Beethoven’s Symphony No.7

Friday Night Masters Saturday Matinees ANZ Great Classics on Monday Friday 22 May at 8pm Saturday 23 May at 2pm Arts Centre Melbourne Arts Centre Melbourne Monday 25 May at 6.30pm Hamer Hall Hamer Hall Arts Centre Melbourne Hamer Hall

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CONCERT ONE: SUMMER NIGHTS IN BUDAPEST 1 What’s On June — August

Education Week Britten’s War Requiem Mahler 4 MONDAY 1 JUNE — THURSDAY 11 JUNE FRIDAY 19 JUNE SATURDAY 6 JUNE FRIDAY 12 JUNE SATURDAY 20 JUNE Join the MSO and internationally Benjamin Britten’s War Requiem, a MONDAY 22 JUNE acclaimed music educator, Paul haunting piece interweaving the A milestone in MSO’s musical Rissmann, for the MSO’s fifth annual traditional Latin Mass for the Dead evolution, Sir Andrew Davis’ Education Week at the Melbourne with the works of First World War Mahler Cycle series returns for Town Hall and Hamer Hall, with a poet Wilfred Owen, is paired with its fourth chapter, with Mahler’s series of events for schools and the profoundly moving Elegy in Fourth Symphony alongside families which integrate learning and memoriam Rupert Brooke. Prokofiev’s Sinfonia Concertante. entertainment, and foster a lifelong love of music.

Yuja Wang Plays Prokofiev Tchaikovsky’s Rachmaninov 3 THURSDAY 23 JULY Piano Concerto No.1 THURSDAY 20 AUGUST FRIDAY 24 JULY FRIDAY 7 AUGUST FRIDAY 21 AUGUST SATURDAY 25 JULY SATURDAY 8 AUGUST SATURDAY 22 AUGUST Chinese piano superstar Yuja Wang MONDAY 10 AUGUST Russian-American pianist Kirill Gerstein brings her acclaimed virtuosity to The very epitome of Romantic displays his mastery of the formidable Prokofiev’s tempestuous Second music, Tchaikovsky’s Piano Concerto ‘Rach 3’, conducted by Sir Andrew Piano Concerto. Also featuring No.1 is performed by Simon Trpčeski. Davis. Also featuring Rimsky-Korsakov’s Tchaikovsky’s Marche Slave Also featuring Rimsky-Korsakov’s Dubinushka and Strauss’ and Brahms’ luminous fourth and Capriccio espagnol, and Scriabin’s autobiographical tone poem, final symphony. Third Symphony. Ein Heldenleben.

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MELBOURNE SYMPHONY ORCHESTRA

The German conductor and With a reputation for excellence, The MSO reaches an even larger composer Matthias Pintscher sees versatility and innovation, the audience through its regular concert his dual musical existence as entirely Melbourne Symphony Orchestra broadcasts on ABC Classic FM, complementary, saying, ‘My thinking is Australia’s oldest orchestra, also streamed online, and through as a conductor is informed by the established in 1906. The Orchestra recordings on Chandos and ABC process of my own writing; and vice currently performs live to more Classics. The MSO’s Education versa of course.’ than 200,000 people annually, in and Community Engagement concerts ranging from subscription initiatives deliver innovative and The Melbourne Symphony Orchestra is performances at its home, Hamer engaging programs to audiences pleased to welcome the extraordinary Hall at Arts Centre Melbourne, to its of all ages, including MSO Learn, an Pintscher back for these concerts. This annual free concerts at Melbourne’s educational iPhone and iPad app program typifies his broad repertoire largest outdoor venue, the Sidney designed to teach children about as well as his own creativity. Myer Music Bowl. the inner workings of an orchestra. Pintscher is conducting the Australian Sir Andrew Davis gave his inaugural The Melbourne Symphony Orchestra premiere of his new work, idyll – concerts as Chief Conductor of the is funded principally by the Australian a co-commission by the MSO, the MSO in April 2013, having made his Government through the Australia Bavarian Radio Symphony Orchestra debut with the Orchestra in 2009. Council, its arts funding and and The Cleveland Orchestra. After Highlights of his tenure have included advisory body, and is generously idyll’s world premiere in Cleveland collaborations with artists including supported by the Victorian late last year, one critic described Bryn Terfel, Emanuel Ax and Truls Government through Creative it as ‘a cornucopia for the ear, a Mørk, the release of recordings Victoria, Department of Economic quiet stream of ethereal textures and of music by Percy Grainger and Development, Jobs, Transport and shimmering colours’. Eugene Goossens, a 2014 European Resources. The MSO is also funded We are also delighted to welcome Festivals tour, and a multi-year cycle by the City of Melbourne, its Principal the Japanese-Canadian violinist of Mahler’s Symphonies. Partner, Emirates, corporate sponsors Karen Gomyo as soloist in the Violin The MSO also works each season and individual donors, trusts and Concerto No.3 by Saint-Saëns. with Principal Guest Conductor foundations. What better conclusion to this Diego Matheuz, Associate program than Beethoven’s Symphony Conductor Benjamin Northey and No.7? It is music that, however often the Melbourne Symphony Orchestra performed, always sounds vivid, Chorus. Recent guest conductors exciting and fresh off the page. to the MSO have included Thomas I hope you enjoy this concert. Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical André Gremillet musicians including Burt Bacharach, Managing Director Ben Folds, Nick Cave, Sting and Tim Minchin.

