fingers of a man’s hand make a joyful noise unto the God of feast, and the King saw Jacob. made a feast to a thousand of his that part of the hand that wrote. While the kings of the earth lament lords, And this was the writing that was and the merchants of the earth and drank wine before the thousand. written: weep, wail and rend their raiment, Belshazzar, whiles he tasted the wine, MENE, MENE, TEKEL, UPHARSIN: they cry, ‘Alas, Alas, that great city, commanded us to bring the gold and THOU ART WEIGHED in one hour is her judgement come.’ silver vessels: IN THE BALANCE The trumpeters and pipers are silent that his princes, his wives, and his AND FOUND WANTING. and the harpers have ceased to harp concubines In that night was Belshazzar the King and the light of the candle shall shine might rejoice and drink therein. slain no more. [Revelation 18:11, 22–23] After they had praised their strange and his kingdom divided. gods, [Daniel 5:1–5, 23, 25, 30] Then sing aloud to God our strength: the idols and devils, make a joyful noise unto the God of CHORUS false gods who cannot see nor hear, Jacob. Then sing aloud to God our strength: called they for the timbrel and the for Babylon the great is fallen. make a joyful noise unto the God of pleasant harp Alleluia! Jacob. to extol the glory of the King. Take a psalm, bring hither the Text selected from Biblical sources by Then they pledged the King timbrel, Osbert Sitwell. before the people, blow up the trumpet in the new crying, Thou, O King, art King of moon, Kings; blow up the trumpet in Zion, O King, live forever. [Psalm 81:1–3] for Babylon the great is fallen. about the artists

Bramwell Tovey Deborah Humble conductor and piano mezzo-soprano Now in his 12th season as Music Director of the Vancouver Deborah Humble began her musical education in Adelaide Symphony Orchestra, Grammy Award-winning conductor where she gained a Bachelor of Music Performance, and Bramwell Tovey continues as Principal Guest Conductor of continued her studies in Melbourne, completing a Master the , and as founding host and of Music and Diplomas of Arts and Education. In 1995, she conductor of the ’s Summertime was a Young Artist with the Victoria State Opera. Classics series at Avery Fisher Hall. She became a principal artist with and He was music director of the Luxembourg Philharmonic in 2004 received the Dame Joan Sutherland Scholarship. (2002–2006) and, prior to taking up his position in She subsequently became a Principal mezzo-soprano with Vancouver, had a 12-year tenure as music director of the the State Opera of Hamburg, where her roles in Wagner’s Winnipeg Symphony Orchestra, where he founded the Ring cycle brought her international acclaim. Conducted highly regarded New Music Festival. by Simone Young, she began with Erda in Das Rheingold and followed with Schwertleite in Die Walküre, Erda in His career as a conductor is enhanced by his work as a Siegfried and First Norn and Waltraute in Götterdämmerung. composer and pianist. He won a Best Canadian Classical She recorded these roles and, in early 2011, repeated Composition Juno Award in 2003 for his Requiem for a them in two complete cycles. She was a finalist in the 2008 Charred Skull, and his first full-length opera,The Inventor, International Wagner Competition. was premiered by Calgary Opera in January 2011. His television appearances include two documentaries with In Australia she has performed with the Melbourne, the City of Birmingham Symphony, and he has built a Sydney, Queensland and Tasmanian Symphony orchestras, strong reputation as a jazz pianist with two recordings to and with Opera Queensland and the State Opera of South his name. Australia. Elsewhere, she has appeared with the Hong Kong Philharmonic, Auckland Philharmonia, Seattle Symphony, He has recorded with the London Symphony Orchestra, Stuttgart Philharmonic, Hamburg Philharmonic, London Royal Philharmonic and the Hallé, among others, and Mozart Players, and Singapore Lyric Opera; and at the his recording of the Walton, Korngold and Barber violin Edinburgh, Aix-en-Provence and Salzburg Easter Festivals. concertos with the VSO and won a Grammy and Juno Award in 2007. Her engagements this season include Brigitta in Korngold’s Die tote Stadt for Opera Australia, Pauline in the Sydney Awarded numerous honorary degrees, he has received Symphony’s concert performance of The Queen of Spades, Fellowships from the in London and the MSO’s performances of Duruflé’s Requiem in and Toronto’s Royal Conservatory of Music. In 1999 November. She also appears in further Ring cycles in he was the recipient of the M. Joan Chalmers National Hamburg and as Saint Catherine in Honegger’s Joan of Arc Award for Artistic Direction, a Canadian prize awarded at the Stake in Lisbon. for outstanding contributions to professional arts organisations. about the artists