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Events for children, students, teachers and all the family OPENING NIGHT CONCERT SECONDARY THE YOUNG PERSON’S GUIDE SYMPHONY PROJECT TO THE ORCHESTRA WITH JOHANNES FRITZSCH — — 2015 EDUCATION Mon 1 June at 6.30pm Thu 4 June at 6.30pm Arts Centre Melbourne, Arts Centre Melbourne, & COMMUNITY Hamer Hall Hamer Hall ENGAGEMENT 60 60

EDUCATION WEEK MEET THE ORCHESTRA THE WIGGLES MEET THE PICTURES AT AN EXHIBITION MELBOURNE SYMPHONY 1 – 6 JUNE — ORCHESTRA Tue 2 June at 12pm — Wed 3 June at 10am & 12pm Fri 5 June at 12.30pm Arts Centre Melbourne, & 2.30pm Hamer Hall Melbourne Town Hall 50 60 0-4

CLASSIC KIDS 1 SYMPHONY IN A DAY STAN AND MABEL WITH SIR ANDREW DAVIS — — Thu 4 June at 10am & 11.30am Sat 6 June at 8.30pm Arts Centre Melbourne, Melbourne Town Hall Hamer Hall 60 Sat 6 June at 10am & 11.15am Melbourne Town Hall 45

BOOK NOW mso.com.au/edweek | (03) 9929 9600 Beethoven’s Symphony No.7

ABOUT THE ARTISTS Melbourne Symphony Matthias Pintscher Karen Gomyo Orchestra conductor violin Matthias Pintscher Matthias Pintscher is the Music Karen Gomyo was the recipient conductor Director of the Ensemble of the Avery Fisher Career Grant in Karen Gomyo Intercontemporain; Artist-in- 2008, and has established herself violin Association with the BBC Scottish in recent years as an in-demand — Symphony Orchestra; and Artist- international soloist. She has PINTSCHER in-Residence with the orchestras performed with orchestras such of the Danish National Symphony. as the New York Philharmonic, Los idyll Conducting highlights this season Angeles Philharmonic, San Francisco AUSTRALIAN PREMIERE include performances with the Los Symphony, The Philadelphia SAINT-SAËNS Angeles Philharmonic, National Orchestra, The Cleveland Violin Concerto No.3 Symphony Orchestra, National Orchestra, Danish National — Arts Centre Orchestra, Bavarian Symphony Orchestra, Mozarteum Interval 20 minutes Radio Symphony Orchestra, Orchestra Salzburg, Royal Liverpool — Atlanta Symphony Orchestra, Philharmonic Orchestra, Scottish Saint Paul Chamber Orchestra, Chamber Orchestra, City of BEETHOVEN Deutsches Symphonie-Orchester Birmingham Symphony Orchestra, Symphony No.7 Berlin, Hamburg Philharmonic, Tokyo Symphony and Sydney Helsinki Philharmonic Orchestra, Symphony Orchestra. This concert runs for a duration of two Cologne Philharmonie, and the In February she performed the U.S. hours including one 20 minute interval. Sydney and Melbourne Symphony premiere of Matthias Pintscher’s Saturday afternoon’s concert will be Orchestras. The 2014/15 season violin concerto Mar’eh with the recorded for later broadcast around concludes with appearances at National Symphony Orchestra. Other Australia on ABC Classic FM. the Lucerne, Avanti and Grafenegg 2014–2015 highlights include returns music festivals. to the Toronto Symphony Orchestra, An equally accomplished composer, Detroit Symphony Orchestra, Matthias Pintscher’s works have Oregon Symphony, Vancouver been performed by orchestras such Symphony Orchestra, and a return as The Cleveland Orchestra, The to Australia, where she makes her Philadelphia Orchestra, New York debut with the Tasmanian and Philharmonic, Chicago Symphony Melbourne Symphony Orchestras. Orchestra, Berlin Philharmonic, NDR She also appears with the Staatsoper Symphony Orchestra Hamburg, Hannover, Stuttgart Radio Symphony BBC Symphony Orchestra, London Orchestra, and Aalborg Symphony Symphony Orchestra, Philharmonia Orchestra in the premiere of Anders Orchestra and Orchestre de Paris. Koppel’s new concerto. He is the recipient of the prestigious Karen Gomyo plays the ‘Aurora, 2012 Roche Commission, and in ex-Foulis’ Stradivarius violin of 1703. September 2014 he joined the composition faculty at The Juilliard School.

BEETHOVEN’S SYMPHONY NO.7 5 ABOUT THE MUSIC

‘…exceptional young violinist, Karen Gomyo.. gave a vivid performance that was full of interesting detail as well as a sense of drama. Some moments were downright spine-tingling.’ THE DALLAS MORNING NEWS

MATTHIAS PINTSCHER (Born 1971) idyll blended instrumental effects as Hugh MacDonald © 2014 background, while the foreground AUSTRALIAN PREMIERE idyll was co-commissioned by the — features individual instruments with Melbourne Symphony Orchestra, German-born Matthias Pintscher elaborate flourishes that sometimes Bavarian Radio Symphony Orchestra studied in Detmold before attending extend into solo passages or figures and The Cleveland Orchestra, who gave Franz Werner Henze’s summer by a full section of instruments. The the first performance in October 2014 school in Italy at the invitation alto flute, for example, is heard early under Franz Welser-Möst. This is the first of the composer. He came to on taking centre stage, only to be performance of the work in Australia. international recognition following ‘replaced’ by a passage of muted featured performances of his works violins. Such solos are given also to at the Salzburg Festival in 1997 and the contrabassoon, horn and flute. the premiere of his opera Thomas After the main stormy climax of the Chatterton in Dresden the following work, the piano plays a cadenza year. He is now one of the world’s in free rhythm that brings the music most sought-after composers, in back to calmer waters. addition to forging an international Water, indeed, may be in the career as a conductor and composer’s mind here, for he calls curator. Among his works previously for three tam-tams (gongs) to be performed by the Melbourne gently brushed to suggest, as stated Symphony Orchestra are a twilight’s in the score, ‘images of waves and song, Osiris, Reflections on Narcissus the deep profound quiet of the and Transir. sea’. This is only one of countless While some of Pintscher’s works refer special sonorities to be provided by to Egyptian or Greek mythology, a percussion section of extraordinary idyll has no declared allusions – so variety and richness (the traditional interpretation is open to the listener’s timpani are conspicuously silent). individual response. The title implies The orchestra as a whole, percussion serenity, but regular pulse, familiar included, is treated as an enormous harmony, and retrievable melody chamber ensemble, and the are not to be found here. Instead, orchestration is as intricate and the composer’s strategy is to build precise as advanced complex sonic textures out of intricately electronics.

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE MUSIC

CAMILLE SAINT-SAËNS (1835–1921)

Violin Concerto No.3 in B minor, for Sarasate, and it was premiered produces apples.’ This is music which Op.61 by the violinist in 1880. shines when presented with great Allegro non troppo Over a string tremolo, the soloist deftness of technique and a certain Andantino quasi allegretto – brings in a powerfully searching degree of suavity. Molto moderato e maestoso – Allegro theme, which contrasts perfectly Saint-Saëns’ reputation suffered non troppo – Più allegro with a second theme of meditative during the 20th century, his negative tenderness. The second movement reaction to the premiere of The Rite Karen Gomyo violin is effectively a barcarolle. An of Spring having typecast him as a — accompanied cadenza begins stubborn conservative. In an era Saint-Saëns’ interest in the violin was the third movement. In place of a which has valued musical innovation, first stimulated by his acquaintance development section Saint-Saëns a compensating emphasis has been with George Bridgetower, the inserts a chorale (pianissimo) placed on his many eclectic non- original dedicatee of Beethoven’s before reintroducing the cadenza musical interests. But in Saint-Saëns’ ‘Kreutzer’ Sonata. However, it was the which leads to the recapitulation. music may be found a steadfast great Spanish-born, Paris-educated Chromatic touches in the adherence to the perennial values virtuoso Pablo de Sarasate (1844– harmony simply steer the melody of French music: clarity, lucidity and 1908) who directly inspired the in an occasional intriguing new order – from a composer whose composition of Saint-Saëns’ Violin direction; the prominence of the musical career began in the France Concertos Nos 1 and 3 and the violin is assured by an uncluttered of Berlioz and Gounod. Introduction and Rondo capriccioso, accompaniment. Adapted from a note by and who can mostly be credited It has been claimed that Saint-Saëns’ Gordon Williams with forming the composer’s view of music exhibits great craftsmanship Symphony Australia © 1994 the instrument. but little personality. However, the As Saint-Saëns’ biographer James facility with which Saint-Saëns was The Melbourne Symphony Orchestra first Harding says, the Violin Concerto able to compose can be readily performed this work in September 1957 No.1 – actually the second to be appreciated and enjoyed by this with conductor Efrem Kurtz and soloist written (in 1859) – was ‘tailor-made concerto’s listeners. It is something Ruggiero Ricci, and most recently in for Sarasate’s bewitchingly elegant he may have achieved in emulation March 2009 with Vladimir Ashkenazy and style, all silver sheen and ice-cold of Mozart. On the other hand, Saint- Janine Jansen. sweetness’. Some 20 years later, Saëns himself once said ‘I compose Saint-Saëns wrote the Concerto No.3 music as easily as an apple tree

BEETHOVEN’S SYMPHONY NO.7 7 ABOUT THE MUSIC

‘During the Second World War, the Seventh was one of the Beethoven works enlisted to help boost patriotic fervour here in Australia.’ GRAEME SKINNER

LUDWIG VAN BEETHOVEN (1770–1827)