Jonathan Lemalu MELBOURNE SYMPHONY bass-baritone ORCHESTRA CHORUS At the forefront of today’s young generation of singers, Jonathan Grieves-Smith Chorus Master Jonathan Lemalu is in great demand with the major opera Under the artistic leadership of Jonathan Grieves- houses, orchestras and recital venues of the world. He Smith, the Melbourne Symphony Orchestra Chorus graduated from the Royal College of Music where he was is establishing an international reputation for its awarded the Tagore Gold Medal, was a joint winner of the outstanding performances and recordings. Known as the 2002 Kathleen Ferrier Award, and received the 2002 Royal Melbourne Chorale until 2008, it has since then been Philharmonic Society’s Award for Young Artist of the Year. integrated with the Melbourne Symphony Orchestra. He has performed with, among many others, The Chorus sings with the finest conductors, including the in New York and on tour to Sir Andrew Davis, Mark Wigglesworth, Bernard Labadie, Japan, Covent Garden, Glyndebourne Stephen Layton, , Masaaki Suzuki and Festival, Lyric Opera of Chicago, Salzburg Festival, Manfred Honeck. Recent highlights include Britten’s War Bavarian and Hamburg State , English National Requiem, Kancheli’s Styx, Haydn’s , Elgar’s The Opera and Opera Australia, under such conductors Dream of Gerontius, Rachmaninov’s The Bells and Wagner’s as Davis, Rattle, Mackerras, Mehta, Harnoncourt, The Flying Dutchman. Norrington and Jacobs. He performs regularly at the BBC Proms, and has also appeared at the Edinburgh, Munich, The Chorus is committed to developing and performing Ravinia and Tanglewood Festivals. new Australian and international choral repertoire. Recent commissions include Brett Dean’s Katz und His debut recital disc with pianist Roger Vignoles won the Spatz (commissioned with the Swedish Radio Choir), Gramophone award for Best Debut Artist and an ECHO Ross Edwards’ Mountain Chant (commissioned with Classic award. Other recordings include Jonathan Lemalu: Cantillation), Paul Stanhope’s Exile Lamentations Opera Arias (ECHO Classic) and Billy Budd with the (commissioned with Sydney Chamber Choir and London’s London Symphony Orchestra and Daniel Harding (2009 Elysian Singers), and Gabriel Jackson’s To the Field of Stars Grammy Award Best Opera Recording). (commissioned with the Netherlands Chamber Choir Jonathan Lemalu was born in Dunedin, New Zealand, and Stockholm’s St Jacob’s Chamber Choir). The Chorus where his parents emigrated from Western Samoa. He has also premiered works by MacMillan, Pärt, Henze, graduated with a Bachelor of Laws from the University Schnittke, Bryars, Silvestrov, Maskats, Machuel and Vasks, of Otago before beginning postgraduate vocal studies at and more. London’s Royal College of Music as a Queen Elizabeth The Chorus has performed in Brazil, and in Kuala the Queen Mother Scholar. He lives in London with his Lumpur with the Malaysian Philharmonic Orchestra, with wife, Croatian mezzo-soprano Sandra Martinovic, and The Australian Ballet, Sydney Symphony Orchestra, West their son Joshua. Australian Symphony Orchestra, with Barbra Streisand, at the Melbourne International Arts Festival, at the 2011 AFL Grand Final and at the Sydney Olympic Arts Festival. The 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 JONATHAN GRIEVES-SMITH Chorus Master English conductor and chorus master Jonathan Grieves- Smith has established an international reputation for his compelling performances and breadth of artistic vision. He has been Chorus Master of the Melbourne Symphony Orchestra Chorus (formerly Melbourne Chorale) since 1998, and prior to that was Chorus Master of the Huddersfield Choral Society, the Hallé Choir, and Music Director of Brighton Festival Chorus. An outstanding interpreter of Baroque and Romantic 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.