Symphony No.7 in A, Op.92 Five years after the premieres of propulsion. Wagner labelled it ‘the Poco sostenuto – Vivace the Fifth and Sixth Symphonies, apotheosis of the dance’, though Beethoven introduced the Seventh, so intense is Beethoven’s focus on Allegretto together with ‘battle symphony’ distinctive rhythms that it often leaves Presto – Trio – Presto – Trio – Presto Wellington’s Victory, Op.91, on 8 conventional dance far behind. That Allegro con brio December 1813. The occasion was Beethoven might have been drunk, — a concert in Vienna’s University Hall deaf, or daft when he composed to raise money for Austrian soldiers it were all possibilities reportedly recently wounded helping to expel considered by his colleagues. Weber Napoleon’s army from Germany. is supposed to have said ‘ripe for the Beethoven wrote an open letter madhouse’, and another wondered of thanks to eminent colleagues later whether ‘in the last period, he who generously condescended to succumbed to a kind of insanity, that play under his direction, including his assertive contrasts, vehement Hummel, Meyerbeer, Spohr, expressiveness, and sheer insistence, and Salieri: rankle so?’ It was a rare assembly of first-class Beethoven composed the Seventh musicians, each impelled not only during two high summers – sketching by craft but also patriotic fervor it in 1811 and finishing it in 1812 – to benefit the Fatherland, without while, on doctor’s orders, visiting a concern for rank or precedence succession of picturesque Czech Had I not composed the music health resorts. In August 1812, he myself, I would have been as happy reported to his pupil, Archduke as Mr. Hummel to take my place Rudolph: ‘In Teplitz I heard the at the drum! military band play four times a day — The third-last symphony is a kind the only musical report to offer you. of mirror image of the Third. The Otherwise, I spent a good deal of Napoleonic Third is spacious and time with Goethe.’ heroic (in E flat, a minor third Goethe wrote to his wife that he above C), the Seventh (in A major, a had seldom met a ‘more focused, minor third below C) all energy and fervent artist’, though to a musical bluster, animated by sheer rhythmic friend he added:

8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE MUSIC

‘But he is completely uncontrollable clerical friends, borrowed from a Graeme Skinner © 2014 although because of his loss hymn traditionally sung by pilgrims The Melbourne Symphony was the first of hearing he can be excused, to the shrine at Mariazell. of the Australian state orchestras to and pitied. As it is, he is naturally During the Second World War, the perform Beethoven’s Seventh Symphony, laconic, doubly so because of his Seventh was one of the Beethoven on 7 May 1938 under Georg Szell. The Orchestra most recently performed it in misfortune.’ Meanwhile, Beethoven works enlisted to help boost patriotic November 2014 under Sir Andrew Davis. boasted he gave his senior a lesson fervour here in Australia. The in egalitarianism. Strolling through Melbourne Symphony’s then chief the spa gardens, they saw a crowd conductor, Bernard Heinze, also form as the imperial family walked conducted performances and by. Goethe, by far the more eminent radio broadcasts of it with other of the pair and a seasoned courtier, orchestras around the country as removed his hat and was ignored. part of a nationwide Beethoven But Beethoven, ‘hat firmly on my Festival. Reaching Perth in winter head pushed through the crowd, 1944, its effect on audience morale Archduke Rudolph doffed his hat, was electric, as the West Australian and the Empress herself came to reviewer noted: ‘Even the desolate greet me’. anti-climax of a late bus, and frigid Resonances of an idealised Teplitz lower extremities, was mitigated by military band and Beethoven’s the persistence in one’s pulse and egalitarian spirit can be heard brain of the finale. Professor Heinze especially in the minor-key Allegretto, had whirled his forces up-to-time whose simple, solemn tune and through these tremendous Olympian straightforward treatment struck such transports, ending on a note of high a popular chord that it was regularly exhilaration.’ excerpted by real bands for use as a funeral march. He introduces another disarmingly simple tune in the middle of the scherzo’s trio, according to one of Beethoven’s

BEETHOVEN’S SYMPHONY NO.7 9 MSO Education Week

MSO Associate Conductor Benjamin Northey talks to international music educator Paul Rissmann.

The Melbourne Symphony Orchestra What are the things you enjoy best in performance. Working in will welcome internationally most about working in orchestral this field, you never quite know acclaimed music educator, Paul music education? what will happen next, but that Rissmann, back for the Orchestra’s I adore music, it’s always been part unpredictability can produce fifth annual Education Week at Hamer of my life — in fact my mum says my astonishing results. Hall and the Melbourne Town Hall first words were ‘record player!’ So What is it that orchestras bring from 1 to 6 June. I can’t imagine a better job than to an educational experience for A flagship event in MSO’s Education introducing new listeners to the young people? and Community Engagement sound of the orchestra. Young people seem to be calendar, Education Week features Watching the joy when a young fascinated by the orchestra yet for events which integrate learning and audience hears amazing music many, the ritual of classical music entertainment, and foster a lifelong (often for the first time) gives me can at first appear quite alien. But of love of music. such a buzz. Though I have to say, course, every time you switch on a MSO’s Benjamin Northey, caught up creatively preparing the young Playstation — you hear the familiar with Paul Rissmann about his plans listeners for this experience is just sound of an orchestra tuning up. for the week and the process of as much fun. Recently, in one of Video games and Hollywood movies creating pitch-perfect programming my concerts back in the UK, when all have blockbuster orchestral for young people and newcomers of I said ‘Now it’s time for some music scores. Young people experience all ages to the Orchestra. by Beethoven’ without a hint of symphonic colour on a daily basis — embarrassment a child in the hall even if it is in the background. went ‘Yesssss!’. It was an honest and uninhibited reaction to the Imaginative orchestral music prospect of listening to classical education programs place the music. Amazing! Of course, that orchestra at centre stage — reaction doesn’t happen without music becomes the main event a huge commitment from the and I think this is vitally important — teachers but it was a gorgeous especially in our digitally saturated moment, and believe me — that age. And of course, nothing young fellow’s outburst inspired can ever replace hearing music the orchestra to give their absolute live in concert. Seeing amazing