A GREAT ORCHESTRA NEEDS GREAT INSTRUMENTS The Melbourne Symphony Orchestra Instrument Fund ensures the artists of “Music can transform the human the MSO have instruments equal to their superb talent. spirit. This is an art to which I have devoted my life, and I hope 2012 is a special year for the MSO as instrumentalists, choristers and you will help this special appeal audiences return to the refurbished Hamer Hall, and its enticing new world for our woodwind section, in of acoustic splendour. whatever way you can.” Your superb woodwind section has identified three extraordinary Prudence Davis, MSO Principal Flute instruments to assist them to in their quest for ever improving standards: OBOE D’AMORE – The oboe of love! This serene member of the double- reed family has been a cherished part of the orchestral sound-world from the 18th century. The current MSO instrument is beyond repair and desperately needs replacing. CONTRABASS CLARINET – Despite its increasing use in the orchestral repertoire since the mid-20th century there are very few of these instruments in Australia. The MSO does not currently own a contrabass clarinet and, given its increase in usage, it is essential that we purchase one at this time. WOODEN FLUTES – To recreate the authentic sounds of the flute in the music of such composers as Beethoven, Schumann and Brahms, the purchase of two wooden flutes will greatly enhance the sound of the MSO for these performances. CAN YOU HELP? We welcome all donations, but a donation of $100 or more will help us solve these problems in a timely manner. Donations over $2 are fully tax- deductible. Donate online at mso.com.au (click on Belong then Donate), or call 03 9626 1107, or post your donation to MSO Instrument Appeal, Melbourne Symphony Orchestra GPO Box 9994 Melbourne VIC 3001. © James Penlidis about the artists

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 Nelson Freire and the London Mozart Players, and with the Melbourne Chorale (now MSO Chorus). With the Hallé Orchestra and soloists Bryn Terfel and Tasmin Little he conducted Walton’s Belshazzar’s Feast and the Elgar Violin Concerto; and with the Royal Philharmonic Orchestra, he conducted Mendelssohn’s Symphony No.2 Lobgesang at the Brighton Festival.

The chorus SOPRANOS Olivia Jones ALTOS Helen Staindl BASSES Philippa Allen Gwen Kennelly Ruth Anderson Jenny Stengards Maurice Amor Julie Arblaster Brigid Maher Nicole Beyer Libby Timcke Richard Barber Colleen Arnott Melika Mehdizadeh Catherine Bickell Tovey Barry Clarke Sheila Baker Tehrani Cecilia Björkegren Emma Warburton Richard Corboy Aviva Barazni Lynne Muir Kate Bramley Roger Dargaville Eva Butcher Caitlin Noble Jane Brodie TENORS Ted Davies Eirlys Chessa Carolyn O’Brien Elize Brozgul James Allen Phil Elphinstone Andrea Christie Shaunagh O’Neill Alexandra Chubaty Steve Burnett Gerard Evans Thea Christodoulou Lauren Ormston Elin-Maria Denny Chandra Andrew Ham Veryan Croggon Alexandra Patrikios Evangelista John Cleghorn John Lester Georgette Cutler Jodie Paxton Jill Giese Geoffrey Collins Stephen Makin Samantha Davies Anne Payne Debbie Griffiths James Dipnall Tim March Iris Ferwerda Susannah Polya Ros Harbison Trevor Finlayson Alan McNab Rita Fitzgerald Tanja Redl Sue Hawley Jackson Harnwell Vern O’Hara Catherine Folley Jo Robin Kristine Hensel Lyndon Horsburgh Edward Ounapuu Susan Fone Sue Robinson Andrea Higgins Colin MacDonald Jonathan Sanders Camilla Gorman Ruth Shand Katherine Kibbey James Macnae Matthew Toulmin Jillian Graham Elizabeth Stephens Helen MacLean Peter McInnis Ian Vitcheff Alexandra Hadji Elizabeth Tindall Christina McCowan Dominic McKenna Matthew Williams Juliana Hassett Katherine Tomkins Rosemary McKelvie Simon Milton Foon Wong Madelaine Howard K at Turner Siobhan Ormandy Michael Mobach Allan Yap Penny Huggett Alison Ralph Malcolm Sinclair Jasmine Hulme Lynette Richardson REPETITUER Tania Jacobs Kerry Roulston Tom Griffiths Colette James Annie Runnalls the orchestra Melbourne Symphony Orchestra Tadaaki Otaka Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair First Violins Second Violins Caleb Wright Flutes Bassoons Trumpets Tuba Wilma Smith Matthew Tomkins Ceridwen Davies* Prudence Davis Elise Millman Geoffrey Payne Tim Buzbee Harold Mitchell AC Principal Helen Ireland* Principal Acting Principal Principal Principal Concertmaster Chair Isabel Morse* Robert Macindoe Wendy Clarke Matthew Shane Hooton Alex Hurst* Roy Theaker Associate Principal Cellos Associate Principal Ockenden*# Associate Principal Steve Rossé*^ Associate Guest Principal Monica Curro David Berlin Sarah Beggs William Evans Concertmaster Timpani Assistant Principal Principal Brock Imison Julie Payne Christine Turpin Roger Jonsson*† Piccolo Acting Associate David Farrands* Mary Allison Sarah Morse Principal Guest Associate Andrew Macleod Isin Cakmakcioglu Associate Principal Principal Callum G’Froerer* Concertmaster Principal Daniel Henderson* Percussion Cong Gu Nicholas Bochner Natasha Thomas Michael Kisin Andrew Hall Colin Forbes- Tristan Rebien* Robert Clarke Assistant Principal Oboes Joshua Rogan* Principal Rachel Homburg Jeffrey Crellin Abrams* Principal Miranda Brockman Peter Edwards Christine Johnson Principal John Arcaro Rohan de Korte Horns Trombones Assistant Principal Philip Lajta Robert Cossom Sharon Draper Vicki Philipson Andrew Bain Brett Kelly David Shafir Daniel Richardson* Kirsty Bremner Joan Evans Associate Principal Principal Principal Isy Wasserman Greg Sully* MSO Friends Chair Keith Johnson Philippa West Ann Blackburn* Bostjan Lipovsek* Kenneth Angela Sargeant Sarah Curro Patrick Wong Guest Principal McClimont Harp Michelle Wood Lerida Delbridge Roger Young COR ANGLAIS Associate Principal Julie Raines Rachel Atkinson* Geoff Lierse Peter Fellin Lynette Rayner* Michael Pisani Michael Bertoncello Principal Molly Kadarauch* Associate Principal Deborah Goodall Principal Jessica Buzbee* Violas Yinuo Mu* Lorraine Hook Saul Lewis Kieran Conrau* Fiona Sargeant Double Basses Megan Reeve* Kirstin Kenny Clarinets Principal 3rd Alistair Crawford* Acting Principal Steve Reeves David Thomas Ji Won Kim Principal Trinette PIANO Elisabeth Murdoch Bass Trombone Eleanor Mancini Justin Williams McClimont Louisa Breen* Andrew Moon Principal Clarinet Anne Martonyi Acting Associate Rachel Silver Eric Klay Associate Principal Chair Mark Mogilevski Principal Julia Brooke* Principal ORGAN Michelle Ruffolo Trevor Jones Sylvia Hosking Philip Arkinstall David Bobroff*## Calvin Bowman* Kathryn Taylor Assistant Principal Assistant Principal Associate Principal Guest Principal Alice Rickards*†† ALTO SAXOPHONE Craig Hill Briar Goessi* Katie Betts Damien Eckersley