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ‘Recently, in one of my concerts back in the UK, when I said ‘Now it’s time for some music by Beethoven’ without a hint of embarrassment a child in the hall went ‘Yesssss!’.

musicians perform — with energy You use visual elements and it’s for everyone. Over the years, I’ve and commitment — is a joy. I think animations on your presentation. composed a series of works which every orchestra has a responsibility, How is this incorporated? How enable large numbers of young to make themselves as accessible to does this enhance the learning people (sometimes thousands) to as diverse an audience as possible experience for the audience? make music with the orchestra. — and that relationship should start I’m a geek. I love technology and In these pieces, every single person right in the early years of a child’s very early on in my career I started in the concert hall is a performer — education. That way, the orchestra experimenting with projection during the audience are just as important and its musicians simply become concerts. As technology advanced, as the musicians on stage. part of a rich life. the potential for incorporating You’ve presented education concerts sophisticated visuals has become How do you go about constructing for The London Symphony, the New embedded in my delivery. So for a program? What kinds of concepts York Philharmonic and many of the example, in an early years concert, do you think are important to world’s great orchestras. How does where I am telling a musical story, communicate? the MSO’s Education Week compare I project the colourful pictures from to some of the global activities in It’s a big responsibility. Picking and the book above the orchestra. To orchestral music education? mixing exactly the right blend of the child, the music and images repertoire, which is age-appropriate become one, so they know exactly I absolutely love MSO Education can be a challenge. However I what is happening in the piece Week. The quality and quantity think the secret is simply to choose and so feel the music more in their of work that takes place is the best possible music ­— not a body. Using projection, I have also extraordinary. And of course, each compromised selection — but taught an audience of 2000 primary event is carefully crafted for its the most exciting and engaging school kids to read music in around target audience — so the range repertoire. It’s also vitally important ten seconds and then have them of work and level of engagement not to think of the audience purely perform one of the percussion parts is so impressive. The attention to as passive. perfectly in time with the orchestra. detail that goes into making this week such a success is the best I’ve I spend a long time dreaming up While in my music discovery witnessed anywhere in the world. sophisticated programs to heighten concerts for adults, the possibility For MSO to set aside an entire week curiosity, enhance listening skills and of visualising complex musical to entertain, educate and engage enable meaningful participation structures enables people, even new audiences is wonderful. in my work. Why should orchestral without any previous musical concerts remain burdened with the knowledge, to grasp sophisticated Interview with Paul Rissman by MSO traditions of the 19th century? Who concepts. In all of these examples, Patricia Riordan Associate Conductor wants to sit down, remain silent and I utilise visuals, not to distract or Chair Benjamin Northey. not move a muscle for 2.5 hours? simply entertain the audience, but Bringing the audience into the heart to focus their listening and enhance of the orchestra, connecting them their understanding of music. to wonderful music but also inviting them to be part of that sound too is You compose interactive works for the cornerstone of my work. orchestra and audience. Why are these experiences so important for MSO‘s Fifth annual learning engagement? Education week is at I think there is something really Melbourne Town Hall special for a child, not just to come from 1 to 6 June. and listen to the orchestra, but to For more information be invited to perform with them as visit mso.com.au well. Orchestral music shouldn’t be regarded as elitist or exclusive —

BEETHOVEN’S SYMPHONY NO.7 11 Support Inspire Engage

Each year, the MSO brings thousands of young Victorians into the heart of the orchestra through its world-class music education programs. We are focusing this year’s fundraising appeal on ensuring that our innovative education programs continue to grow, inspire and engage. Help the MSO reach even more young people with inspiring live orchestral music. Visit mso.com.au/appeal or phone 03 9626 1248