Robert Collins* Jason Xanthoudakis* Susannah Ng* Christopher Cartlidge Benjamin Hanlon Charles MacInnes* Suzanne Lee Bass Clarinet Lauren Brigden * Guest Musician Katharine Brockman Stephen Newton Jon Craven Principal # Courtesy of Australian Opera and Ballet Orchestra Simon Collins Miranda Hill* † Courtesy of Orchestra Victoria Gabrielle Halloran Bonita Williams* ## Courtesy of Iceland Symphony Orchestra Cindy Watkin †† Courtesy of BBC Scottish Symphony Orchestra ^ Courtesy of Sydney Symphony 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 Greg More Philanthropy Goldberg AO QC Administrator Paul Freeman Dana Nikanpour Data Designer Manager Ann Peacock Business Anna Melville Production Manager Marketing Manager Jennifer Tighe Jennifer Kanis Nerolie Grant Stella Barber Artistic Coordinator Sponsorship and Alastair McKean Acting Chief Luke Campbell Phillip Sametz Consultant Events Manager Michael Ullmer Financial Officer Bronwyn Lobb Production Communications Historian

Kee Wong Raelene King Education Manager Coordinator Manager Box Office Arturs Ezergailis Development Officer Personnel Manager Jonathan Andrew Kiley Alison Macqueen Martine O’Connor Company Grieves-Smith Production Technician Publicist Box Office Manager Rosemary Shaw Kaanji Secretary Chorus Master Development Skandakumar Kerstin Simon Wilson Paul Clutterbuck Oliver Carton Coordinator Accountant Helena Balazs Schulenburg Interactive Senior Subscriptions Chorus Artist Liaison Marketing Manager Officer Nathalia Andries Coordinator Finance Officer Alastair McKean Nina Dubecki Scott Campbell Lucy Bardoel Orchestra Librarian Front of House Subscriptions Officer 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 Dr Gabriele Medley AM Mrs Suzy and Dr Mark Suss Mr Marc Besen AO and Mrs Eva Besen AO George H Golvan QC John and Isobel Morgan Margaret Tritsch Stephen and Caroline Brain Dr Marged Goode The Novy Family Mrs Barbara Tucker M Ward Breheny Jean Hadges Laurence O’Keefe and P and E Turner Jennifer Brukner Stuart and Sue Hamilton Christopher James Mary Vallentine AO Jill and Christopher Buckley Tilda and Brian Haughney Lady Potter AC Hon. Rosemary Varty Bill and Sandra Burdett Julian and Gisela Heinze Peter Priest Wah Yeo AM Jan and Peter Clark Hans and Petra Henkell Dr Sam Ricketson Sue Walker AM Judith M Connelly Dr Alastair Jackson Hugh T Rogers AM Pat and John Webb Ann Darby in memory of Leslie J. Darby Stuart Jennings and Diana Mummë Tom and Elizabeth Romanowski Erna Werner and Neil Werner OAM Panch Das and Laurel Young-Das Dr Elizabeth A Lewis AM Delina Schembri-Hardy Nic and Ann Willcock Pat and Bruce Davis Norman Lewis in memory of Max and Jill Schultz Marian and Terry Wills Cooke Sandra Dent Dr Phyllis Lewis David Shavin QC Ruth Wisniak and Prof John Miller AO Lisa Dwyer and Dr Ian Dickson Jeff Loewenstein Chris and Jacci Simpson Peter and Susan Yates William J Forrest AM Christopher and Anna Long Gary Singer and Geoffrey A Smith Mark Young Joanna Foulkes Vivienne Hadj and Rosemary Madden Dr Robert Sloane and Denise Sloane Anonymous (8) 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. A new season begins with a wonderful collection of Australian Designers at Myer NEW SEASON at myer.com.au Myer – proud sponsor of the Melbourne Symphony Orchestra

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