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EMI0310_MSO_176x121_v4.indd 1 8/05/14 3:52 PM MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS Francesca Hiew Angela Sargeant CLARINETS William Evans Dale Barltrop Rachel Homburg Michelle Wood David Thomas Julie Payne Concertmaster Christine Johnson Rachel Atkinson* Principal TROMBONES Eoin Andersen Isy Wasserman Paul Ghica* Philip Arkinstall Brett Kelly Concertmaster Philippa West Associate Principal DOUBLE BASSES Principal Sophie Rowell Patrick Wong Craig Hill Steve Reeves Jessica Buzbee* Associate Concertmaster Roger Young Principal BASS CLARINET Peter Edwards Aaron Barnden* BASS TROMBONE Andrew Moon Jon Craven Assistant Principal Jennen Ngiau-Keng* Mike Szabo Associate Principal Principal Kirsty Bremner Principal VIOLAS Sylvia Hosking Lloyd Van’t Hoff* MSO Friends Chair Christopher Moore Assistant Principal TUBA Sarah Curro BASSOONS Principal Damien Eckersley Timothy Buzbee Peter Fellin Jack Schiller Christopher Cartlidge Benjamin Hanlon Principal Deborah Goodall Principal Acting Associate Suzanne Lee Lorraine Hook Jasen Atanasov* TIMPANI Principal Stephen Newton Kirstin Kenny Guest Principal Christine Turpin Lauren Brigden Young Hee Chan* Ji Won Kim Elise Millman Principal Katharine Brockman Emma Sullivan* Eleanor Mancini Associate Principal Simon Collins PERCUSSION Mark Mogilevski FLUTES Natasha Thomas Gabrielle Halloran Robert Clarke Michelle Ruffolo Prudence Davis Trevor Jones CONTRABASSOON Principal Kathryn Taylor Principal Flute Chair – Fiona Sargeant Brock Imison John Arcaro Jacqueline Edwards* Anonymous Cindy Watkin Principal Robert Cossom Lynette Rayner* Wendy Clarke Caleb Wright Timothy Hook* Oksana Thompson* Associate Principal HORNS Ceridwen Davies* Evan Pritchard* Sarah Beggs Zora Slokar SECOND VIOLINS Isabel Morse* Principal HARP Matthew Tomkins Simon Oswell* PICCOLO Geoff Lierse Yinuo Mu The Gross Foundation Andrew Macleod CELLOS Associate Principal Principal Principal Second Principal David Berlin Saul Lewis Alannah Guthrie-Jones* Violin Chair MS Newman Family OBOES Principal Third Robert Macindoe PIANO Principal Cello Chair Jeffrey Crellin Jenna Breen Associate Principal Leigh Harrold* Rachael Tobin Principal Abbey Edlin Monica Curro Associate Principal Ann Blackburn Trinette McClimont CELESTE Assistant Principal Nicholas Bochner Rachel Curkpatrick* Donald Nicolson* Mary Allison TRUMPETS Assistant Principal Isin Cakmakcioglu COR ANGLAIS Geoffrey Payne Miranda Brockman *Guest musician Freya Franzen Michael Pisani Principal Rohan de Korte Cong Gu Principal Shane Hooton Keith Johnson Andrew Hall Associate Principal Sarah Morse

MANAGEMENT

BOARD Leonie Woolnough OPERATIONS Kieran Clarke Justine Knapp Harold Mitchell AC Financial Controller Gabrielle Waters Digital Manager Major Gifts Coordinator Chairman Phil Noone Director of Operations Nina Dubecki Ben Lee André Gremillet Accountant Angela Bristow Front of House Supervisor Donor and Government Managing Director Nathalia Andries Orchestra Manager James Rewell Relations Manager Michael Ullmer Finance Officer James Foster Graphic Designer Michelle Monaghan Deputy Chair Operations Manager Chloe Schnell Corporate Development Andrew Dyer ARTISTIC James Poole Marketing Coordinator Manager Danny Gorog Ronald Vermeulen Production Coordinator Beata Lukasiak James Ralston Brett Kelly Director of Artistic Alastair McKean Marketing Coordinator Corporate Development David Krasnostein Planning Orchestra Librarian Claire Hayes and Events Coordinator David Li Andrew Pogson Kathryn O’Brien Ticket and Database Judy Turner Ann Peacock Special Projects Manager Assistant Librarian Manager Major Gifts Manager Helen Silver Laura Holian Michael Stevens Paul Congdon Kee Wong Artistic Coordinator Assistant Orchestra Box Office Supervisor Helena Balazs Manager Jennifer Broadhurst COMPANY Chorus Coordinator Stephen McAllan Ticketing Coordinator SECRETARY Artist Liaison Angela Lang Oliver Carton EDUCATION AND Lucy Rash Customer Service EXECUTIVE COMMUNITY Operations Coordinator Coordinator ENGAGEMENT Chelsie Jones André Gremillet MARKETING Bronwyn Lobb Customer Service Officer Managing Director Alice Wilkinson Director of Education Director of Marketing HUMAN RESOURCES and Community DEVELOPMENT Jennifer Poller Miranda Crawley Engagement Leith Brooke Marketing Manager Director of Human Lucy Bardoel Director of Development Megan Sloley Resources Education and Arturs Ezergailis Marketing Manager Community Engagement Donor and Patron BUSINESS Ali Webb Coordinator Coordinator Francie Doolan PR Manager Lucy Rash Jessica Frean Chief Financial Officer Kate Eichler Pizzicato Effect MSO Foundation Raelene King Publicity and Online Coordinator Manager Personnel Manager Engagement Coordinator

BEETHOVEN’S SYMPHONY NO.7 13 THANKS TO OUR WONDERFUL MSO SUPPORTERS

The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score. The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries: Ph +61 (03) 9626 1248 Email: [email protected] This honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORS Robert & Jan Green Stephen and Caroline Brain Harold Mitchell AC Konfir Kabo and Monica Lim Mr John Brockman OAM and Mrs Pat Chief Conductor Chair Norman and Betty Lees Brockman Patricia Riordan Mimie MacLaren Leith Brooke Associate Conductor Chair Ian and Jeannie Paterson Rhonda Burchmore Joy Selby Smith Onbass Foundation Bill and Sandra Burdett Orchestral Leadership Chair Peter and Natalie Schiavello Phillip and Susan Carthew and children Marc Besen AC and Eva Besen AO Glenn Sedgwick Oliver Carton International Guest Chair Maria Solà, in memory of Malcolm Douglas John and Lyn Coppock MSO Friends Chair The Gabriela and George Stephenson Gift, Miss Ann Darby in memory of Leslie J. Darby The Gross Foundation in tribute to the great Romanian pianist Mary and Frederick Davidson AM Principal Second Violin Chair Dinu Lipati Lauraine Diggins and Michael Blanche MS Newman Family Lyn Williams AM Principal Cello Chair Peter and Leila Doyle Kee Wong and Wai Tang Principal Flute Chair – Anonymous Lisa Dwyer and Dr Ian Dickson Jason Yeap OAM Dr Helen M Ferguson PROGRAM BENEFACTORS Anonymous (1) Mr Bill Fleming Meet The Music Colin Golvan QC and Dr Deborah Golvan PRINCIPAL PATRONS $5,000+ Made possible by The Ullmer Family Michael and Susie Hamson Foundation John and Mary Barlow Susan and Gary Hearst East meets West Lino and Di Bresciani OAM Gillian and Michael Hund Supported by the Li Family Trust David and Emma Capponi Rosemary and James Jacoby The Pizzicato Effect (Anonymous) Paul Carter and Jennifer Bingham John and Joan Jones MSO UPBEAT Tim and Lyn Edward Connie and Craig Kimberley Supported by Betty Amsden AO DSJ John and Diana Frew Sylvia Lavelle MSO CONNECT Jill and Robert Grogan Ann and George Littlewood Supported by Jason Yeap OAM Louis J Hamon OAM Allan and Evelyn McLaren Nereda Hanlon and Michael Hanlon AM BENEFACTOR PATRONS $50,000+ Don and Anne Meadows Hartmut and Ruth Hofmann Betty Amsden AO DSJ Bruce Parncutt and Robin Campbell Jenny and Peter Hordern Phillip Bacon AM Ann Peacock with Andrew and Woody Margaret Jackson AC Marc Besen AC and Eva Besen AO Kroger Jenkins Family Foundation Jennifer Brukner Sue and Barry Peake Vivien and Graham Knowles Rachel and Hon. Alan Goldberg AO QC Mrs W Peart David Krasnostein and Pat Stragalinos The Gross Foundation Ruth and Ralph Renard Elizabeth Kraus in memory of Bryan Hobbs David and Angela Li Max and Jill Schultz Dr Geraldine Lazarus and Mr Greg Gailey Annette Maluish Diana and Brian Snape AM Dr Elizabeth A Lewis AM Harold Mitchell AC Mr Tam Vu and Dr Cherilyn Tillman Mr Greig Gailey and Dr Geraldine Lazarus MS Newman Family William and Jenny Ullmer Peter Lovell Roslyn Packer AO Bert and Ila Vanrenen The Cuming Bequest Mrs Margaret S Ross AM and Dr Ian Ross Brian and Helena Worsfold Mr and Mrs D R Meagher Joy Selby Smith Anonymous (10) Ullmer Family Foundation Wayne and Penny Morgan Marie Morton FRSA PLAYER PATRONS $1,000+ IMPRESARIO PATRONS $20,000+ Dr Paul Nisselle AM Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Perri Cutten and Jo Daniell Lady Potter AC David and Beverlie Asprey, Marlyn and Susan Fry and Don Fry AO Stephen Shanasy Peter Bancroft OAM, Adrienne Basser , Prof John McKay and Lois McKay Gai and David Taylor Weston Bate and Janice Bate, David and Elizabeth Proust AO the Hon. Michael Watt QC and Cecilie Hall Helen Blackwell, Bill Bowness, Michael F Rae Rothfield Barbara and Donald Weir Boyt, M Ward Breheny, Susie Brown, Jill and Inés Scotland Anonymous (4) Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and MAESTRO PATRONS $10,000+ ASSOCIATE PATRONS $2,500+ Pamela Crockett, Natasha Davies, Pat and Michael Aquilina Dr Bronte Adams Bruce Davis, Merrowyn Deacon, Sandra Kaye and David Birks Pierce Armstrong Foundation Dent, Dominic and Natalie Dirupo, John Mitchell Chipman and Anne Duncan, Jane Edmanson OAM, Will and Dorothy Bailey Bequest Jan and Peter Clark Kay Ehrenberg, Gabrielle Eisen, Vivien and Barbara Bell in memory of Elsa Bell Andrew and Theresa Dyer Jack Fajgenbaum, Grant Fisher and Helen Peter Biggs CNZM and Mary Biggs Bird, Mr William J Forrest AM, Barry Fradkin Future Kids Pty Ltd Mrs S Bignell OAM and Dr Pam Fradkin, David Gibbs and

14 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT THANKS TO OUR WONDERFUL MSO SUPPORTERS

Susie O’Neill, Merwyn and Greta Goldblatt, and Phil Lukies, Nic and Ann Willcock, CONDUCTOR’S CIRCLE George Golvan QC and Naomi Golvan, Marian and Terry Wills Cooke, Pamela F Jenny Anderson, Lesley Bawden, Joyce Charles and Cornelia Goode, Dr Marged Wilson, Joanne Wolff, Peter and Susan Yates, Bown, Mrs Jenny Brukner and the late Mr Goode, Danny Gorog and Lindy Susskind, Mark Young, Panch Das and Laurel Young- John Brukner, Ken Bullen, Luci and Ron Louise Gourlay OAM, Ginette and André Das, YMF Australia, Anonymous (17) Chambers, Sandra Dent, Lyn Edward, Alan Gremillet, Dr Sandra Hacker AO and Mr Ian THE MAHLER SYNDICATE Egan JP, Louis Hamon OAM, Tony Howe, Kennedy AM, Jean Hadges, Paula Hansky David and Kaye Birks, Jennifer Brukner, John and Joan Jones, Mrs Sylvia Lavelle, OAM and Jack Hansky AM, Tilda and Brian Cameron Mowat, Laurence O’Keefe Haughney, Henkell Family Fund, Penelope Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis and Christopher James, Elizabeth Proust Hughes, Dr Alastair Jackson, Stuart Jennings, AO, Penny Rawlins, Joan P Robinson, Neil George and Grace Kass, Irene Kearsey, Ilma Hamon OAM, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà in memory of Roussac, Anne Roussac-Hoyne, Jennifer Kelson Music Foundation, Dr Anne Kennedy, Shepherd, Pamela Swansson, Lillian Tarry, Dr Lew Foundation, Norman Lewis in memory Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1) Cherilyn Tillman, Mr and Mrs R P Trebilcock, of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Michael Ullmer, Mr Tam Vu, Marian and Terry Jeff Loewenstein, The Hon Ian Macphee AO FOUNDATIONS AND TRUSTS Wills Cooke, Mark Young, Anonymous (19) and Mrs Julie Mcphee, Elizabeth H Loftus, The Annie Danks Trust Vivienne Hadj and Rosemary Madden, In THE MSO GRATEFULLY ACKNOWLEDGES THE Collier Charitable Fund memory of Leigh Masel, John and Margaret SUPPORT RECEIVED FROM THE ESTATES OF: Creative Partnerships Australia Mason, In honour of Norma and Lloyd Rees, Angela Beagley, Gwen Hunt, Pauline Trevor and Moyra McAllister, H E McKenzie, The Cybec Foundation Marie Johnston, C P Kemp, Peter Forbes David Menzies, John and Isobel Morgan, The Harold Mitchell Foundation MacLaren, Prof Andrew McCredie, Miss Ian Morrey, The Novy Family, Laurence Helen Macpherson Smith Trust Sheila Scotter AM MBE, Molly Stephens, Jean O’Keefe and Christopher James, Graham Ivor Ronald Evans Foundation, managed by Tweedie, Herta and Fred B Vogel, Dorothy and Christine Peirson, Andrew Penn and Equity Trustees Limited and Mr Russell Brown Wood Kallie Blauhorn, Kerryn Pratchett, Peter Ken & Asle Chilton Trust, managed by Priest, Jiaxing Qin, Eli Raskin, Peter and HONORARY APPOINTMENTS Perpetual Carolyn Rendit, Dr Rosemary Ayton and Dr Mrs Elizabeth Chernov Sam Ricketson, Joan P Robinson, Tom and Linnell/Hughes Trust, managed by Perpetual Education and Community Engagement Elizabeth Romanowski, Delina Schembri- The Marian and EH Flack Trust Patron Hardy, Jeffrey Sher, Dr Sam Smorgon AO The Perpetual Foundation – Alan (AGL) Sir Elton John CBE and Mrs Minnie Smorgon, Dr Norman and Shaw Endowment, managed by Perpetual Life Member Dr Sue Sonenberg, Dr Michael Soon, Pauline The Pratt Foundation The Honourable Alan Goldberg AO QC Speedy, Geoff and Judy Steinicke, Mrs The Robert Salzer Foundation Life Member Suzy and Dr Mark Suss, Pamela Swansson, The Schapper Family Foundation Geoffrey Rush AC Dr Adrian Thomas, Frank and Miriam The Scobie and Claire Mackinnon Trust Ambassador Tisher, Margaret Tritsch, P & E Turner, Mary

Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting

PRINCIPAL PARTNER

MAESTRO PARTNERS

ASSOCIATE PARTNERS

SUPPORTING PARTNERS 3L Alliance Feature Alpha Investment Golden Age Group Naomi Milgrom Foundation Elenberg Fraser (a unit of the Tong Eng Group) Kabo Lawyers PwC Fed Square Future Kids Linda Britten UAG + SJB Flowers Vasette Universal

GOVERNMENT PARTNERS MEDIA PARTNER MAHLER 4 Conducted by Sir Andrew Davis

A moment of soulful introspection from one of music’s intrepid travellers, Mahler’s Symphony No.4 recalls an age of innocence with its moments of childlike joy. Tempestuous instrumentation and sly wit abound in Prokofiev’s Sinfonia Concertante, considered a high point of the composer’s last creative years.

20 June at 8pm and 22 June at 6.30pm Arts Centre Melbourne, Hamer Hall 19 June at 8pm Costa Hall, Deakin University Geelong

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